Caroline Cance | Université d'Orléans (Loire Valley University) (original) (raw)

Papers by Caroline Cance

Http Www Theses Fr, 2008

Mes remerciements seront sûrement tout aussi à l'envers que je ne le suis, mais je sais qu'ils so... more Mes remerciements seront sûrement tout aussi à l'envers que je ne le suis, mais je sais qu'ils sont nombreux et que sans tout-e-s et chacun-e-s jamais je n'aurais été au bout de cette route. Tout d'abord, un grand, un très grand, un immense merci à toi Danièle, avec tous les adverbes de modalité et toutes les co-constructions subjectives et objectives possibles et imaginables, … Et oui, c'est incroyable mais nous y sommes ! Merci à Agnès Giboreau pour son encadrement toujours clair et rigoureux, son soutien et ses conseils si judicieux. Je remercie également Anne Bardot pour m'avoir accueillie au sein de PEFH, avoir pris le relais dans l'encadrement de mes recherches, et avoir accepté, après tout ce temps, d'évaluer ce travail et de participer à mon jury. Merci à Mary-Annick Morel pour tous les échanges que nous avons eu au cours de ces années et ainsi que pour avoir accepté d'évaluer mon travail et de participer à mon jury. Mes remerciements vont également à Robert Vion et Wolfgang Wildgen qui ont accepté d'évaluer ce travail de thèse. Je remercie ma merveilleuse équipe du LCPE : Philippe, Séverine, Gaelle, Elodie, Pascale, Jacques, et Jacques P. ainsi que Noémie Cavelier pour sa précieuse aide dans l'enquête SMS (Sémantique et Morphosyntaxe in the Move) et son amitié. Je suis ravie à l'idée de te revoir à l'occasion de ma thèse. Merci également à tous les membres de mon labo d'adoption, le LAM, avec une spéciale dédicace à celles et ceux qui m'ont tenu compagnie en soirée et les week-ends. Non, vous ne m'y verrez plus le dimanche matin ! Je remercie aussi toute l'équipe de PEFH (avec une pensée particulière pour Mickaël, parti retrouver sa Bretagne natale) ainsi que toutes les personnes de PSA qui m'ont aidée : Jean Goffinet, Thierry Voillequin, et l'équipe RV, l'équipe Sherpa, le service Couleurs et Matières, Merci à mes grand -mères, qui, chacune à leur manière, m'ont donné le goût des mots et l'envie de comprendre ce que ressentent les gens à travers et par-delà leurs paroles … A mon grand-père, mon mineur préféré aux 96 printemps, qui attend impatiemment que je lui explique pourquoi il ne se rappelle plus de tout comme avant et Kesako docteur es linguistique ? À mon frère, mon « petit » frère. L'ornithorynque avait bien mérité le surnom que tu lui avais donné … Merci à toi pour la curiosité que tu fus le premier à éveiller et nourrir avec tant de discussions, de lectures, de musiques … Merci d'être là. À mes parents, pour tout l'amour, la confiance et la liberté qu'ils me donnent et m'ont donné jour après jour. Merci pour la co-construction ! A Juenten para todo el camino y las brechas que hemos habiertas juntas ...

Histoire Épistémologie Langage, 2012

Autour des langues et du langage est un ouvrage réunissant une sélection d&... more Autour des langues et du langage est un ouvrage réunissant une sélection d'articles issus du Colloque international des Étudiants-chercheurs en Didactique des Langues et en Linguistique, qui a eu lieu à Grenoble en juillet 2006. Il présente les recherches actuelles ...

En inventant de nouveaux dispositifs de production musicale, le XXe siècle nous invite à réviser ... more En inventant de nouveaux dispositifs de production musicale, le XXe siècle nous invite à réviser le concept d'instrument de musique et, par là, à tenter d'approcher le concept d'instrumentalité. On notera d'ailleurs que, depuis les années 70, les travaux et colloques portant sur les dispositifs de contrôle gestuel de la synthèse, et plus généralement sur les interfaces homme-machine (IHM), se sont considérablement développés. En complément des approches centrées sur les qualités intrinsèques des dispositifs techniques, ainsi que des recherches portant sur l'interaction multisensorielle musicien-instrument, il nous a semblé utile d'examiner ici les pratiques, les usages et les communautés que ces dispositifs font émerger. Nous pensons, en analysant notamment les différents types ou registres discursifs au sein desquels se déploient, s'inventent et se négocient de nouvelles définitions, que la question de l'instrument de musique se trouve en partie reno...

This title quote from saxophonist Tony Malaby illustrates musicians' experience when they are... more This title quote from saxophonist Tony Malaby illustrates musicians' experience when they are improvising as opposed to interpreting a pre-existing composition. More specifically, free improvisation refers to non-idiomatic improvisation (Bailey, 1992), i.e. without following musical constraints implied by a tradition. Previous research on free improvisation in music has been conducted mainly in Musicology. In Cognitive Sciences, this practice has received scant attention despite the increase of works studying creativity in dance and theatre (Nakano & Okada, 2012; Magerko et al., 2009). In this communication, we investigate musicians' practices and representations in the context of free improvisation, within and through their discourse. We interviewed twelve New-York-based musicians with diverse social and cultural backgrounds, all recognized as professional improvisers with more than fifteen years' experience. Our semi-structured interview guide combined i) questions abo...

Autour des langues et du langage est un ouvrage réunissant une sélection d'articles issus du ... more Autour des langues et du langage est un ouvrage réunissant une sélection d'articles issus du Colloque international des Étudiants-chercheurs en Didactique des Langues et en Linguistique, qui a eu lieu à Grenoble en juillet 2006. Il présente les recherches actuelles de jeunes chercheurs du monde entier et reflète la diversité des objets, des méthodes et des perspectives dans l'étude des langues et du langage. Les contributions ont été régroupées en 5 axes thématiques : Description linguistique, Psycholinguistique et développement langagier, Sociolinguistique et plurilinguisme, Didactique des langues et Outils informatiques pour la linguistique et la didactique des langues. Au delà de ce choix éditorial, c'est la pluridisciplinarité qui est mise à l'honneur dans ce recueil, destiné aux étudiants, aux enseignants-chercheurs et à tout lecteur curieux d'élargir ses connaissances à travers ce panorama riche et varié.

To complement recent efforts in standardizing perceptual assessment of human sound preference thr... more To complement recent efforts in standardizing perceptual assessment of human sound preference through a taxonomy, we propose to contribute to the elaboration of a scientific classification of the diversity of soundscapes as presently studied, from our theoretical knowledge on categorization and naming. In a small collection of publications, selected on the basis of their explicit reference to soundscape studies, we identified exemplars of soundscapes, their structure, and naming. Furthermore, we assessed the consensus of categories mentioned by different research domains in this corpus. Through a linguistic analysis of the wording of the categories we identified different types of classifications, dependent on the research domain, and the object under investigation. Based on this finding we suggest that researchers should be explicit about the type of categorization they apply, and to which aspect of soundscape they are contributing. This suggestion is aimed at reaching a consensus not only on a generic definition, but also on the empirical investigations in a more explicitly structured domain, which the concept of soundscape intends to cover.

Corela, 2010

ABSTRACT Our contribution is concerned with the relationships between language and cognition as d... more ABSTRACT Our contribution is concerned with the relationships between language and cognition as discussed since 1991 (see Vandeloise, 1991) focusing on lexicalisation and categorisation of colours and their contribution to the construction of space. Following Rosch’s insights of an experiential and embodied cognition, we develop a broader conception of a situated cognitive approach of lexical meaning. Cognitive representations are considered as resulting from complex processes constructed from perceptual experience, lexical resources and discourse processing. Empirical results concerned with lexical resources available within French language and involved in different practices of colours allow to identify different cognitive representations of colours : as subjective effects, as matter, as sources, as entities of the physical world (Dubois & Grinevald, 2003). Our analyses further explore the constraints on conceptual elaborations of colours through the syntactic inscription of colour words in discourses allowing the identification of objects and the referenciation to space (Cance, 2008). Our conclusion emphasises on the requirements for a diversity of experimental protocols and analyses to produce non restrictive data in order to adequately account for the diversity of colour conceptualisations and for their role in the referenciation processes to objects and space.

Mes remerciements seront sûrement tout aussi à l'envers que je ne le suis, mais je sais qu'ils so... more Mes remerciements seront sûrement tout aussi à l'envers que je ne le suis, mais je sais qu'ils sont nombreux et que sans tout-e-s et chacun-e-s jamais je n'aurais été au bout de cette route. Tout d'abord, un grand, un très grand, un immense merci à toi Danièle, avec tous les adverbes de modalité et toutes les co-constructions subjectives et objectives possibles et imaginables, … Et oui, c'est incroyable mais nous y sommes ! Merci à Agnès Giboreau pour son encadrement toujours clair et rigoureux, son soutien et ses conseils si judicieux. Je remercie également Anne Bardot pour m'avoir accueillie au sein de PEFH, avoir pris le relais dans l'encadrement de mes recherches, et avoir accepté, après tout ce temps, d'évaluer ce travail et de participer à mon jury. Merci à Mary-Annick Morel pour tous les échanges que nous avons eu au cours de ces années et ainsi que pour avoir accepté d'évaluer mon travail et de participer à mon jury. Mes remerciements vont également à Robert Vion et Wolfgang Wildgen qui ont accepté d'évaluer ce travail de thèse. Je remercie ma merveilleuse équipe du LCPE : Philippe, Séverine, Gaelle, Elodie, Pascale, Jacques, et Jacques P. ainsi que Noémie Cavelier pour sa précieuse aide dans l'enquête SMS (Sémantique et Morphosyntaxe in the Move) et son amitié. Je suis ravie à l'idée de te revoir à l'occasion de ma thèse. Merci également à tous les membres de mon labo d'adoption, le LAM, avec une spéciale dédicace à celles et ceux qui m'ont tenu compagnie en soirée et les week-ends. Non, vous ne m'y verrez plus le dimanche matin ! Je remercie aussi toute l'équipe de PEFH (avec une pensée particulière pour Mickaël, parti retrouver sa Bretagne natale) ainsi que toutes les personnes de PSA qui m'ont aidée : Jean Goffinet, Thierry Voillequin, et l'équipe RV, l'équipe Sherpa, le service Couleurs et Matières, Merci à mes grand -mères, qui, chacune à leur manière, m'ont donné le goût des mots et l'envie de comprendre ce que ressentent les gens à travers et par-delà leurs paroles … A mon grand-père, mon mineur préféré aux 96 printemps, qui attend impatiemment que je lui explique pourquoi il ne se rappelle plus de tout comme avant et Kesako docteur es linguistique ? À mon frère, mon « petit » frère. L'ornithorynque avait bien mérité le surnom que tu lui avais donné … Merci à toi pour la curiosité que tu fus le premier à éveiller et nourrir avec tant de discussions, de lectures, de musiques … Merci d'être là. À mes parents, pour tout l'amour, la confiance et la liberté qu'ils me donnent et m'ont donné jour après jour. Merci pour la co-construction ! A Juenten para todo el camino y las brechas que hemos habiertas juntas ...

Acta Acustica united with Acustica, 2012

This paper presents al exicographic study of the expression "quiet areas" and its translations as... more This paper presents al exicographic study of the expression "quiet areas" and its translations as theya ppear in the European directive 2002/49/EC. The main part of this study is about the French translation of "quiet areas": "zones calmes" and focuses on the definition of the word calme.T he analysis conducted in this article is based on various methodologies: diachronic studies and analyses of the lexical field. Those methodologies allowhighlighting the manifold notions linked to the word calme.The results showthat the definition of calme has greatly evolved through time, from afi rst one connected to the sea (calm sea)t ot he latest associated with acoustic notions (absence of noise). Between both notions, other definitions have been introduced as calme can also be linked to as tate of mind (the mind is not agitated). In all these definitions, it appears that calme is characterized by aspatial or temporal dimension. It is those characteristics which strengthen its relative character. Through this lexicographic study of French dictionaries, adefinition for "zone calme" can be proposed. However, depending on the words used to translate "quiet areas" in the European directive,the definition is not the same. So, ac omparison between translations of the directive in different European languages wasc arried out. This exploratory analysis then raises the problem of the definition of "quiet areas" before trying to findcharacterizing indicators as suggested in the European directive. PACS no. 43.50.Rq, 43.50.Ba 734 ©S.Hirzel Verlag · EAA Delaitre et al.:F rench calme -Alexicographic study ACTA ACUSTICA UNITED WITH ACUSTICA Vol. 98 (2012)

Acta Acustica united with Acustica, 2013

ABSTRACT Since R. Murray Schafer's musical concept of soundscape started influencing scie... more ABSTRACT Since R. Murray Schafer's musical concept of soundscape started influencing scientific communities of acousticians in the 1970s, part of the Community Noise research has shifted its focus from noise pollution and annoyance to a more holistic perspective on sonic environments, including their positive aspects. To investigate if and how this evolution is represented in the literature of the field, the discourses of two scientific fields in acoustics are compared: the older Community Noise and the more recent Soundscape field. Specifically, the differential use of two key words (Noise and Sound) is analyzed based on the hypothesis that their meanings, which are constructed in discourse, reflect the conceptual grounding of both fields. An algorithm from computational linguistics is applied to calculate the similarity of words according to their use in a local syntactic context. It is shown that Noise and Sound are differently distributed within the discourses of both fields, thereby making explicit the semantic and conceptual differences between a noise pollution approach and a soundscape approach, which includes a more holistic concern about the quality of sonic environments and acoustic design.

Journal of The Acoustical Society of America, 2010

ABSTRACT The musician M. Shafer introduced, in 1970, the word and the concept of soundscapes as &... more ABSTRACT The musician M. Shafer introduced, in 1970, the word and the concept of soundscapes as "the tuning of the world," driving our attention to the quality of the sounding environment, therefore comparable to music. The concept of soundscape has been developed within acousticians' communities, and the research slowly evolved from "noise effect," "noise control," or "noise annoyance" to "sound quality" or "soundscape" and "soundscaping." Also, around 70 electroacoustics music has promoted every day noises as musical sounds, and nowadays computer music blurs the boundaries between musical instruments and new technological devices and tools. We would like to present here our research conducted in perception and evaluation both in music (and more precisely on digital music) and in everyday noise and soundscapes to discuss some of the following questions: What makes a noise a musical sound? Its acoustic properties? That it is produced by a specific (musical) instrument? The time, places (streets? concert halls?) or ways one hearslistens to it (personal involvement, purpose)? Are the boundaries between music and noise the same in different communities (acousticians, musicians, instrument makers, every one in the street)? How do the concepts of musicnoise evolve in time and space, and people?

Journal of The Acoustical Society of America, 2010

ABSTRACT Considering the effects of noise implies that "somebody" is affected b... more ABSTRACT Considering the effects of noise implies that "somebody" is affected by noise. If the noise itself is not problematic regarding its measurement (by physics), the question is less clear regarding WHO is concerned by noise? Humans, animals? Asking such a question entails some other ones: Is any living system similarly affected by noise? Generally as an organism? Or differentially as "subjects"? What scientific domains are concerned with such studies? We would address these questions from our experience and knowledge on soundscapes. Starting from psychophysics that remains within the "endemic antinomy of a world-less subject confronting a thought-less object: the antique dualism of mind and matter" [Shalins (1976)], we will consider the diversity of subjects (animal as well as human "experts" of different types, acousticians, urban planners, politicians, and inhabitants) to propose an alternative conception we name "semiophysics": it leads to reconsider the concepts of information versus meaning, as well as from a methodological point of view, the concepts of affordance versus Umwelt. Coupling field research and experimental work by accounting for meanings as relationships given to the world by the different subjects calls then for an ecological validity of laboratory investigations.

Computing Research Repository, 2009

As far as music is concerned, instruments have always been part of a cultural ?landscape? (on tec... more As far as music is concerned, instruments have always been part of a cultural ?landscape? (on technical, expressive and symbolic levels). The present contribution explores the changes brought about by the shift that occurred during the 20th century, from mechanical to digital instruments (also named ?virtual instruments?). First and foremost, a short recall of some historical steps of the technological developments that have renewed our relationship to sound, music, and instruments will be presented. Second, an analysis of different discourses and terminologies presently used in the domains of musicology and computer music will account for the evolution of the notion of instrumentality.

Journal of The Acoustical Society of America, 2011

ABSTRACT In the past decade, soundscape research has emerged accounting for acoustic phenomena as... more ABSTRACT In the past decade, soundscape research has emerged accounting for acoustic phenomena as they are perceived and assessed by humans. In this view, concepts and methodologies from social sciences and humanities are needed to identify the diversity of conceptualizations across time, space, and languages. Specifically, our approach relies on linguistics and psychology in analyzing how people describe their sensory experience (what is being said and how it is being said), in order to identify different conceptualizations conveyed in their discourse. We first investigate the linguistic resources available in different languages with a cross-linguistic survey of free-format verbal descriptions of acoustic phenomena in European languages (e.g., French, English, Dutch, Spanish), extending the pilot investigation by Dubois and Guastavino (2008). Then, coupling this linguistic analysis with cognitive theories on categorization, we can infer a diversity of conceptualizations for the same acoustic phenomena. This approach further allows us to overcome some limitations of current survey design: the use of closed-ended questions confining responses to categories pre-defined by the experimenter, and basic translations not taking into consideration semantic languages specificities. Our results provide a theoretical grounding and methodological guidelines for designing questionnaires for cross-cultural evaluation of soundscapes.

Journal Articles by Caroline Cance

Journal of New Music Research, 42(4), 381-395, Dec 16, 2013

"Record producers interact with musicians to obtain the best artistic results from recording sess... more "Record producers interact with musicians to obtain the best artistic results from recording sessions. Commonly described as professionals without well-defined skills, the producers’ role has received scant attention. In this paper, we report a qualitative investigation of the producers’ tacit knowledge, skills and competences involved in making successful recordings, and we develop a model of artistic direction for studio sessions, extending Hennion (1989)’s concept of ‘intermediary between production and consumption’.

We interviewed six world-renowned record producers about their mission, their methods of production and their contribution to the creative process of musical recordings. We first analysed their responses using content analysis. We then investigated emerging concepts using linguistic analysis with an emphasis on the producer’s artistic involvement during recording sessions.

This combination of qualitative methods used in the Social Sciences (Grounded Theory) and in Linguistics allowed us to investigate in depth best practices for studio recording. Through this inductive analysis, we identified and described various levels of a producer’s artistic involvement during recording sessions, namely From context to situation, Intermediary role, Verbal communication, Management and Artistic collaboration. We also present inter-personal skills shared amongst interviewees to help musicians complete their recording project in the best possible conditions."

Conference Proceedings by Caroline Cance

This paper investigates the discrepancy between musicians’ subjective experience when they are im... more This paper investigates the discrepancy between musicians’ subjective experience when they are improvising and their opinion on the musical result when they are listening back to their performance. We identified the importance of this discrepancy when we interviewed twelve New-York-based musicians coming from diverse cultural backgrounds and generations, all having an international career with more than fifteen years of professional experience in free improvisation. To further investigate the contrast between musicians’ memory about their performance experience and their feedback about the musical result, we videotaped three concerts and three studio sessions and then asked these musicians to watch, listen and comment the video.
In our paper we will present the different improvisation processes that we identified through the analysis of our interviews, with an emphasis on the similarities and disparities among the interviewees’ artistic approaches. We will describe the procedure of our feedback sessions that we adapted according to each ensemble or soloist and we will focus on i) special moments for which the musicians reported intense feelings when they were performing and ii) musical moments that were selected when listening back to the improvisations. The descriptions of these moments will be illustrated by video excerpts of the concerts.
This paper contributes to designing new methods for analysis of improvisational practices by triangulating semi-directed interviews conducted within a phenomenological approach (Vermersch, 2009), observations in concerts, and self-confrontational interview methods in feedback sessions (Theureau, 2003). Our research takes place in the recent field of Tracking Creative Processes in Music (Donin & Theureau, 2007) that gives greater importance to the practitioners’ voice rather than the analysis of musical elements from recording transcriptions. By adapting the procedure of the feedback sessions to the specificities of each ensemble, we address the complexity of investigating this social practice based on creativity and idiosyncrasy.
Bibliography
Donin, N., & Theureau, J. (2007). Theoretical and methodological issues related to long term creative cognition: the case of musical composition. Cognition, Technology & Work, 9(4), 233-251.
Theureau, J. (2003). Course-of-action analysis and course-of-action centered design. Handbook of cognitive task design, 55-81.
Vermersch, P. (2009). Describing the Practice of Introspection. Journal of Consciousness Studies, 16(10-1), 20‑57.

Http Www Theses Fr, 2008

Mes remerciements seront sûrement tout aussi à l'envers que je ne le suis, mais je sais qu'ils so... more Mes remerciements seront sûrement tout aussi à l'envers que je ne le suis, mais je sais qu'ils sont nombreux et que sans tout-e-s et chacun-e-s jamais je n'aurais été au bout de cette route. Tout d'abord, un grand, un très grand, un immense merci à toi Danièle, avec tous les adverbes de modalité et toutes les co-constructions subjectives et objectives possibles et imaginables, … Et oui, c'est incroyable mais nous y sommes ! Merci à Agnès Giboreau pour son encadrement toujours clair et rigoureux, son soutien et ses conseils si judicieux. Je remercie également Anne Bardot pour m'avoir accueillie au sein de PEFH, avoir pris le relais dans l'encadrement de mes recherches, et avoir accepté, après tout ce temps, d'évaluer ce travail et de participer à mon jury. Merci à Mary-Annick Morel pour tous les échanges que nous avons eu au cours de ces années et ainsi que pour avoir accepté d'évaluer mon travail et de participer à mon jury. Mes remerciements vont également à Robert Vion et Wolfgang Wildgen qui ont accepté d'évaluer ce travail de thèse. Je remercie ma merveilleuse équipe du LCPE : Philippe, Séverine, Gaelle, Elodie, Pascale, Jacques, et Jacques P. ainsi que Noémie Cavelier pour sa précieuse aide dans l'enquête SMS (Sémantique et Morphosyntaxe in the Move) et son amitié. Je suis ravie à l'idée de te revoir à l'occasion de ma thèse. Merci également à tous les membres de mon labo d'adoption, le LAM, avec une spéciale dédicace à celles et ceux qui m'ont tenu compagnie en soirée et les week-ends. Non, vous ne m'y verrez plus le dimanche matin ! Je remercie aussi toute l'équipe de PEFH (avec une pensée particulière pour Mickaël, parti retrouver sa Bretagne natale) ainsi que toutes les personnes de PSA qui m'ont aidée : Jean Goffinet, Thierry Voillequin, et l'équipe RV, l'équipe Sherpa, le service Couleurs et Matières, Merci à mes grand -mères, qui, chacune à leur manière, m'ont donné le goût des mots et l'envie de comprendre ce que ressentent les gens à travers et par-delà leurs paroles … A mon grand-père, mon mineur préféré aux 96 printemps, qui attend impatiemment que je lui explique pourquoi il ne se rappelle plus de tout comme avant et Kesako docteur es linguistique ? À mon frère, mon « petit » frère. L'ornithorynque avait bien mérité le surnom que tu lui avais donné … Merci à toi pour la curiosité que tu fus le premier à éveiller et nourrir avec tant de discussions, de lectures, de musiques … Merci d'être là. À mes parents, pour tout l'amour, la confiance et la liberté qu'ils me donnent et m'ont donné jour après jour. Merci pour la co-construction ! A Juenten para todo el camino y las brechas que hemos habiertas juntas ...

Histoire Épistémologie Langage, 2012

Autour des langues et du langage est un ouvrage réunissant une sélection d&... more Autour des langues et du langage est un ouvrage réunissant une sélection d'articles issus du Colloque international des Étudiants-chercheurs en Didactique des Langues et en Linguistique, qui a eu lieu à Grenoble en juillet 2006. Il présente les recherches actuelles ...

En inventant de nouveaux dispositifs de production musicale, le XXe siècle nous invite à réviser ... more En inventant de nouveaux dispositifs de production musicale, le XXe siècle nous invite à réviser le concept d'instrument de musique et, par là, à tenter d'approcher le concept d'instrumentalité. On notera d'ailleurs que, depuis les années 70, les travaux et colloques portant sur les dispositifs de contrôle gestuel de la synthèse, et plus généralement sur les interfaces homme-machine (IHM), se sont considérablement développés. En complément des approches centrées sur les qualités intrinsèques des dispositifs techniques, ainsi que des recherches portant sur l'interaction multisensorielle musicien-instrument, il nous a semblé utile d'examiner ici les pratiques, les usages et les communautés que ces dispositifs font émerger. Nous pensons, en analysant notamment les différents types ou registres discursifs au sein desquels se déploient, s'inventent et se négocient de nouvelles définitions, que la question de l'instrument de musique se trouve en partie reno...

This title quote from saxophonist Tony Malaby illustrates musicians' experience when they are... more This title quote from saxophonist Tony Malaby illustrates musicians' experience when they are improvising as opposed to interpreting a pre-existing composition. More specifically, free improvisation refers to non-idiomatic improvisation (Bailey, 1992), i.e. without following musical constraints implied by a tradition. Previous research on free improvisation in music has been conducted mainly in Musicology. In Cognitive Sciences, this practice has received scant attention despite the increase of works studying creativity in dance and theatre (Nakano & Okada, 2012; Magerko et al., 2009). In this communication, we investigate musicians' practices and representations in the context of free improvisation, within and through their discourse. We interviewed twelve New-York-based musicians with diverse social and cultural backgrounds, all recognized as professional improvisers with more than fifteen years' experience. Our semi-structured interview guide combined i) questions abo...

Autour des langues et du langage est un ouvrage réunissant une sélection d'articles issus du ... more Autour des langues et du langage est un ouvrage réunissant une sélection d'articles issus du Colloque international des Étudiants-chercheurs en Didactique des Langues et en Linguistique, qui a eu lieu à Grenoble en juillet 2006. Il présente les recherches actuelles de jeunes chercheurs du monde entier et reflète la diversité des objets, des méthodes et des perspectives dans l'étude des langues et du langage. Les contributions ont été régroupées en 5 axes thématiques : Description linguistique, Psycholinguistique et développement langagier, Sociolinguistique et plurilinguisme, Didactique des langues et Outils informatiques pour la linguistique et la didactique des langues. Au delà de ce choix éditorial, c'est la pluridisciplinarité qui est mise à l'honneur dans ce recueil, destiné aux étudiants, aux enseignants-chercheurs et à tout lecteur curieux d'élargir ses connaissances à travers ce panorama riche et varié.

To complement recent efforts in standardizing perceptual assessment of human sound preference thr... more To complement recent efforts in standardizing perceptual assessment of human sound preference through a taxonomy, we propose to contribute to the elaboration of a scientific classification of the diversity of soundscapes as presently studied, from our theoretical knowledge on categorization and naming. In a small collection of publications, selected on the basis of their explicit reference to soundscape studies, we identified exemplars of soundscapes, their structure, and naming. Furthermore, we assessed the consensus of categories mentioned by different research domains in this corpus. Through a linguistic analysis of the wording of the categories we identified different types of classifications, dependent on the research domain, and the object under investigation. Based on this finding we suggest that researchers should be explicit about the type of categorization they apply, and to which aspect of soundscape they are contributing. This suggestion is aimed at reaching a consensus not only on a generic definition, but also on the empirical investigations in a more explicitly structured domain, which the concept of soundscape intends to cover.

Corela, 2010

ABSTRACT Our contribution is concerned with the relationships between language and cognition as d... more ABSTRACT Our contribution is concerned with the relationships between language and cognition as discussed since 1991 (see Vandeloise, 1991) focusing on lexicalisation and categorisation of colours and their contribution to the construction of space. Following Rosch’s insights of an experiential and embodied cognition, we develop a broader conception of a situated cognitive approach of lexical meaning. Cognitive representations are considered as resulting from complex processes constructed from perceptual experience, lexical resources and discourse processing. Empirical results concerned with lexical resources available within French language and involved in different practices of colours allow to identify different cognitive representations of colours : as subjective effects, as matter, as sources, as entities of the physical world (Dubois & Grinevald, 2003). Our analyses further explore the constraints on conceptual elaborations of colours through the syntactic inscription of colour words in discourses allowing the identification of objects and the referenciation to space (Cance, 2008). Our conclusion emphasises on the requirements for a diversity of experimental protocols and analyses to produce non restrictive data in order to adequately account for the diversity of colour conceptualisations and for their role in the referenciation processes to objects and space.

Mes remerciements seront sûrement tout aussi à l'envers que je ne le suis, mais je sais qu'ils so... more Mes remerciements seront sûrement tout aussi à l'envers que je ne le suis, mais je sais qu'ils sont nombreux et que sans tout-e-s et chacun-e-s jamais je n'aurais été au bout de cette route. Tout d'abord, un grand, un très grand, un immense merci à toi Danièle, avec tous les adverbes de modalité et toutes les co-constructions subjectives et objectives possibles et imaginables, … Et oui, c'est incroyable mais nous y sommes ! Merci à Agnès Giboreau pour son encadrement toujours clair et rigoureux, son soutien et ses conseils si judicieux. Je remercie également Anne Bardot pour m'avoir accueillie au sein de PEFH, avoir pris le relais dans l'encadrement de mes recherches, et avoir accepté, après tout ce temps, d'évaluer ce travail et de participer à mon jury. Merci à Mary-Annick Morel pour tous les échanges que nous avons eu au cours de ces années et ainsi que pour avoir accepté d'évaluer mon travail et de participer à mon jury. Mes remerciements vont également à Robert Vion et Wolfgang Wildgen qui ont accepté d'évaluer ce travail de thèse. Je remercie ma merveilleuse équipe du LCPE : Philippe, Séverine, Gaelle, Elodie, Pascale, Jacques, et Jacques P. ainsi que Noémie Cavelier pour sa précieuse aide dans l'enquête SMS (Sémantique et Morphosyntaxe in the Move) et son amitié. Je suis ravie à l'idée de te revoir à l'occasion de ma thèse. Merci également à tous les membres de mon labo d'adoption, le LAM, avec une spéciale dédicace à celles et ceux qui m'ont tenu compagnie en soirée et les week-ends. Non, vous ne m'y verrez plus le dimanche matin ! Je remercie aussi toute l'équipe de PEFH (avec une pensée particulière pour Mickaël, parti retrouver sa Bretagne natale) ainsi que toutes les personnes de PSA qui m'ont aidée : Jean Goffinet, Thierry Voillequin, et l'équipe RV, l'équipe Sherpa, le service Couleurs et Matières, Merci à mes grand -mères, qui, chacune à leur manière, m'ont donné le goût des mots et l'envie de comprendre ce que ressentent les gens à travers et par-delà leurs paroles … A mon grand-père, mon mineur préféré aux 96 printemps, qui attend impatiemment que je lui explique pourquoi il ne se rappelle plus de tout comme avant et Kesako docteur es linguistique ? À mon frère, mon « petit » frère. L'ornithorynque avait bien mérité le surnom que tu lui avais donné … Merci à toi pour la curiosité que tu fus le premier à éveiller et nourrir avec tant de discussions, de lectures, de musiques … Merci d'être là. À mes parents, pour tout l'amour, la confiance et la liberté qu'ils me donnent et m'ont donné jour après jour. Merci pour la co-construction ! A Juenten para todo el camino y las brechas que hemos habiertas juntas ...

Acta Acustica united with Acustica, 2012

This paper presents al exicographic study of the expression "quiet areas" and its translations as... more This paper presents al exicographic study of the expression "quiet areas" and its translations as theya ppear in the European directive 2002/49/EC. The main part of this study is about the French translation of "quiet areas": "zones calmes" and focuses on the definition of the word calme.T he analysis conducted in this article is based on various methodologies: diachronic studies and analyses of the lexical field. Those methodologies allowhighlighting the manifold notions linked to the word calme.The results showthat the definition of calme has greatly evolved through time, from afi rst one connected to the sea (calm sea)t ot he latest associated with acoustic notions (absence of noise). Between both notions, other definitions have been introduced as calme can also be linked to as tate of mind (the mind is not agitated). In all these definitions, it appears that calme is characterized by aspatial or temporal dimension. It is those characteristics which strengthen its relative character. Through this lexicographic study of French dictionaries, adefinition for "zone calme" can be proposed. However, depending on the words used to translate "quiet areas" in the European directive,the definition is not the same. So, ac omparison between translations of the directive in different European languages wasc arried out. This exploratory analysis then raises the problem of the definition of "quiet areas" before trying to findcharacterizing indicators as suggested in the European directive. PACS no. 43.50.Rq, 43.50.Ba 734 ©S.Hirzel Verlag · EAA Delaitre et al.:F rench calme -Alexicographic study ACTA ACUSTICA UNITED WITH ACUSTICA Vol. 98 (2012)

Acta Acustica united with Acustica, 2013

ABSTRACT Since R. Murray Schafer's musical concept of soundscape started influencing scie... more ABSTRACT Since R. Murray Schafer's musical concept of soundscape started influencing scientific communities of acousticians in the 1970s, part of the Community Noise research has shifted its focus from noise pollution and annoyance to a more holistic perspective on sonic environments, including their positive aspects. To investigate if and how this evolution is represented in the literature of the field, the discourses of two scientific fields in acoustics are compared: the older Community Noise and the more recent Soundscape field. Specifically, the differential use of two key words (Noise and Sound) is analyzed based on the hypothesis that their meanings, which are constructed in discourse, reflect the conceptual grounding of both fields. An algorithm from computational linguistics is applied to calculate the similarity of words according to their use in a local syntactic context. It is shown that Noise and Sound are differently distributed within the discourses of both fields, thereby making explicit the semantic and conceptual differences between a noise pollution approach and a soundscape approach, which includes a more holistic concern about the quality of sonic environments and acoustic design.

Journal of The Acoustical Society of America, 2010

ABSTRACT The musician M. Shafer introduced, in 1970, the word and the concept of soundscapes as &... more ABSTRACT The musician M. Shafer introduced, in 1970, the word and the concept of soundscapes as "the tuning of the world," driving our attention to the quality of the sounding environment, therefore comparable to music. The concept of soundscape has been developed within acousticians' communities, and the research slowly evolved from "noise effect," "noise control," or "noise annoyance" to "sound quality" or "soundscape" and "soundscaping." Also, around 70 electroacoustics music has promoted every day noises as musical sounds, and nowadays computer music blurs the boundaries between musical instruments and new technological devices and tools. We would like to present here our research conducted in perception and evaluation both in music (and more precisely on digital music) and in everyday noise and soundscapes to discuss some of the following questions: What makes a noise a musical sound? Its acoustic properties? That it is produced by a specific (musical) instrument? The time, places (streets? concert halls?) or ways one hearslistens to it (personal involvement, purpose)? Are the boundaries between music and noise the same in different communities (acousticians, musicians, instrument makers, every one in the street)? How do the concepts of musicnoise evolve in time and space, and people?

Journal of The Acoustical Society of America, 2010

ABSTRACT Considering the effects of noise implies that "somebody" is affected b... more ABSTRACT Considering the effects of noise implies that "somebody" is affected by noise. If the noise itself is not problematic regarding its measurement (by physics), the question is less clear regarding WHO is concerned by noise? Humans, animals? Asking such a question entails some other ones: Is any living system similarly affected by noise? Generally as an organism? Or differentially as "subjects"? What scientific domains are concerned with such studies? We would address these questions from our experience and knowledge on soundscapes. Starting from psychophysics that remains within the "endemic antinomy of a world-less subject confronting a thought-less object: the antique dualism of mind and matter" [Shalins (1976)], we will consider the diversity of subjects (animal as well as human "experts" of different types, acousticians, urban planners, politicians, and inhabitants) to propose an alternative conception we name "semiophysics": it leads to reconsider the concepts of information versus meaning, as well as from a methodological point of view, the concepts of affordance versus Umwelt. Coupling field research and experimental work by accounting for meanings as relationships given to the world by the different subjects calls then for an ecological validity of laboratory investigations.

Computing Research Repository, 2009

As far as music is concerned, instruments have always been part of a cultural ?landscape? (on tec... more As far as music is concerned, instruments have always been part of a cultural ?landscape? (on technical, expressive and symbolic levels). The present contribution explores the changes brought about by the shift that occurred during the 20th century, from mechanical to digital instruments (also named ?virtual instruments?). First and foremost, a short recall of some historical steps of the technological developments that have renewed our relationship to sound, music, and instruments will be presented. Second, an analysis of different discourses and terminologies presently used in the domains of musicology and computer music will account for the evolution of the notion of instrumentality.

Journal of The Acoustical Society of America, 2011

ABSTRACT In the past decade, soundscape research has emerged accounting for acoustic phenomena as... more ABSTRACT In the past decade, soundscape research has emerged accounting for acoustic phenomena as they are perceived and assessed by humans. In this view, concepts and methodologies from social sciences and humanities are needed to identify the diversity of conceptualizations across time, space, and languages. Specifically, our approach relies on linguistics and psychology in analyzing how people describe their sensory experience (what is being said and how it is being said), in order to identify different conceptualizations conveyed in their discourse. We first investigate the linguistic resources available in different languages with a cross-linguistic survey of free-format verbal descriptions of acoustic phenomena in European languages (e.g., French, English, Dutch, Spanish), extending the pilot investigation by Dubois and Guastavino (2008). Then, coupling this linguistic analysis with cognitive theories on categorization, we can infer a diversity of conceptualizations for the same acoustic phenomena. This approach further allows us to overcome some limitations of current survey design: the use of closed-ended questions confining responses to categories pre-defined by the experimenter, and basic translations not taking into consideration semantic languages specificities. Our results provide a theoretical grounding and methodological guidelines for designing questionnaires for cross-cultural evaluation of soundscapes.

Journal of New Music Research, 42(4), 381-395, Dec 16, 2013

"Record producers interact with musicians to obtain the best artistic results from recording sess... more "Record producers interact with musicians to obtain the best artistic results from recording sessions. Commonly described as professionals without well-defined skills, the producers’ role has received scant attention. In this paper, we report a qualitative investigation of the producers’ tacit knowledge, skills and competences involved in making successful recordings, and we develop a model of artistic direction for studio sessions, extending Hennion (1989)’s concept of ‘intermediary between production and consumption’.

We interviewed six world-renowned record producers about their mission, their methods of production and their contribution to the creative process of musical recordings. We first analysed their responses using content analysis. We then investigated emerging concepts using linguistic analysis with an emphasis on the producer’s artistic involvement during recording sessions.

This combination of qualitative methods used in the Social Sciences (Grounded Theory) and in Linguistics allowed us to investigate in depth best practices for studio recording. Through this inductive analysis, we identified and described various levels of a producer’s artistic involvement during recording sessions, namely From context to situation, Intermediary role, Verbal communication, Management and Artistic collaboration. We also present inter-personal skills shared amongst interviewees to help musicians complete their recording project in the best possible conditions."

This paper investigates the discrepancy between musicians’ subjective experience when they are im... more This paper investigates the discrepancy between musicians’ subjective experience when they are improvising and their opinion on the musical result when they are listening back to their performance. We identified the importance of this discrepancy when we interviewed twelve New-York-based musicians coming from diverse cultural backgrounds and generations, all having an international career with more than fifteen years of professional experience in free improvisation. To further investigate the contrast between musicians’ memory about their performance experience and their feedback about the musical result, we videotaped three concerts and three studio sessions and then asked these musicians to watch, listen and comment the video.
In our paper we will present the different improvisation processes that we identified through the analysis of our interviews, with an emphasis on the similarities and disparities among the interviewees’ artistic approaches. We will describe the procedure of our feedback sessions that we adapted according to each ensemble or soloist and we will focus on i) special moments for which the musicians reported intense feelings when they were performing and ii) musical moments that were selected when listening back to the improvisations. The descriptions of these moments will be illustrated by video excerpts of the concerts.
This paper contributes to designing new methods for analysis of improvisational practices by triangulating semi-directed interviews conducted within a phenomenological approach (Vermersch, 2009), observations in concerts, and self-confrontational interview methods in feedback sessions (Theureau, 2003). Our research takes place in the recent field of Tracking Creative Processes in Music (Donin & Theureau, 2007) that gives greater importance to the practitioners’ voice rather than the analysis of musical elements from recording transcriptions. By adapting the procedure of the feedback sessions to the specificities of each ensemble, we address the complexity of investigating this social practice based on creativity and idiosyncrasy.
Bibliography
Donin, N., & Theureau, J. (2007). Theoretical and methodological issues related to long term creative cognition: the case of musical composition. Cognition, Technology & Work, 9(4), 233-251.
Theureau, J. (2003). Course-of-action analysis and course-of-action centered design. Handbook of cognitive task design, 55-81.
Vermersch, P. (2009). Describing the Practice of Introspection. Journal of Consciousness Studies, 16(10-1), 20‑57.