Ce travail de recherche porte sur un aspect phonétique qui s’inscrit dans trois domaines, la phonétique, la dialectologie et la sociophonétique arabes. Notre démarche, nos outils et nos analyses sont phonétiques par essence. Nous avons analysé la fréquence des trois premiers formants [F1, F2, F3] des voyelles cardinales brèves /i, u, a/ de l’arabe libyen de Tripoli (ALT) et nous avons alterné le contexte phonétique consonantique pharyngalisé / tˁ, sˁ, dˁ/ vs non pharyngalisé / t, s, d/ afin de vérifier l’impact de celui-ci sur la fréquence centrale des formants. Cependant, les résultats ainsi obtenus nous ont permis de comparer l’ALT à d’autres variétés populaires arabes modernes. Comme ils nous ont permis d’opérer des distinctions sociales fondamentales, comme celle du gender. Notre problématique articule la question de la réalisation de l’espace acoustique des voyelles en ALT avec le contraste consonantique de pharyngalisation, les patrons coarticulatoires qui en résultent ainsi que l’outil ‘équation de locus’ pour les révéler, tout cela dans une dimension de stratification sociale par le gender. Trois hypothèses de travail ont été présentées, la première sur la variation de l’espace vocalique et ses motivations, la deuxième sur la pertinence de l’utilisation de l’équation de locus et la troisième sur les distinctions liées au gender. Nos résultats, fondés sur l’analyse d’un corpus de mots trisyllabiques [C1V1- C2V2- C3V3] où C était soit une consonne pharyngalisée /s ˁ, t ˁ, d ˁ/, soit une consonne non pharyngalisée /s, t, d/, V étant une des trois voyelles brèves cardinales /i, u, a/, lu par dix locuteurs (6 hommes et 5 femmes) permettent de valider nos trois hypothèses : la variation des valeurs formantiques des voyelles, de l’espace acoustique et de la distance entre les deux premiers formants en fonction des trois facteurs : 1) le contexte consonantique (pharyngalisé vs non pharyngalisé) ; 2) la position prosodique (accentué vs inaccentué) ; et 3) la distinction sociale (homme vs femme). Notre travail a pu répondre positivement aux objectifs qui lui ont été assignés au départ : 1) sur le plan phonétique, donner un aperçu du système vocalique de l’ALT et de sa variation en fonction de la pharyngalisation ; 2) sur le plan dialectologique, répondre aux questions de la typologie dialectale arabe et le classement de l’arabe libyen, dialecte oriental vs dialecte maghrébin ; et 3) sur le plan sociophonétique, vérifier la profonde distinction sociale, parole de femme vs parole d’homme / This research focuses on a phonetic aspect that falls into three areas, phonetics, dialectology and Arabic sociophonetics. Our approach, tools and analysis are phonetic in nature. We analyzed the frequency of the first three formants [F1, F2, F3] of short cardinal vowels / i, u, a /of the Libyan Arabic of Tripoli (ALT) and we alternated the phonetic context of pharyngealized consonants / t ˁ, s ˁ , ˁ d / versus non pharyngealized / t, s, d / to verify the impact of the latter on the central frequency of formants. However, the results obtained have allowed us to compare the ALT to other popular varieties in modern Arabic. As they allowed us to make fundamental social distinctions, such as the gender. Our research problem deals with the issue of the realization of the acoustic space of vowels in ALT, in contrast with the consonant pharyngealization, the resulting co-articulatory patterns as well as the tool of 'locus equation' to reveal, all of this in a dimension of social stratification by gender. Three hypotheses were presented; the first was on the variation of the vowel space and its motivations, the second was on the appropriateness of using the locus equation and the third was related to gender distinctions. Our results, based on the analysis of a corpus of trisyllabic words [C1V1 C2V2-C3V3-] where C is either a pharyngalized consonant / s ˁ, ˁ t, d ˁ / or a non- pharyngalized consonant / s, t, d /, V is one of the three cardinal short vowels / i, u, a /, read by ten speakers (6 males and 5 females) to validate our three hypotheses. Changes in formant values of vowels, the acoustic space and the distance between the first two formants were based on three factors: 1) the consonantal context (pharyngalized vs. non- pharyngalized), 2) the prosodic position (stressed vs. unstressed), and 3) social distinction (male vs. female). Our study has been able to respond positively to the objectives assigned to it at the start: 1) on the phonetic level, it gives an overview of the vowel system of ALT and its variation with the pharyngealization 2) on the dialectological level, it answers questions from Arabic dialect typology and classification of the Eastern Libyan Arabic dialect vs Maghreb dialect and 3) on the sociophonetic level, it verifies the profound social distinction, woman's speech vs man's speech

Made available in DSpace on 2015-04-11T13:57:13Z (GMT). No. of bitstreams: 1 Susy Elaine da Costa Freitas.pdf: 2635533 bytes, checksum: d17db594e47ec3b2ba11cc2aeb611751 (MD5) Previous issue date: 2013-07-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Throughout its history, cinema has been a cultural phenomenon of great popularity. On the other hand, the changes it faces along the way are also closely linked to that culture. Likewise, film criticism studies cinema from a theoretical bias taking such transformations into account when its productions is about both filmic forms and the way film criticism is produced and disseminated. In this thesis, one sought to understand how the film criticism is configured from the use of hypertext networks on the web for its production, starting from the point of view of Comuncational Ecosystems to understand a phenomenon that presents itself in an mediatic communication environment. With such purpose, one used the concept of Expanded Cinema, coined by Gene Youngblood (2001), as a basis for studying film criticism created from these networks in their complexity. The concept of Acoustic Space, developed by Marshall McLuhan (1964, 1971, 1980), also provides the basis for thinking about the communication phenomenon in all its complexity and in a systemic way. It was elaborated an observation script for the site chosen for the empirical cut, Metacritic (http://www.metacritic.com) to perform a data collection, which took place between 3 December 2012 and 3 January 2013, in order to monitor the formation of the hypertext network of the film criticism posted on the site. The research concludes that film criticism on the web can be thought as Expanded Criticism that takes place in an acoustic space, since it is beyond a two-dimensional spatiality. The performance of the reading done by the internet user creates this expanded criticism through a haptic visuality that allows one navigate through the content. The enjoyment of expanded criticism is beyond its hypertextual nature and it is also sensory, cognitive and multimedia, implying an experience, from the ecosystemical standpoint, focused on relations. / O cinema se mostra, ao longo de sua história, um fenômeno cultural de grande popularidade. Por sua vez, as mudanças que ele enfrenta nesse percurso também estão intimamente ligadas a essa cultura. Da mesma maneira, a crítica cinematográfica pensa o cinema a partir de um viés teórico levando essas transformações em consideração tanto ao refletir sobre as formas fílmicas quanto na maneira como essa crítica é produzida e veiculada. Nesta dissertação, buscou-se compreender de que maneira a crítica cinematográfica se configura a partir da utilização de redes hipertextuais na web para sua produção, partindo então do ponto de vista dos ecossistemas comunicacionais para compreender um fenômeno que se apresenta em um ambiente comunicacional midiático. Para tal, utilizou-se o conceito de cinema expandido, cunhado por Gene Youngblood (2001), como base para estudar a crítica criada a partir dessas redes em sua complexidade. O conceito de espaço acústico, desenvolvido por Marshall McLuhan (1964; 1971; 1980) também serve de base para pensar o fenômeno comunicacional em toda a sua complexidade e se maneira sistêmica. Foi elaborado um roteiro de observação do site escolhido para o recorte empírico, o Metacritic (http://www.metacritic.com), para a realização da coleta de dados, que aconteceu entre os dias 3 de dezembro de 2012 e 3 de janeiro de 2013, com o intuito de acompanhar a formação da rede hipertextual da crítica veiculada no site. A pesquisa conclui que a crítica cinematográfica na web pode ser pensada como uma crítica expandida que se dá em um espaço acústico, uma vez que está para além de uma espacialidade bidimensional. A performance da leitura feita pelo internauta cria essa crítica expandida através de uma visualidade tátil que permite navegar pelo conteúdo. A fruição da crítica expandida vai além do hipertextual, sendo também sensória, cognitiva e multimídia, implicando em uma experiência, do ponto de vista ecossistêmico, focada em relações.

Notre thèse décrit et analyse les conditions esthétiques, matérielles et idéelles qui rendent possibles les agencements sonores du cinéma contemporain. Au cours des 30 dernières années, le raffinement des outils de manipulation du son, l’importance grandissante du concepteur sonore et le nouvel espace de cohabitation des sons (favorisé par le Dolby et la diffusion multicanal) sont des facteurs qui ont transformé la création et l’écoute du son au cinéma. Ces transformations révèlent un nouveau paradigme : le mixage s’est graduellement imposé comme le geste perceptif et créateur qui rend compte de la sensibilité contemporaine. Notre thèse explore les effets de la pensée du mixage (qui procède par résonance, simultanéité, dosage et modulation) sur notre écoute et notre compréhension de l'expérience cinématographique. À l'aide de paroles de concepteurs sonores (Murch, Beaugrand, Thom, Allard…), de textes théoriques sur le son filmique (Cardinal, Chion, Campan), de documentaires sur des musiciens improvisateurs (Lussier, Glennie, Frith), de films de fiction à la dimension sonore affirmée (Denis, Van Sant), de textes philosophiques sur la perception (Leibniz, James, Straus, Szendy…), d'analyses du dispositif sonore cinématographique, notre thèse rend audibles des tensions, des récurrences, de nouveaux agencements, des problèmes actuels et inactuels qui forgent et orientent l'écoute du théoricien, du créateur et de l'auditeur. En interrogeant la dimension sonore de la perception, de l’action, de l’espace et de la pensée, cette thèse a pour objectif de modifier la façon dont on écoute, crée et pense le son au cinéma. / This thesis describes and analyzes the esthetic, material and conceptual conditions that make the acoustic structures of contemporary cinema possible. The refinement of tools used for manipulating sound, the growing importance the sound designer and the emergence of a new space for sounds to coexist in (brought on by Dolby and multichannel sound systems) are factors that, over the past 30 years, have transformed the way we work with and listen to sound in film. These transformations reveal a new paradigm: mixing gradually imposed itself as the creative and perceptual act capable of accounting for our contemporary sensibility. This thesis explores the effects of the “thought process of mixing” (which functions by resonance, simultaneity, dosage and modulation) on the way we hear and understand the cinematographic experience. Working from the accounts of sound designers (Murch, Beaugrand, Thom Allard…), theoretical texts on film sound (Cardinal, Chion, Campam), documentaries on improvisational musicians (Lussier, Glennie, Frith), fiction films with a acute acoustic sensibility (Denis, Van Sant), philosophical texts on perception (Leibniz, James, Straus, Szendy…) and analyses of the cinematographic sound apparatus, this thesis renders audible the tensions, the recurrences, the structural connections and the problems, old and new, that forge and direct the theoretician, the artist and the auditor’s way of listening. By questioning the auditory dimension of perception, action, space and thought, this thesis aims to change the way we hear, create and think cinema.

This thesis deals with artificial simulation of acoustic spaces by using reverberators. Output of this document consists of four reverberation algorithms and function that evaluates objective parameters of acoustic space from impulse responses. Reverberators and script were implemented using Matlab. Graphical user interface is used to present all of the algorithms for easier usability. First chapter deals with objective parameters of acoustic spaces and the ways they are computed from impulse response. Second chapter describes various structures which are used to build reverberators. Those structures are used in third chapter in implementations of reverberators. Third chapter also compares all implemented reverberators . In last chapter experiment was made. Impulse responses of three spaces were measured and subsequently aproximated by algorithms implemented in this thesis.

The following master thesis deals with creating a computational model for acoustic wave distribution by the human vocal tract and then the space around a human head. Detailed mapping of the sound field around the human head is important for more accurate measurement of the human voice. Part of this work is the creation of three-dimensional finite element model of the human head and the vocal tract during phonation of the vowel /:a/ based on the data from the computational tomography. Further the literature search of the function of the vocal tract, biomechanics of the making of the human voice, an overview of the computational models so far published in the literature and in literature reported measurements of the distribution of the human voice by the vocal tract and then in the space around the head . The following is the actual numerical solution of the acoustic waves distribution from the vocal cords through the vocal tract and then the space around the human head when thinking of acoustic absorption on the walls of the vocal tract and on the skin of the head for different types of waking of the model. The results are compared with previously published measurements of the distribution of the human voice and mainly the distortion of the frequency spectra at each specific node in the space around the head and in its vicinity of where the sensor microphones are typically placed are analyzed. Results of the computational modeling will eventually be used for frequency correction for various positions of the microphones scanning the voice distribution in its diagnosis, speech or singing.