No description available.

O objetivo geral do estudo foi avaliar a expressividade das licenciandas em enfermagem de uma universidade pública, antes e após uma intervenção fonoaudiológica. A hipótese foi que a intervenção fonoaudiologica, por meio da expressividade que envolve os recursos verbais, vocais e não verbais, modifica os alunos de licenciatura, futuros professores de enfermagem, em relação à sua expressividade. A pesquisa realizada em 2014 foi quantitativa, de delineamentos quase-experimental, de grupo, do tipo intervenção com análise comparativa dos dados antes e após a intervenção realizada e teve como participantes seis estudantes do último período do curso de licenciatura em enfermagem. Como procedimento metodológico teve-se: 1º - preparo dos instrumentos a serem utilizados na coleta de dados (para identificação de características dos sujeitos pesquisados e para avaliação de expressividade - protocolo previamente adaptado para o estudo, com itens dos recursos verbais - qualidade vocal, ataque vocal, loudness, pitch, ressonância, articulação, velocidade da fala, coordenação pneumofônica; recursos vocais - ênfase, pausas, curva melódica, ritmo e variações de loudness, de pitch e da velocidade da fala e recursos não verbais - expressão facial, postura corporal, uso de gestos e meneios de cabeça); 2º - coleta de dados junto às participantes (seleção dessas estudantes para a intervenção, filmagem antes da intervenção fonoaudiológica, desenvolvimento da intervenção proposta em 16 horas distribuídas em quatro encontros, filmagem das participantes após a intervenção e avaliação das filmagens pré e pós-treinamento por experts fonoaudiólogos; 3º - análise dos dados, na qual se utilizou o Teste Qui Quadrado de McNemar para a análise estatística da intervenção realizada, considerando-se o valor de p de 5% (?=0.05). Foi também questionado às alunas sobre a sua visão quanto à efetividade da intervenção realizada. O projeto de pesquisa foi aprovado junto ao Comitê de Ética em Pesquisa da universidade (protocolo 17918113.8.0000.5393). A intervenção apresentou efeito positivo na visão dos juízes fonoaudiólogos, nos resultados descritivos verbalizados pelas participantes e nos recursos verbais, vocais e não verbais, embora não tivesse apresentado significância estatística em alguns desses parâmetros avaliados. Os recursos verbais qualidade vocal, ataque vocal, loudness, ressonância permaneceram adequados antes e após intervenção realizada, mantendo, praticamente, os mesmos resultados; o pitch, a articulação, a velocidade e a coordenação pneumofônica apresentaram melhorias. Em relação aos recursos vocais como ênfase e variações de loudness, pitch e velocidade da fala permaneceram adequados antes e após intervenção. Os recursos de pausas, curva melódica e ritmo apresentaram significância estatística após a intervenção realizada. Com relação aos recursos não verbais, houve significância estatística em todos os itens avaliados. Constatou-se, também, que houve mudanças positivas quanto aos aspectos emocionais das estudantes avaliadas, que antes estavam inseguras e passaram a apresentar maior credibilidade e segurança às suas apresentações, resultando em uma expressividade satisfatória. Os resultados indicam que houve uma confirmação parcial da hipótese apresentada; as limitações referem-se ao pequeno número de participantes na pesquisa, o que dificulta a generalização dos dados. Sugere-se que as escolas formadoras de cursos de licenciaturas em enfermagem ao licenciando, em sua formação em docência, disciplinas que trabalhassem a competência comunicativa e, também, a expressividade, para ser um futuro professor preparado a exercer com mais propriedade comunicativa a sua docência. / The general objective of the study was to evaluate the expressiveness of nursing students at a public university, before and after speech therapy intervention. The hypothesis is that the speech therapy through the expressiveness which involves the verbal, vocal and nonverbal resources modifies the undergraduate students, future teachers of nursing, in relation to their expressiveness. The research conducted in 2014 was quantitative, quasi-experimental designs, in group, of intervention with comparative analysis of the data before and after the intervention performed, and it was attended by six students of the last semester of teaching degree in nursing. As a methodological procedure there were: 1st - preparation of instruments to be used in data collection (for identifying characteristics of the subjects and to evaluate expressiveness - previously adapted protocol for the study, with items of verbal resources - voice quality, attack voice, loudness, pitch, resonance, articulation, speech rate, pneumophonic coordination; vocal resources - emphasis, pauses, melodic curve, rhythm and variations of loudness, pitch and speed of speech and non-verbal resources - facial expression, body posture , use of gestures and nods head); 2nd - data collection from participants (selection of these students for intervention, shoot before speech therapy, development of the proposed intervention in 16 hours distributed in four meetings, filming the participants after the intervention and evaluation of pre-filming and post-training by speech experts; 3rd - data analysis, in which we used the McNemar\'s Chi Square Test for statistical analysis of intervention performed, considering the p value of 5% (? = 0.05). It was also asked to the students about their vision for the effectiveness of the intervention performed. The research project was approved by the Research Ethics Committee of the University (protocol 17918113.8.0000.5393). The intervention had a positive effect on vision of speech therapist judges in descriptive results verbalized by the participants and verbal resources, vocal and nonverbal, although it did not present statistical significance in some of these parameters evaluated. Verbal features of voice quality, vocal attack, loudness and resonance remained appropriate before and after the intervention performed, keeping practically the same results; the pitch, articulation, speed and pneumophonic coordination showed improvement. Regarding vocal resources as emphasis and changes in loudness, pitch and speech rate remained appropriate before and after intervention. The resources of breaks, melodic curve and rhythm were statistically significant after the intervention performed. With respect to non-verbal resources, there was statistical significance in all items. It was found also that there were positive changes as the emotional aspects of the evaluated students who were unsafe and started to suffer greater credibility and security to their presentations, resulting in a satisfactory expression. The results have indicated that there was a partial confirmation of the hypothesis presented; the limitations refer to the small number of participants in the survey, making it difficult to generalize the data. It is suggested that the educational schools with undergraduate nursing courses that students should present subjects which worked communicative competence and also the expression in their training in teaching, to be a prepared teacher to exercise their teaching with more communicative property.

Made available in DSpace on 2016-04-27T18:11:49Z (GMT). No. of bitstreams: 1 Priscila Haydee de Souza.pdf: 592092 bytes, checksum: 6686d10eef194b56dc8cd107720b3b88 (MD5) Previous issue date: 2011-02-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This project aimed to analyze the issue of oral expressivity in cinema from thematic survey, which came from open interviews with film professionals. The actor's work in this environment has specific demands. The preparation of a film involves many processes, including the technological possibilities and infrastructure. What to think about voice and speech at the cinema? Which processes the construction of oral expressiveness involves in cinema? There are difficulties? The speech, language and hearing scientist can act? Were interviewed six directors, six actors and one sound editor, all of them with film experience, about this research theme. These open interviews were transcribed and analyzed by thematic frameworks, following the proposal of Spink (2004). From these themes, it was possible to organize a didactic proposal to better understand the oral expressivity in cinema. The process for the construction of oral expressivity involves the formation of this, with the previous instrumentation, the script and director influences, and coaches cast and speech therapists; involves support technologies and infrastructure, and fragmentation of oral expressivity. Naturalism, irreversibility, the intimate nature, art and entertainment are features of oral expressivity in cinema. Achieve the objectives of the movie director and to express truth, with intelligibility, continuity, aesthetic and harmony or organicity are the goals of oral expressivity in film. According to respondents, the most frequently cited difficulty is in training, in the preparation of oral expressivity, specifically in the previous instrumentation and creative process, because the processes are very intuitive, subjective, factor that complicates the communication between director, actor, coaches cast and sound designers. Another difficulty is related to support technology and infrastructure for environmental noise, poor equipment and unprepared technical team. The repair of the problems of the filming time or audiovisual record involves editing and dubbing. The dubbing is also a difficulty for most respondents. The speech, language and hearing scientist advice, if based on the specific needs of the environment, can be sensitive at all stages of the construction of oral expressivity in cinema. There is a limited knowledge among professionals of the cinema whose biggest myth is to believe that Speech Therapists acts only in the disturbances. Moreover, perhaps Speech Therapists ignores the needs of the film context and maybe they are a little boldness in proposing their work / Esta dissertação teve como objetivo analisar a questão da expressividade oral no cinema a partir de levantamento temático, que partiu de entrevista aberta, com profissionais do meio. O trabalho do ator nesse meio possui demandas específicas. A elaboração de um filme envolve muitos processos, junto às possibilidades tecnológicas e infra-estrutura. O que pensar sobre voz e fala no cinema? Quais processos envolvem a construção da expressividade oral no cinema? Existem dificuldades? O fonoaudiólogo pode atuar? Foram realizadas entrevistas abertas a seis diretores, seis atores e uma editora de som, todos com experiência em cinema, sobre o tema da pesquisa. Essas entrevistas foram transcritas e analisadas por quadros temáticos, seguindo proposta de Spink (2004). A partir desses temas, foi possível organizar uma proposta didática para melhor compreender a expressividade oral no cinema. O processo para a construção dessa expressividade envolve a formação desta, com a instrumentalização prévia, as influências do roteiro, da direção e das assessorias de preparadores de elenco e fonoaudiólogos; envolve as tecnologias de apoio e infra-estrutura; e a fragmentação da expressividade oral. São características da expressividade oral no cinema, o naturalismo, a irreversibilidade, o caráter intimista, a arte e o entretenimento. Dentre os objetivos encontrados, deve atingir os ideais da direção e transmitir verdade, com inteligibilidade, continuidade, estética e harmonia ou organicidade. Segundo os entrevistados, a dificuldade mais apontada está na formação, no preparo da expressividade oral, mais especificamente na instrumentalização prévia e processo criativo, devido a procedimentos muito intuitivos, subjetivos, fator que também prejudica a comunicação entre diretor, ator, preparadores de elenco e equipe técnica. Outra dificuldade está relacionada às tecnologias de apoio e infra-estrutura, por ruído ambiental, equipamentos deficientes e despreparo da equipe técnica. O reparo dos problemas da fase de captação envolve edição e dublagem. A dublagem é, também, uma dificuldade para a maioria dos entrevistados. A assessoria fonoaudiológica, se embasada das necessidades específicas do meio, pode ser sensível em todas as etapas do processo de construção da expressividade oral no cinema. Há um conhecimento limitado por parte dos profissionais do meio cinematográfico, cujo mito maior está em acreditar que Fonoaudiologia atua apenas nos distúrbios. Por outro lado, haja talvez um desconhecimento dos fonoaudiólogos em relação às necessidades do meio e pouca ousadia em propor sua atuação

Esta pesquisa se inscreve na perspectiva da Etnocenologia e investiga onde e como o ritmo atua nas práticas pré-expressivas do Grupo Cerco de Porto Alegre referentes ao espetáculo “O Sobrado”, criado em 2008. A Etnocenologia estuda as práticas e os comportamentos humanos espetaculares organizados, e esta pesquisa contribui para esta disciplina através de uma autoetnografia da preparação dos atores e atrizes do grupo. Nesta autoetnografia, parte-se da premissa do pesquisador Ernani Maletta de que certos conceitos e parâmetros ditos musicais não são exclusividade da Arte Música, mas também representam fundamentos legítimos e intrínsecos, por exemplo, à Arte Teatral. É sabido que a noção de ritmo está presente tanto no comportamento humano espetacular organizado quanto no som humanamente organizado. Através da análise dos registros e memórias do processo criativo e subsequentes apresentações do espetáculo, procura-se lançar luz sobre as manifestações do ritmo nos exercícios derivados do Sistema Pedagógico de Jacques Lecoq utilizados pelo grupo. Estas práticas serão postas em paralelo aos objetivos e metodologia de Konstantin Stanislavski sobre o andamento-ritmo, por esse ser um exemplo canônico de uma sistematização do trabalho do ator sobre o ritmo. Procura-se demonstrar como o ritmo é inerente ao trabalho do ator não apenas enquanto princípio expressivo, mas também pré-expressivo, agindo sobre os atores enquanto indivíduos ou ensemble, afetando seu uso da atenção, coordenação física, qualidades de conectividade, estados de consciência e emoções. / This research subscribes to the perspective of Ethnoscenology and investigates where and how rhythm acts in the pre-expressive practices of Grupo Cerco, from Porto Alegre, relative to the play “O Sobrado”, created in 2008. Ethnoscenology studies organized human performing behaviors and practices, and this research contributes to that discipline through an autoethnography of the preparation of the actors and actresses in the group. In this autoethnography, one starts from the premise of the researcher Ernani Maletta that certain so-called musical concepts and parameters are not exclusive to the Music Art, but also represent legitimate and intrinsic fundamentals of, for instance, the Theater Art. It is known that rhythm is present both in organized human performing behavior and humanly organized sound. Through the analysis of the records and memories of the creative process and subsequent performances of the play, one seeks to shed light on the manifestations of rhythm in the exercises derivate from Jacques Lecoq’s Pedagogical System being used. These practices will be put in parallel to the objective and methodology of Konstantin Stanislavski on tempo-rhythm, for the latter is a canonical example of a systematization of the actor’s work on rhythm. One seeks to demonstrate how rhythm is inherent to the actor’s work not only as an expressive principle, but also as a pre-expressive one, acting on the actors as individuals or ensemble, affecting their use of attention, physical coordination, qualities of connectivity, states of consciousness and emotions.

Le cancer colorectal (CCR) représente un problème majeur de Santé publique. Des facteurs de risque environnementaux, ainsi que l'apparition séquentielle d'altérations génétiques et épigénétiques corrélant avec la progression tumorale ont été extensivement décrites. Cependant, les variations épigénétiques préexistant dans le tissu sain, potentiellement responsables de différences notoires de susceptibilité au CCR, sont restées élusives jusqu'à ce jour. Afin de répondre à cette problématique, la lignée murine Apcd14 (porteuse d'une mutation hétérozygote constitutive au niveau du gène Adenomatous polyposis coli) a servi de modèle au cours de ce projet. Les individus de cette lignée comportent une expressivité très variable, au sens qu'ils développent spontanément un nombre plus ou moins important de tumeurs intestinales, impactant sur leur survie. Cette hétérogénéité est observée en dépit de conditions d'élevage et de génomes considérés identiques. L'analyse exhaustive de cette lignée a conduit à y caractériser deux groupes de souris, présentant une gravité différente de phénotype. La variation d'expression génétique dans le tissu sain (i.e en amont de la tumorigenèse) a ensuite été analysée dans le but de comprendre l'établissement de cette hétérogénéité. Ceci a mené à la découverte d'une signature de gènes différemment exprimés entre les deux groupes, permettant de corréler de façon parfaite données moléculaires et phénotype. La potentielle héritabilité de cette signature a par la suite conduit à remettre en cause le statut considéré syngénique de la lignée. Les approches expérimentales effectuées ont déjà permis de cibler une région chromosomique, ce qui mènera à court terme à la caractérisation d'un nouvel acteur impliqué dans la tumorigenèse intestinale. De manière plus générale, les expériences développées durant ce projet ouvrent la voie à la notion de susceptibilité individuelle face au cancer dépendante de la variation d'expression génétique. / Colorectal cancer (CRC) is a major public health concern. Environmental clues, as well as sequential genetic and epigenetic alterations correlating with tumor progression have been extensively described. Meanwhile, pre-existing epigenetic variations in the healthy intestinal mucosa, potentially leading to differences in CRC suceptibility, have generally been overlooked. In order to answer to this question, we have made use of the Apcd14 mouse model (carrying a heterozygous mutation in the Adenomatous polyposis coli gene). Although all Apcd14 mice apparently share the same genome and are raised in the same environmental conditions, they exhibit a huge phenotypic variability at the individual level, spontaneously developping a few or numerous intestinal tumors, that ultimately results in differences in survival rates. Through detailed analysis of this strain, two groups have been characterized, exhibiting several phenotypic specificities. Gene expression analysis in the healthy intestinal tissue was then performed in order to understand the differences already existing, prior to tumorigenesis. This led to the identification of a group-specific gene expression signature, allowing a correlation between macroscopic phenotype and molecular data. Consideration of the hereditary potential of this signature led to reconsider the syngeneic status of the Apcd14 strain. Several experimental data already targeted a specific genomic region, and this will allow to identify the genetic alteration involved. More generally, this project opens the way to discover a link between individual susceptibility to intestinal tumorigenesis and gene expression variability.

En la presente investigación se buscó establecer una relación entre la regulación emocional y la expresividad emocional, así como realizar correlaciones y comparaciones entre las variables de estudio y demográficas. Para ello, se evaluaron a 163 docentes del género femenino, tanto profesoras como auxiliares, con una media de 33 años de edad, que ejercían en diez diferentes jardines de educación inicial privados de Lima. Se utilizó el Cuestionario de Autorregulación Emocional (ERQ-P), el cual mide dos estrategias, la reevaluación cognitiva y la supresión emocional. Además, se aplicó el Cuestionario de Expresividad de Berkeley (BEQ) para medir la expresividad emocional, que abarca la expresión de emociones positivas, negativas y la fuerza del impulso. Se comprobó que sí existe una relación significativa entre la reevaluación cognitiva y la expresividad positiva, demostrando así la hipótesis principal. Además, se encontró una correlación negativa entre dicha estrategia y la edad de los niños a cargo, así como también se hallaron diferencias significativas al realizar comparaciones entre la muestra, obteniendo que el grupo de las docentes que son madres, y las del cargo de profesoras, expresan más emociones positivas. Es de gran valor el rol de las docentes para el aprendizaje de la regulación y la expresión emocional en los niños, resultando necesario que las mismas logren regularse adecuadamente, ya que cumplen de modelos en dicho aprendizaje observacional. Finalmente, se señalan las limitaciones del estudio, como lo fue descartar la supresión por baja confiabilidad, y las implicancias prácticas en la labor y formación docente. / The present investigation intended to establish a relation between emotion regulation and emotional expressivity in private Pre-School teachers and helpers of Lima, as well as correlate and compare the study and demographic variables. Therefore, 163 female teachers and helpers from ten different Pre-Schools were measured, and the mean age was 33 years old. There are two main regulation strategies, cognitive reappraisal and emotional suppression. On the other hand, emotional expressivity covers positive expressivity, negative expressivity, and impulse strength. These variables were measured with the Emotion Regulation Questionnaire and the Berkeley Expressivity Questionnaire. Results showed that cognitive reappraisal correlated positively with positive expressivity, demonstrating the main hypothesis. Also, this strategy correlated negatively with children’s age, and as of the comparisons, there were significant differences between teachers and helpers, and between mothers and non-mothers, regarding positive expressivity. Since teachers and helpers play the valuable part of being models in children’s learning process of regulation skills, it is crucial they manage to regulate their own emotions adequately, given its impact on their socioemotional development. At last, limitations and future implications are mentioned, so as the removal of emotional suppression due to low reliability, and the practical implications of this study regards the work, training and education of teachers and helpers. / Tesis

The object of this study is to analyse the lexemes and phraseological units that constitute the semantic fields employed in naming four abstract domains, greed, thrift, generosity, and extra­vagance that make up the ethical concept <Attitude to Ownership> in German. On the assump­tion that ideas are accessible to us through the lexicalised items of a language, recent theories in the field of semantic analysis and conceptualisation were applied to the source material. In each domain key words were identified and their definitions in modern and historical dictionaries were analysed. Various dimensions of meaning, which proved to be inherent in the lexical items, emerged from this analysis. The oppositions a/o (action directed to others vs. to oneself), right/wrong (virtues vs. vices) and too much/ too little vs. the ideal mean were established as central. To achieve a more precise description of meaning tentative explications of cognitive levels were proposed. By means of these the underlying ideas, as they were reflected in the lexical units, could be described. The analysis showed greater variation and expressivity in words, idioms, and proverbs referring to the two vices compared to the virtues. Furthermore, a diachronic study produced evidence of semantic and conceptual changes. On the basis of such observations conclusions could be drawn about changes in the ethical system. The data derived from a contrastive corpus analysis of the German and Swedish key words showed numerous similarities as well as some conspicuous differences in the conceptualisation and valuation of attitudes pertaining to the four abstract domains. Moreover, the key words denoting the two virtues showed a clear domination in frequency, indicating that these are more central conceptual categories in today's society than the vices. An ongoing shift in meaning could be established for the key words naming the latter. Applying modern theories of metaphor and metonymy the experiential basis of meaning and thought was explored, showing that the structures forming the ethical concepts studied in this work are grounded in experiences of a physical and socio- cultural nature. The metaphorical concept ILLNESS emerged as a common source domain for the two vices, while the PATH- concept was shown to form the basis of metaphors expressing the o-virtue but not the a-virtue. Among the numerous métonymie concepts HAND proved to be a characteristic of all four domains. / digitalisering@umu

This study aims to investigate the relations between the dimensions of parental expressivity which are positivity, negative dominant expressivity, negative submissive expressivity, family environment and child&rsquo / s coping strategies, and the effect of child temperament on this relation .111 preschool children between the ages of 4 and 6 years and their families participated in the study. Family expressivity as assessed with Halberstadt&rsquo / s Self Expressivennes in the Family Questionnaire. Three subscales of Family Environment Scale which are cohesion, expressivity and conflict were utilized to measure the relation in the family. In order to determine how the child copes with situation specific stress Vignette Assessment of Preschool Children&rsquo / s Coping Strategies was used. VAPCCS consists of four stressful vignettes that are mastery challenge, peer conflict, parent&ndash / child conflict and separation situations. Child&rsquo / s coping strategies were coded as five coping strategies, problem approach and problem avoidance, passive acceptance, and emotion venting. Child&rsquo / s temperamental characteristics were assessed with Colorado Child Temperament Inventory. Results revealed that children&rsquo / s temperamental characteristics did not predict children&rsquo / s coping strategy by its own. However, child coping strategies varied in the interaction of different child temperament characteristics and dimensions of maternal emotional expressivity. Children&rsquo / s soothability moderated the relation between maternal negative submissive expressivity and children&rsquo / s problem approach coping. Moreover, children tended to use less problem avoidance coping strategy in cases where mothers expressed negative submissive emotion more frequently in the family and when children had highly sociable temperamental characteristics. Overall, the results of the study suggested that when fluctuations in the degree of expression of negative emotion in the family are taken into consideration with children&rsquo / s temperamental characteristics, they influence how the children cope with stress.

Esta pesquisa se inscreve na perspectiva da Etnocenologia e investiga onde e como o ritmo atua nas práticas pré-expressivas do Grupo Cerco de Porto Alegre referentes ao espetáculo “O Sobrado”, criado em 2008. A Etnocenologia estuda as práticas e os comportamentos humanos espetaculares organizados, e esta pesquisa contribui para esta disciplina através de uma autoetnografia da preparação dos atores e atrizes do grupo. Nesta autoetnografia, parte-se da premissa do pesquisador Ernani Maletta de que certos conceitos e parâmetros ditos musicais não são exclusividade da Arte Música, mas também representam fundamentos legítimos e intrínsecos, por exemplo, à Arte Teatral. É sabido que a noção de ritmo está presente tanto no comportamento humano espetacular organizado quanto no som humanamente organizado. Através da análise dos registros e memórias do processo criativo e subsequentes apresentações do espetáculo, procura-se lançar luz sobre as manifestações do ritmo nos exercícios derivados do Sistema Pedagógico de Jacques Lecoq utilizados pelo grupo. Estas práticas serão postas em paralelo aos objetivos e metodologia de Konstantin Stanislavski sobre o andamento-ritmo, por esse ser um exemplo canônico de uma sistematização do trabalho do ator sobre o ritmo. Procura-se demonstrar como o ritmo é inerente ao trabalho do ator não apenas enquanto princípio expressivo, mas também pré-expressivo, agindo sobre os atores enquanto indivíduos ou ensemble, afetando seu uso da atenção, coordenação física, qualidades de conectividade, estados de consciência e emoções. / This research subscribes to the perspective of Ethnoscenology and investigates where and how rhythm acts in the pre-expressive practices of Grupo Cerco, from Porto Alegre, relative to the play “O Sobrado”, created in 2008. Ethnoscenology studies organized human performing behaviors and practices, and this research contributes to that discipline through an autoethnography of the preparation of the actors and actresses in the group. In this autoethnography, one starts from the premise of the researcher Ernani Maletta that certain so-called musical concepts and parameters are not exclusive to the Music Art, but also represent legitimate and intrinsic fundamentals of, for instance, the Theater Art. It is known that rhythm is present both in organized human performing behavior and humanly organized sound. Through the analysis of the records and memories of the creative process and subsequent performances of the play, one seeks to shed light on the manifestations of rhythm in the exercises derivate from Jacques Lecoq’s Pedagogical System being used. These practices will be put in parallel to the objective and methodology of Konstantin Stanislavski on tempo-rhythm, for the latter is a canonical example of a systematization of the actor’s work on rhythm. One seeks to demonstrate how rhythm is inherent to the actor’s work not only as an expressive principle, but also as a pre-expressive one, acting on the actors as individuals or ensemble, affecting their use of attention, physical coordination, qualities of connectivity, states of consciousness and emotions.

Un aspect fascinant de l’expressivité musicale porte sur les relations entre le corps du musicien et les caractéristiques du signal acoustique produites par son instrument. De nombreuses études ont démontré cette connexion, en rapport avec le concept d’incarnation musicale, non seulement au niveau des gestes instrumentaux directement responsables de la production du son, mais aussi au travers de l’usage de mouvements ancillaires subtils et moins évidents. Notre recherche a pour objectif de mieux comprendre l’influence de ces ajustements posturaux sur l’interprétation musicale expressive dans le contexte des violoncellistes. A cette fin, nous avons mené une expérience soumettant plusieurs violoncellistes professionnels à divers types de contraintes posturales, et analysé l’influence de ces contraintes sur les caractéristiques rythmiques et timbrales du son par rapport à la situation de jeu naturelle. Les résultats des analyses ont révélé que les mouvements corporels des violoncellistes jouaient un rôle important pendant la performance. En fait, le tronc et particulièrement les mouvements de tête semblent garantir la cohérence métrique du geste d’archet de même qu’un phrasé musical expressif et des variations riches de timbre. Nous avons aussi exploré en détail les notes décharnées fréquemment produites en situation d’immobilisation physique par le buste et la tête, et effectué des corrélations entre ces dégradations du timbre et les caractéristiques de posture et de geste instrumental d’archet. Cette dernière analyse peut déboucher sur l’implémentation d’un nouvel outil pédagogique de correction de la qualité sonore pour les violoncellistes débutants. / A particularly fascinating aspect of musical expressivity concerns the relationships between the musician’s body and acoustical signal features of the sounds produced by the instrument. Numerous studies have demonstrated this connection, referring to embodied musical cognition, not only through well-studied instrumental gestures directly responsible for the sound production, but also through the use of more indirect and ingrained ancillary movements. Our actual project aims to better understand the influence of these postural adjustments on the expressive musical interpretation for the cello instrument. To this aim, we conducted an experiment involving several professional cellists subjected to various kinds of postural constraints, and analysed the influence of these constraints on sound signal features by comparing constrained and natural playing situations. The results reveal that the cellists’ body movements play an important role during performance. In fact, the torso and especially the head movements appear to insure the metric coherence with the bowing gesture as well as an expressive musical phrasing and rich timbre variations. Finally, we explored more in depth the harsh notes frequently occurring in the most constrained condition, and drew correlations between this timbral degradation and bowing and postural features, with the aim of proposing new pedagogical tools for beginners.