Global ETD Search

81	De l’intuition à la formalisation de la pensée musicale : retour sur 11 œuvres composées dans le cadre du doctorat = From intuition to formalization of musical thought : a look back at 11 works within a doctoral framework Jeric, Margareta 11 1900 (has links) Cette thèse revient sur les onze œuvres musicales ayant jalonné mon parcours compositionnel et marqué le développement de ma pensée de créatrice. J’ai divisé la production de ces sept années de doctorat en trois sections, correspondant à trois phases distinctes de l’évolution de mon langage. Ce parcours est un passage graduel d’une pensée intuitive vers une pensée de plus en plus structurée. Bailo, String Quartet no.1, et Con fuoco sont les œuvres composées durant la première phase. La deuxième phase a mené à la composition de deux pièces où sont juxtaposées musique instrumentale et musique électroacoustique : le Concerto pour clarinette et bande et Impressions pour basson et bande. Afin d’arrimer ces deux mondes disparates, l’approche intuitive a tranquillement été écartée au profit d’une meilleure organisation des paramètres à travers l’introduction de la formalisation. La troisième phase correspond à une exploration plus rigoureuse de la formalisation par l’entremise de modèles. Quatre modèles sont abordés dans cette thèse; soit le modèle de l’objet sonore, le modèle de la linguistique, le modèle du timbre et le modèle de l’art visuel. Dans le modèle de l’objet sonore, utilisé dans la pièce Nevaliashka, la formalisation se construit autour d’un jouet duquel j’extrais le plus d’information possible. Utilisé dans les opéras Les bottes jaunes et The Feast of Nemesis, le modèle linguistique aborde la sémantique et phonétique des différentes langues. Le modèle du timbre, que l’on retrouve dans FLAW/LESS et Transition, s’attarde à la corporéité des instruments traditionnels et à leurs potentialités acoustiques. L’écriture instrumentale y est pensée comme une sculpture de timbres et la méthodologie est dérivée de celle généralement utilisée pour la composition de la musique électroacoustique. Enfin, avec le modèle de l’art visuel, mis en valeur dans la pièce Galženjaki, je m’intéresse aux interactions entre art visuel et littérature, de même qu’à la manière de transposer ce dialogue en musique. / This thesis returns to the eleven musical works that marked my compositional journey as well as my development as an artist. I divided the production of these seven years of doctoral studies into three sections, corresponding to three distinct phases of the evolution of my language. This journey is a gradual transition from an intuitive approach to musical writing to a more structured approach. Bailo, String Quartet no.1, and Con fuoco were composed in the first phase. The second phase led to two pieces in which instrumental music and electroacoustic music were juxtaposed: the Concerto pour clarinette et bande and Impressions for bassoon and tape. In order to bridge the gap between these two distinct worlds, intuition gradually gave way to a better organization of parameters through the introduction of formalization. The third phase corresponds to a more rigorous exploration of formalization through the use of models. Four models are addressed in this thesis; the sound object model, the linguistics model, the timbre model and the visual arts model. In the sound object model, used in the Nevaliashka piece, formalization is built around an object of everyday life from which a maximum of information is extracted and analyzed. Used in the operas Les bottes jaunes and The Feast of Nemesis, the linguistics model incorporates the semantics and phonetics of different languages into the compositional process. The timbre model, found in FLAW/LESS and Transition, focuses on the corporeality of traditional instruments and their acoustic potential. Instrumental writing is thought of as a sculpture of timbres and follows the methodology generally used in electroacoustic music composition. Finally, with the visual arts model, highlighted in the Galženjaki piece, I analyze the interactions between visual arts and literature and attempt to translate this dialogue into music. composition musique instrumentale musique électroacoustique musique mixte intuition formalisation modèle objet sonore littérature linguistique timbre art visuel composition instrumental music electroacoustic music mixed music intuition formalization model sound object literature linguistics timbre visual arts
82	Action in Chronic Fatigue Syndrome: an Enactive Psycho-phenomenological and Semiotic Analysis of Thirty New Zealand Women's Experiences of Suffering and Recovery Hart, M J Alexandra January 2010 (has links) This research into Chronic Fatigue Syndrome (CFS) presents the results of 60 first-person psycho-phenomenological interviews with 30 New Zealand women. The participants were recruited from the Canterbury and Wellington regions, 10 had recovered. Taking a non-dual, non-reductive embodied approach, the phenomenological data was analysed semiotically, using a graph-theoretical cluster analysis to elucidate the large number of resulting categories, and interpreted through the enactive approach to cognitive science. The initial result of the analysis is a comprehensive exploration of the experience of CFS which develops subject-specific categories of experience and explores the relation of the illness to universal categories of experience, including self, ‘energy’, action, and being-able-to-do. Transformations of the self surrounding being-able-to-do and not-being-able-to-do were shown to elucidate the illness process. It is proposed that the concept ‘energy’ in the participants’ discourse is equivalent to the Mahayana Buddhist concept of ‘contact’. This characterises CFS as a breakdown of contact. Narrative content from the recovered interviewees reflects a reestablishment of contact. The hypothesis that CFS is a disorder of action is investigated in detail. A general model for the phenomenology and functional architecture of action is proposed. This model is a recursive loop involving felt meaning, contact, action, and perception and appears to be phenomenologically supported. It is proposed that the CFS illness process is a dynamical decompensation of the subject’s action loop caused by a breakdown in the process of contact. On this basis, a new interpretation of neurological findings in relation to CFS becomes possible. A neurological phenomenon that correlates with the illness and involves a brain region that has a similar structure to the action model’s recursive loop is identified in previous research results and compared with the action model and the results of this research. This correspondence may identify the brain regions involved in the illness process, which may provide an objective diagnostic test for the condition and approaches to treatment. The implications of this model for cognitive science and CFS should be investigated through neurophenomenological research since the model stands to shed considerable light on the nature of consciousness, contact and agency. Phenomenologically based treatments are proposed, along with suggestions for future research on CFS. The research may clarify the diagnostic criteria for CFS and guide management and treatment programmes, particularly multidimensional and interdisciplinary approaches. Category theory is proposed as a foundation for a mathematisation of phenomenology. action Chronic Fatigue Syndrome Myalgic Encephalomyelitis Chronic Immune Deficiency Syndrome enaction social enaction social enactivism enactive psycho-phenomenological psychophenomenological vipassana groundlessness mind-body korper leib co-generative Focusing co-creative environment Antonio Damasio reciprocal constraints Pierre Vermersch Claire Petitmengin Antione Lutz narrative discourse phenomenal invariants Evan Thompson Merleau-Ponty Algirdis Julien Greimas Husserl first-person Fransisco Varela modelling invariants Natalie Depraz isotope John Boyd OODA loop Jonathan Shear Shaun Gallagher Arthur Kleinman Humberto Maturana second-person Alva Noe Dan Zahavi stages Embodied Mind Canterbury Wellington New Zealand non-dual non-reductive embodied phenomenological third-person graph-theoretical cluster analysis cognitive science experience solution subject-specific categories universal categories universal categories self energy illness process intersubjectivity Mahayana Buddhism contact narrative recovered making sense recursive loop perception dynamical decompensation neurology diagnosis empathy treatment management neurophenomenological neurophenomenology consciousness veracity agency multidimensional interdisciplinary category theory enculturation mathematisation of phenomenology interview nomenclature diagnostic criteria incidence prevalence coping strategy etiology epidemiology psychosomatic medicine meaning women girl female anthropology sociology cognitive behavioral therapy exercise therapy recovery mindful awareness suffering symbolisation Prasangika no-self aggregates wheel of karma cognition basic element analysis mental factors operational closure stereotypes enactive ontologically fragile self grief process-knowledge epoche phenomenal invariants textual invariants compound meaning saturation formalisation cluster analysis inter-session review inter-individual validation explicitation interview intricacy confidence psychophenomenology self-esteem sanction self dis-integration permanence continuity ego-self emotion surrender semiotic square meditation empathy semiotic compassion existential feelings goal obstruction movement transformation change somatic Giovanna Colombetti agoraphobia panic anxiety psychotherapy sleep rest pain weakness strength stamina Diego Cosmelli heaviness food chemicals allergy recovering despair frustration helplessness fear efference valence afference as-if-body-loop consciousness representation attention recovery intention sustainable sustainability neurasthenia existential feelings asthenia hysteria mononucleosis samatha-vispasnya prajna vijnana Eugene Gendlin Abhidharma dukkha shamatha interdependence vipashyana

Search results

De l’intuition à la formalisation de la pensée musicale : retour sur 11 œuvres composées dans le cadre du doctorat = From intuition to formalization of musical thought : a look back at 11 works within a doctoral framework

Action in Chronic Fatigue Syndrome: an Enactive Psycho-phenomenological and Semiotic Analysis of Thirty New Zealand Women's Experiences of Suffering and Recovery