L’auteur centre sa recherche sur la médiation sonore avec des enfants présentant des troubles psychotiques dans le cadre d’une pratique clinique groupale.La production de musique improvisée et l’improvisation vocale sont utilisées en tant que voies d’accès à l’originaire et à l’inconscient afin de favoriser la symbolisation.Complétée par une recherche théorique et des observations cliniques concernant l’émission de la voix archaïque chez nouveaux-nés et bébés, cette élaboration prend appui sur l’analyse du transfert-contre-transfert, la chaîne associative et les référentiels psychanalytiques. L’ensemble des analyses et observations montre que chez l’enfant présentant des troubles psychotiques, la pratique de la médiation sonore en groupe utilisant la technique de l’improvisation vocale, permet la mobilisation et l’harmonisation de séquences traumatiques originaires conduisant à une modification de la relation d’objet et inaugurant une dynamique évolutive accrue. / The author centers his research on sound mediation with children presenting psychotic disorders within the framework of clinical group practice.
The production of improvised music and vocal improvisation are used as gateways to the primary psychic processus and to the unconscious to facilitate symbolization.
Completed by theoretical research and clinical observations concerning the emission of the archaic voice to new-borns and babies, this elaboration is supported by the analysis of the transference-counter-transference, the as-sociative channel and psychoanalytical system of reference.
All the analyses and the obser-vations show that with children presenting psychotic disorders, the practice of group sound mediation using the technique of vocal improvisation, allows the mobilization and the harmo-nization of primary psychic processus traumatic sequences leading to a modification of the relation to object and initiating greater evolutionary dynamics.

On Monday August 29, 2005, Hurricane Katrina made landfall in Southeast Louisiana bringing with it destruction to much of the Gulf Coast. While New Orleans, one of America's most culturally and artistically significant cities, was spared a direct hit, the subsequent flood devastated much of the city, home to many musicians. The devastation and stress from the storm established a situation and a motivator for creative response, and this dissertation illustrates that the music these musicians produce is a manifestation and continuation of New Orleans' cultural atmosphere. The city's historical allowance and celebration of freedom of expression permits New Orleans' current musicians to be innovative and responsive to the events surrounding the disaster. This project, designed as a qualitative research study, identifies four professional musicians who are established in the musical environment of New Orleans. To illustrate the depth of tradition and experimentation that their music evokes, the music of post- Katrina New Orleans is given historical contextualization and set in comparison to music that was inspired by a past catastrophe, the 1927 flood. Through the holistic exploration of the present circumstances of these four musicians, it becomes clear that New Orleans remains a place that is extremely open to change and that experimental music flourishes at the same time that traditional jazz lives on through new performers, who walk in the footsteps of legends. From interviews conducted with these four individuals, as well as other on-site observations, the emotional, physical, and financial effects of Hurricane Katrina are identified and recorded. / Central to this study is the author's own knowledge of music and experience in musical dialogue - it is through the interaction of the author and the subjects that important events and characteristics, which could be documented, actually emerged.This project reveals the influence that the storm has had on the individual musician and it demonstrates that while all four musicians are caught up in the whirlwind of recovery in New Orleans, their music remains rooted in the fundamental characteristic that is associated historically with New Orleans' music, improvisation. By the same token, it also shows that while each person may have had to suffer the same conditions, the musical response from each musician was unique. / by David Bethea. / Thesis (Ph.D.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Denna studie syftar till att öka kunskapen om vilken syn frilansande och undervisande improvisationsmusiker har kring skapandet av ett personligt uttryck och hur de anser att ämnesområdet kan hanteras i musikundervisning. I bakgrundskapitlet ges en överblick av begreppet personligt uttryck och därefter följer en presentation av tidigare litteratur och forskning inom ämnesområdet. Nästkommande kapitel om teoretisk bakgrund beskriver det sociokulturella perspektivet i egenskap av teoretisk utgångspunkt. Studien utgörs av kvalitativa intervjuer med fyra frilansande improvisationsmusiker med stor pedagogisk erfarenhet i ämnesområdet. I resultatet beskrivs analysen av hur improvisationsmusikers syn på hur ett personligt uttryck kan skapas och hur de som pedagoger ser på undervisning inom detta område. Det framkommer bland annat att ett personligt uttryck handlar om att bejaka sin smak och vilja samt att självförtroende, hantverksskicklighet och inspiration är aspekter att ta hänsyn till. I det avslutande diskussionskapitlet lyfts delar av studiens resultat till diskussion i relation till det sociokulturella perspektivet på lärande samt till tidigare forskning. Häri resoneras det utifrån teman som det kollektiva minnet, musikens språk, musikers verktyg, ett unikt uttryck samt skolans funktion. / This study aims to increase the knowledge of what opinions freelancing and teaching musicians within the improvised music genres have on the creation of a personal expression and how they consider the subject can be handled in music education. The background chapter provides an overview of the concept of personal expression, followed by a presentation of previous research in the field. The next chapter describes socio-cultural perspective, serving as a theoretical basis. The data material consists of four qualitative interviews with freelance improvisers with great educational experience. The result chapter presents the analysis of the musician's view of how a personal expression can be created and how they as teachers consider teaching in this area. The chapter includes how a personal expression is about to affirm ones taste and desire and that confidence, skill and inspiration are aspects to take into consideration. The concluding discussion chapter highlights aspects from the study's result chapter in relation to the socio-cultural perspective on learning and to previous research. Here the themes are among others the collective memory, musical language, musician's tools and the role and function of the school.

Denna essä kan läsas som en reflektion över tre års arbete med och utveckling av estetiska lärprocesser på lärarutbildningen. Även om exemplen är hämtade från matematikdidaktiken rör sig diskussionen huvudsakligen på en mer generell nivå än detta specifika ämne. På många sätt handlar essän lika mycket om lärande i allmänhet som om matematikdidaktik. Utifrån den fenomenologiska undersökningen rör sig diskussionen mellan mina personliga erfarenheter och den filosofiska teorin. Jag använder mig av tankar från Aristoteles, Hans-­‐Georg Gadamer och John Dewey och låter dem möta några av de svenska forskare som under de senaste åren bidragit till det aktuella fältet eller till angränsande fält. Jag hoppas i denna essä kunna synliggöra olika aspekter av erfarenhetsbaserad undervisning och lärande likväl som de problem och möjligheter som finns i fenomenet estetiska lärprocesser – förhoppningsvis kan mina iakttagelser och reflektioner vara av värde vid en utveckling av såväl matematikdidaktiken som av andra ämnen på lärarutbildningen / This essay can be red as a reflection over three years of working with and developing methods for using art in the process of learning at the teacher education at a swedish university. Even though the subject from where the examples come is the mathematics education, the discussion forms itself at a more general level than this specific subject. In many aspects this essay is more about learning in general than specificly about mathematics. By using the phenomenological method my discussion forms itself moving between my personal experiences and philosophical theory. I use the work and thougts of John Dewey, Hans-­‐Georg Gadamer and Aristoteles in close dialogue with swedish scientists who during the last years has given contribution to the actual and the surrounding fields. By writing this essay I hope to enlighten certain aspects of experience based teaching and learning as well as the troubles and wonders of using art learning processes – both hopefully useful in developing the university teaching in the mathematics education as well as in other subjects at the teachers education.

Vienos svarbiausių šių dienų švietimo kaitos sąlygų – kūrybiškas tinkamų užduočių pateikimas mokykloje, naujų mokymo(si) santykių ir pedagoginės veiklos formų paieška bei ugdytinių kompetencijų ugdymas(is) ir plėtojimas. Improvizacija būdinga liaudies kūrybai bei kai kurioms profesionalioms meno šakoms: muzikai, poezijai, teatrui. Muzikos improvizacija gali būti fiksuojama garso įrašu, bet negali būti pakartota. Magistro darbo „Muzikinės improvizacijos naudojimo ypatumai 5–8 progimnazijos klasių neformaliajame švietime“ tikslas – ištirti 5–8 progimnazijos klasių muzikinės improvizacijos naudojimo neformaliajame švietime ypatumus. Šiam tikslui pasiekti buvo iškelti šie uždaviniai: atskleisti muzikinės improvizacijos ir neformaliojo švietimo sintezės problematiką; išsiaiškinti mokinių ir mokytojų požiūrį į muzikinę improvizaciją; ištirti muzikinės improvizacijos naudojimo ypatumus neformaliojo švietimo veikloje; nustatyti moderniųjų technologijų naudojimą improvizuojant. Tyrimo objekas – muzikinės improvizacijos naudojimas neformaliajame švietime. Tyrimas buvo vykdytas III etapais: I etapas – anketinė mokytojų ir mokinių apklausa. Anketa muzikos mokytojams buvo siekiama išsiaiškinti mokytojų požiūrį į muzikinės improvizacijos naudojimą neformaliajame švietime. Mokytojų apklausoje dalyvavo 17 Vilniaus mieto progimnazijose neformaliajai veiklai vadovaujančių mokytojų. Anketa, skirta neformaliąja muzikine veikla užimtiems mokiniams, buvo siekta surinkti informaciją, kurią... [toliau žr. visą tekstą] / Some of the most important conditions of nowadays education change are creative presentation of the appropriate tasks in school, discovery of new learning relations and pedagogic forms and development and cultivation of students’ competencies. Improvisation is a characteristic of folk art, as well as of some professional arts industries: music, poetry and theater. Musical improvisation can be recorded by audio, but can not be repeated. The purpose of master thesis “Features of Musical Improvisation Application in non-formal Education of 5 – 8 Progymnasium Grades” is to explore the features of musical improvisation use in non-formal education of 5 – 8 progymnasium grades. To achieve this goal the following objectives have been set: identify problems of musical improvisation and non-formal education synthesis, ascertain students’ and teachers’ attitude towards musical improvisation, examine the features of musical improvisation use in non-formal education activities, and determine the use of high-tech while improvising. Research object – use of musical improvisation in non-formal education. The study was carried out in III phases. Phase I – Questionnaire survey for teachers and students. Questionnaire for teachers was used to ascertain teachers' attitude towards the use of musical improvisation in non-formal education. 17 teachers, who are leading non-formal education activities in Vilnius city progymnasiums, participated in this questionnaire. Questionnaire for students was... [to full text]

Zugl.: Eichstätt, Ingolstadt, Univ., Diss., 2007

Thesis (Ph. D.)--Harvard University, 1983. / Includes bibliographical references (leaves [351]-360). Discography: leaves 360-361.

Ce travail de thèse étudie l’improvisation socio-motrice, entre deux personnes. Nos capacités d’improvisation reflètent notre faculté à interagir avec autrui en adaptant nos réponses comportementales à celles de l’autre. Deux paramètres rendent compte de ces capacités : la créativité motrice, c’est-à-dire la richesse des mouvements, et la coordination interpersonnelle. Bien que fondamentaux dans le succès de nos interactions sociales, leur investigation conjointe, jamais réalisée, semble nécessaire. Le but de cette thèse était donc d’investiguer les comportements moteurs inter- et intra-personnels en situation d’improvisation. Pour cela, nous avons d’abord : (i) recueilli et défini les méthodes d’analyse de la créativité motrice et de la coordination, (ii) analysé les capacités d’improvisation et leur acquisition, (iii) mesuré l’effet de l’improvisation sur l’organisation posturale de chacun, et finalement (iv) évalué les capacités d’improvisation en présence d’un déficit d’interaction sociale (associé à la schizophrénie). Pris ensemble, nos résultats indiquent que l’improvisation socio-motrice est un bon témoin de nos interactions sociales. Nous montrons précisément que les capacités d’improvisation permettent de discriminer un individu sain d’un individu souffrant de déficit social. La coordination interpersonnelle semble jouer un rôle fondamental, aussi bien dans l’acquisition de l’improvisation que dans la stabilité posturale qui la sous-tend. Ces résultats sont discutés à travers l’approche des patrons dynamiques de coordination. Nous proposons un modèle simplifié de l’improvisation intégrant la coordination et la créativité. Nos conclusions offrent des perspectives permettant de mieux comprendre et améliorer nos interactions sociales, en présence ou non de désordres sociaux. / This work investigates the socio-motor improvisation that occurs between two people. Improvisation capacities rely on our ability to interact with others by adapting our own behavioral answers to those of the other. Two parameters display these capacities: motor creativity (i.e., the richness of our movements) and interpersonal coordination. Although these two parameters are fundamental in the success of social interaction, they were never investigated jointly. This was the goal of our thesis. We aimed to explore intra- and interpersonal motor behaviors during improvisation. To do so, (i) we reviewed existing methods analyzing creativity and coordination, and proposed new ones, (ii) we measured improvisation capacities and their possible acquisition, (iii) we evaluated the influence of improvisation on postural organization of each person and (iv) we assessed the ability to improvise in presence of social deficits (associated with schizophrenia). Taken together, our results demonstrate that socio-motor improvisation is a good candidate to capture our social interactions. More precisely, we show that such capacities could discriminate healthy people from patients suffering from social deficits. Interpersonal coordination seems fundamental since it improves improvisation capacities and postural stability during social interaction. These results are discussed in the conceptual framework of the dynamical approach to movement coordination. We propose a simplified model of socio-motor improvisation including creativity and coordination. Finally, our conclusions offer new perspectives for the understanding and the improvement of social interactions, in presence or not of social disorders.

Cette étude s’affronte à des poètes qui ne parlent plus spécifiquement de la danse. Elle parcourt les œuvres d’Henri Michaux, de Paul Celan, d’André du Bouchet et de Bernard Noël pour entendre sous le silence thématique de la danse la quête d’une forme de convergence plus élémentaire. D’un pli en deçà des mots qui s’opère à la genèse des gestes expressifs et convie danseurs et poètes à une même expérience du corps interne, de ses sentis infra-motiles et de ses inchoations de mouvement. De là naît un nouvel horizon comparatiste qui rend possible une autre façon de lire la poésie. Car un poème certes ne danse pas, mais il est porté par une certaine dansité qui renvoie au mouvement corporel qui le sous-tend et qui mobilise la motricité du lecteur. Cette trajectoire de l’infra nous déporte aux racines de tout acte créateur et nous permet d’envisager une poétique des arts à partir de l’expérience chorégraphique. Une réévaluation esthétique qui s’ente sur le savoir-sentir du corps dansant et fonde le concept de dansité en lui construisant un abécédaire (ressources motrices communes aux actes de danser et d’écrire) et une grammaire (principaux rythmes qui ressourcent le mouvement). / This study meets poets who don’t properly write about dance. Immersing ourselves in the works of Henri Michaux, Paul Celan, André du Bouchet and Bernard Noël, we try to perceive beneath the thematic silence of dance, the quest for a more elementary form of convergence. This quest is also a confluence out of which expressive gestures are born, before words are formulated; soulful movements which invite dancers and poets to enjoy a common experience of the inner body, its infra-motile stirrings, its inchoate motion. This gives rise to a new comparatist horizon, paving the way for a different experience of reading poetry. For a poem indeed does not dance, but is supported by a certain « dansité » -dancity-, which alludes to the corporeal movement underlying the poem and which appeals to the reader's own motricity. Following this trajectory at the limbo and origin before movement happens, transports us to the root origin of every act of creation, and enables us to envision a poetics for the arts, one which would have the choreographic experience at its core.

Si dans la littérature, quelques rares études ont analysé les aspects de genre dans les projets, il faut noter que la plupart d’entre elles ont mesuré le sexe assimilé au genre comme dans bien des travaux effectués dans l’organisation permanente. Pourtant étudier le projet sous l’angle du genre présente plusieurs intérêts. En effet le projet diffuse aujourd’hui bien loin de son berceau d’origine. Les pratiques liées à son management ont fortement évolué si bien qu’on retrouve de plus en plus de femmes dans l’approche managériale des projets (Neuhauser, 2007). Le projet échappe-t-il davantage à la culture organisationnelle ? Favorise-t-il le développement de nouvelles compétences managériales ? Dans tous les cas, nous reconsidérons, dans cette thèse, la question de genre et souhaitons répondre à la problématique suivante : quelle est l’influence du genre sur les situations de management de projet ? Plus particulièrement, notre objectif est de repérer les situations managériales potentiellement complexes, risquées ou improvisationnelles et d’analyser les effets de genre lorsque les acteurs travaillant en contexte de projet font face à de telles situations. / If in literature, very few researches have analyzed the gender aspects in the projects, it should be noted that most of them have measured gender equated with gender as in many work in the permanent organization. However, the study of the project under gender vision has several interests. In fact, nowadays, the project transmits so far from its starting point. Its management practices have so developed that women are more and more found in projects managerial approach (Neuhauser, 2007). Can we say that organizational culture does not deal more with the project ? Does the project encourage the development of new managerial skills? In any case, in this thesis, we deal with gender issue and we would like to answer to the following question : what is gender influence on project management situations ? In this research, our goal is to find complex, risked or improvisational possible managerial situations and analyze gender effects when actors involved in projects are obliged to cope with such situations.