Dans cette étude, nous analysons dans quelle mesure l’exploitation d’un chant populaire, pourrait aider les élèves francophones dans la lecture de textes en allemand. L’exercice musical peut-il contribuer à faciliter la prononciation des voyelles de la langue allemande et ainsi permettre de remédier aux nombreuses difficultés mentionnées dans la littérature et repérées en classe ? L’expérimentation décrite ici a été menée dans une classe bilingue de Strasbourg. Vingt élèves d’une même classe ont été répartis en deux groupes. Le premier groupe avait pour objectif l’apprentissage de la chanson « La Belle au Bois Dormant » tandis que le deuxième s’est focalisé sur la lecture et la compréhension du même texte, sans usage du chant. Les sujets ont été enregistrés pendant la lecture du texte en amont (test T1) et en aval (test T2) de l’expérimentation. Nous avons également examiné l’impact d’un support multimédia élaboré en 2008. Cet outil est supposé pouvoir constituer une aide à l’apprentissage de la lecture par le biais d’exercices adaptés et d’une version chantée dite « karaoké ». La spécificité des résultats des tests T1 et T2 dans chacun des groupes (éléments musicaux, accents d’intensité, premiers et seconds formants) ainsi que la comparaison de deux séquences incluant /a/ d’une part et /a:/ d’autre part, confortent les hypothèses issues de la psycholinguistique, des neurosciences, de la sociolinguistique et de la pédagogie ainsi que d’expériences antérieures : la musique a effectivement un impact sur la qualité vocalique d’une langue accentuelle comme l’allemand. / In this research, we try to analyse how a popular lullaby could be helpful for 7 years-old French pupils while reading German texts. Could musical entertainment enhance the abilities to pronounce more successfully the vowels of German and also to avoid many of current difficulties described by many authors and observed at school?The experimentation we describe here was achieved in a bilingual class in Strasbourg. Twenty learners were divided into 2 groups. The 1st group had to learn the song about the story of “The Sleeping Beauty”, whereas the other group had to understand and read the same text, but without singing it. The subjects were recorded while reading the text of the song before the experimentation (test T1) and a few days after the end of the experimentation (test T2). We also examined the role of multimedia material developed in 2008 and containing a karaoke version of the song and exercises meant to facilitate learning to read. The specificity of T1 and T2 in each group (musical features, accentuation, formant frequencies) and the comparison of two similar sequences containing /a/ on the one hand and /a:/ on the other hand, lead us to the conclusion that, as predicted from theories in psycholinguistics, neurosciences, sociolinguistics, pedagogy and previous experiences, music definitely has an effect upon the quality of vowel pronunciation of a specific stress-timed language like German (L2).

No description available.

This dissertation is concerned with the problem of describing the singing voice within the audio signal of a song. This work is motivated by the fact that the lead vocal is the element that attracts the attention of most listeners. For this reason it is common for music listeners to organize and browse music collections using information related to the singing voice such as the singer name. Our research concentrates on the three major problems of music information retrieval: the localization of the source to be described (i.e. the recognition of the elements corresponding to the singing voice in the signal of a mixture of instruments), the search of pertinent features to describe the singing voice, and finally the development of pattern recognition methods based on these features to identify the singer. For this purpose we propose a set of novel features computed on the temporal variations of the fundamental frequency of the sung melody. These features, which aim to describe the vibrato and the portamento, are obtained with the aid of a dedicated model. In practice, these features are computed on the time-varying frequency of partials obtained using the sinusoidal model. In the first experiment we show that partials corresponding to the singing voice can be accurately differentiated from the partials produced by other instruments using decisions based on the parameters of the vibrato and the portamento. Once the partials emitted by the singer are identified, the segments of the song containing singing can be directly localized. To improve the recognition of the partials emitted by the singer we propose to group partials that are related harmonically. Partials are clustered according to their degree of similarity. This similarity is computed using a set of CASA cues including their temporal frequency variations (i.e. the vibrato and the portamento). The clusters of harmonically related partials corresponding to the singing voice are identified using the vocal vibrato and the portamento parameters. Groups of vocal partials can then be re-synthesized to isolate the voice. The result of the partial grouping can also be used to transcribe the sung melody. We then propose to go further with these features and study if the vibrato and portamento characteristics can be considered as a part of the singers' signature. Previous works on singer identification describe audio signals using features extracted on the short-term amplitude spectrum. The latter features aim to characterize the timbre of the sound, which, in the case of singing, is related to the vocal tract of the singer. The features we develop in this document capture long-term information related to the intonation of the singer, which is relevant to the style and the technique of the singer. We propose a method to combine these two complementary descriptions of the singing voice to increase the recognition rate of singer identification. In addition we evaluate the robustness of each type of feature against a set of variations. We show the singing voice is a highly variable instrument. To obtain a representative model of a singer's voice it is thus necessary to build models using a large set of examples covering the full tessitura of a singer. In addition, we show that features extracted directly from the partials are more robust to the presence of an instrumental accompaniment than features derived from the amplitude spectrum.

L’objectif du didacticien est d’élaborer une méthode performante dont le contenu et les outils d’enseignement-apprentissage améliorent les compétences phonétiques en langue étrangère. Concernant le contenu pédagogique, les travaux ont montré que les sons et les phonèmes d’une langue inconnue sont traités selon l’organisation de l’espace phonétique et phonologique de la langue maternelle. Les recherches mettent en avant l’intérêt de confronter les systèmes linguistiques afin de prédire les difficultés et les facilités auxquelles seront exposés les apprenants de langue. S’agissant des outils de transmission, les études montrent les effets bénéfiques de l’interdisciplinarité et le rôle pertinent de la musique sur le développement cognitif et des apprentissages. Notre objectif de recherche s’inscrit dans ce contexte scientifique. Notre intérêt est double. D’abord, nous avons tenté d’identifier quel paramètre, inhérent à l’émission en voix chantée et la différenciant de la voix parlée, pouvait faciliter la perception de voyelles non-natives. Ensuite, nous avons souhaité comparer les effets sur la compétence de production de voyelles non-natives de deux méthodes de corrections phonétique, l’une des deux exploitant l’outil « voix chantée ». À travers les résultats de ces études, nous avons essayé de saisir le rôle de l’italien langue maternelle sur la perception et la production du français langue cible. Nos travaux n’ont pas mis en évidence d’effet des modalités fréquence fondamentale et allongement de la durée vocalique sur la discrimination perceptive des voyelles non natives /y/ et /ø/, mais ils suggèrent un rôle du contexte prévocalique sur la perception de la voyelle non-native /y/ en contraste /u/. Nous avons trouvé un effet favorable de la méthode de correction phonétique incluant la pratique chantée sur la production du spectre sonore des voyelles fermées du français, mais pas sur l’évolution des catégories phonologiques à l’intérieur de l’espace acoustique vocalique. Les résultats de ces études soutiennent la théorie que l’enseignement-apprentissage de la phonétique a sa place en classe de langue, et suggèrent que la voix chantée serait, sous certaines conditions, un outil pertinent pour faciliter la perception et la production de voyelles non-natives. / Specialists in didactics aim to create an efficient method, whose teaching / learning content and tools improve phonetic skills in foreign languages. As for the educational content, research studies have proved that sounds and phonemes of a foreign language are processed according to the structure of the phonetic and phonological space of the native language. Other works point out that it is particularly relevant to compare linguistic systems in order to predict future difficulties and abilities language learners will be confronted with. As for transmission tools, studies have shown the beneficial effects of interdisciplinarity and the pertinent role music plays on cognitive and learning development. Our research objective falls within this scientific context. Our purpose has been two-fold. First, we tried to identify which parameter, related to the production of the singing voice whilst separate from the speaking voice, may facilitate the perception of non-native vowels. Secondly, we aimed at comparing the effects on the ability to produce non-native vowels of two corrective phonetic methods, one of which used the “singing voice” tool. Through the results of these studies, we tried to understand how Italian as a native language interacts with the perception and the production of French as a target language. Our studies have shown that vowel pitch and duration do not impact the discrimination of /y/ and /ø/, and that the consonant sharpness plays a role on the discrimination of /y/ in a CV type syllable. We found a positive effect of the method, which uses singing-voice as a tool, on the production of the sound spectrum of French closed vowels, but not on the evolution of the sounds and phonemes into the acoustic space. Our results support the theory that phonetic teaching and learning is relevant in language classes and suggest that singing-voice may be a useful tool to ease the perception and the production of non-native vowels. / L’obiettivo dell’esperto di didattica è di elaborare un metodo efficace, il cui contenuto e gli strumenti d’insegnamento-apprendimento migliorino le competenze fonetiche in lingua straniera. Riguardo al contenuto pedagogico, le nostre ricerche hanno dimostrato che i suoni e i fonemi di una lingua sconosciuta sono trattati secondo l’organizzazione dello spazio fonetico e fonologico della lingua materna. Queste ricerche evidenziano l’utilità di confrontare sistemi linguistici differenti al fine di predire le difficoltà e le agevolazioni a cui sono esposti gli studenti di lingua straniera come lingua seconda (L2). Per quanto concerne gli strumenti d’insegnamento e apprendimento, le nostre ricerche dimostrano gli effetti benefici dell’interdisciplinarità ma anche del ruolo pertinente della musica sullo sviluppo cognitivo e sul piano degli studenti. Il nostro interesse di ricerca è doppio. In primo luogo, abbiamo tentato d’identificare quale parametro, inerente alla produzione in voce cantata e che la distingue della produzione del parlato, potesse agevolare la percezione di vocali assenti dalla lingua materna. In seguito, abbiamo voluto confrontare gli effetti di due metodi di correzione fonetica, uno dei quali sfrutta lo strumento “voce cantata”, sulla competenza di produzione delle vocali del francese /y ø/ non presenti nel sistema vocalico dei locutori di italiano madrelingua. I risultati di questi studi contribuiscono ad individuare l’impatto dell’italiano madrelingua sulla produzione e sulla percezione del francese lingua d’apprendimento. I nostri lavori non hanno evvidenziato un effetto delle modalità pitch e durata d’emissione della vocale /y/ e della vocale /ø/ sulla loro discriminazione, ma suggeriscono un ruolo del contesto pre-vocalico sulla percezione della vocale /y/ in contrasto /u/. Abbiamo scoperto un effetto favorevole del metodo di correzione fonetica includendo la voce cantata sulla produzione dello spettro sonoro delle vocali chiuse del francese, ma non sull’evoluzione delle categorie fonologiche all’interno dello spazio acustico. I risultati di questi studi sostengono la teoria secondo la quale l’insegnamento-apprendimento fonetico ha pienamente ragione di essere in classe di lingua, e suggeriscono che la voce cantata sarebbe, sottommessa ad alcune condizioni, uno strumento che facilita la percezione e la produzione di vocali assenti dalla madrelingua.

Aquesta tesi doctoral versa sobre el processament digital de la veu cantada, més concretament, sobre l'anàlisi, transformació i síntesi d'aquets tipus de veu en el domini espectral, amb especial èmfasi en aquelles tècniques rellevants per al desenvolupament d'aplicacions musicals.La tesi presenta nous procediments i formulacions per a la descripció i transformació d'aquells atributs específicament vocals de la veu cantada. La tesis inclou, entre d'altres, algorismes per l'anàlisi i la generació de desordres vocals como ara rugositat, ronquera, o veu aspirada, detecció i modificació de la freqüència fonamental de la veu, detecció de nasalitat, conversió de veu cantada a melodia, detecció de cops de veu, mutació de veu cantada, i transformació de veu a instrument; exemplificant alguns d'aquests algorismes en aplicacions concretes. / Esta tesis doctoral versa sobre el procesado digital de la voz cantada, más concretamente, sobre el análisis, transformación y síntesis de este tipo de voz basándose e dominio espectral, con especial énfasis en aquellas técnicas relevantes para el desarrollo de aplicaciones musicales.La tesis presenta nuevos procedimientos y formulaciones para la descripción y transformación de aquellos atributos específicamente vocales de la voz cantada. La tesis incluye, entre otros, algoritmos para el análisis y la generación de desórdenes vocales como rugosidad, ronquera, o voz aspirada, detección y modificación de la frecuencia fundamental de la voz, detección de nasalidad, conversión de voz cantada a melodía, detección de los golpes de voz, mutación de voz cantada, y transformación de voz a instrumento; ejemplificando algunos de éstos en aplicaciones concretas. / This dissertation is centered on the digital processing of the singing voice, more concretely on the analysis, transformation and synthesis of this type of voice in the spectral domain, with special emphasis on those techniques relevant for music applications. The thesis presents new formulations and procedures for both describing and transforming those attributes of the singing voice that can be regarded as voice specific. The thesis includes, among others, algorithms for rough and growl analysis and transformation, breathiness estimation and emulation, pitch detection and modification, nasality identification, voice to melody conversion, voice beat onset detection, singing voice morphing, and voice to instrument transformation; being some of them exemplified with concrete applications.

Welche Bühnenfigur konnte in italienischen Opern um 1800 als Liebhaber oder als Verführer erfolgreicher sein als ein Counter oder ein Kastrat? Höchstens die als Mann verkleidete Frau. Auf sie flogen die Frauen in Frauenkleidern. Wer quer zum üblichen Geschlechterunterschied stand, war auch kompositorisch besonders attraktiv: Züge des einen Geschlechts mussten mit stimmtechnischen, d.h. auch körperlichen Bedingungen des anderen erreicht werden. Auf andere Weise sah sich der Komponist von einem den Geschlechtscharakter der Bühnenfigur gerade nicht verwischenden, sondern explizit festlegenden Genre herausgefordert, der Wahnsinnsszene. Der Text hatte nicht nur davon zu reden, dass die Figur wahnsinnig sei, die Musik musste es zeigen oder: es selber werden. Wahnsinnig wurde in den allermeisten Fällen nur die von einer Frau dargestellte Frau, und zudem war das Privileg solche Szenen zu übernehmen an eine oft besonders hohe Stimmlage gekoppelt. Welchen Schwierigkeiten der Komponist begegnete, wollte er das Genre von dem weiblichen auf das männliche Geschlecht transponieren, wird an einer der seltenen Opernszenen gezeigt, in denen ein Mann, zudem einer mit tiefer Stimme, wahnsinnig werden darf.

Els instruments musicals digitals es descomponen usualment en dues parts: la interfície d'usuari i el motor de síntesi. Tradicionalment la interfície d'usuari pren el nom de controlador musical. L'objectiu d'aquesta tesi és el disseny d'un interfície que permeti el control de la síntesi de sons instrumentals a partir de la veu cantada.Amb la present recerca, intentem relacionar la veu amb el so dels instruments musicals, tenint en compte tan la descripció del senyal de veu, com les corresponents estratègies de mapeig per un control adequat del sintetitzador.Proposem dos enfocaments diferents, d'una banda el control d'un sintetitzador de veu cantada, i d'altra banda el control de la síntesi de sons instrumentals. Per aquest últim, suggerim una representació del senyal de veu com a gests vocals, que inclou una sèrie d'algoritmes d'anàlisis de veu. A la vegada, per demostrar els resultats obtinguts, hem desenvolupat dos prototips a temps real. / Los instrumentos musicales digitales se pueden separar en dos componentes: el interfaz de usuario y el motor de sintesis. El interfaz de usuario se ha denominado tradicionalmente controlador musical. El objectivo de esta tesis es el diseño de un interfaz que permita el control de la sintesis de sonidos instrumentales a partir de la voz cantada.La presente investigación pretende relacionar las caracteristicas de la voz con el sonido de los instrumentos musicales, teniendo en cuenta la descripción de la señal de voz, como las correspondientes estrategias de mapeo para un control apropiado del sintetizador. Se proponen dos enfoques distintos, el control de un sintetizador de voz cantada, y el control de la sintesis de sonidos insturmentales. Para este último, se sugiere una representación de la señal de voz como gestos vocales, incluyendo varios algoritmos de analisis de voz. Los resultados obtenidos se demuestran con dos prototipos a tiempo real. / Digital musical instruments are usually decomposed in two main constituent parts: a user interface and a sound synthesis engine. The user interface is popularly referred as a musical controller, and its design is the primary objective of this dissertation. Under the title of singing-driven interfaces, we aim to design systems that allow controlling the synthesis of musical instruments sounds with the singing voice. This dissertation searches for the relationships between the voice and the sound of musical instruments by addressing both, the voice signal description, as well as the mapping strategies for a meaningful control of the synthesized sound. We propose two different approaches, one for controlling a singing voice synthesizer, and another for controlling the synthesis of instrumental sounds. For the latter, we suggest to represent voice signal as vocal gestures, contributing with several voice analysis methods.To demonstrate the obtained results, we developed two real-time prototypes.