The social transmission of social behaviours in nonhuman primates has been understudied, experimentally, relative to instrumental, food-related behaviours. This is disproportional in relation to the comparatively high percentage of potential social traditions reported in wild primates. I report a systematic survey of the social learning literature and provide quantitative evidence of the discrepancy (Watson and Caldwell, 2009). Addressing the identified deficit in experimental work on social behaviours, I also report three empirical studies investigating the contagious nature of affective states in captive, socially housed marmosets. I carried out an observational study, to determine whether marmosets are influenced by spontaneously produced neighbour calls to perform a range of behaviours associated with similar affect. My results supported a neighbour effect for anxiety in marmosets. Consistent with previous findings for chimpanzees (Baker and Aureli, 1996; Videan et al., 2005), I also found evidence for neighbour effects for aggression and affiliation (Watson and Caldwell, 2010). Through experimental playback, I investigated contingent social contagion in the auditory and visual modalities. The playback of pre-recorded affiliative (chirp) calls was found to be associated with marmosets spending increased time in a range of affiliative behaviours. Playback of video showing conspecifics engaged in a positive affiliative behaviour (allogrooming) also appeared to cause marmosets to spend longer performing various affiliative behaviours. My results indicate that social contagion of affiliation is a multi-modal phenomenon in marmosets and also represent the first evidence that allogrooming is visually contagious in primates. Sapolsky (2006) conceptualised culture as the performance of species-typical behaviours to an unusual extent, termed ‘social culture’. Researchers have yet to directly investigate a transmission mechanism. I investigated whether a social culture of increased affiliation could be initiated in marmosets through the long-term playback, of positive calls, or of video of positive behaviour. The results were consistent with a relatively long-lasting influence of the playback of affiliative calls across several affiliative behaviours. The effect appeared to last substantially beyond the specific hours of playback, between playbacks, and after playback had ceased, potentially indicating a temporary shift in social culture. These results are preliminary but provide some support for the proposal that auditory social contagion may be a transmission mechanism for social culture. The long-term video playback of allogrooming appeared to result in a transitory shift in performance of the identical behaviour (increased allogrooming) after playbacks had ceased. In addition to theoretical implications for social cognition and social culture, my findings have potential practical application for the enhancement of welfare in captive marmosets through sensory, and non-contact social, enrichment.

Dans cette thèse, nous souhaitons explorer la valeur heuristique des sons de pas de l'usager dans l'espace collectif urbain. Cette intention est à l'origine, celle d'un intérêt concernant les productions sonores ordinaires de l'usager, de leurs aspects productifs et actifs à l'intérieur de son expérience quotidienne de la ville. Suite à ce dessein, la notion de trace sonore a été développée afin de mieux saisir, catégoriser et caractériser ces sonorités particulières et ordinaires engendrées par l'usager via ses actions. Souvent ignorées, restant au niveau de l'inconscient de l'usager, les traces sonores de pas font partie de ces sons produits par l'usager, mais qui ne sont pas étudiés dans les domaines liés à l'aménagement. Nous souhaitons alors en connaître davantage sur la teneur des informations que peuvent contenir ces traces sonores de pas et surtout sur les potentiels d'action qui, selon nous, y sont attachés. En résumé, nous cherchons à savoir ce qu'un pas peut nous dire au travers des traces sonores qu'il laisse suite à sa production. C'est ainsi que nous énonçons l'hypothèse que les traces sonores de pas sont porteuses d'informations clés sur l'usager producteur et acteur, sur les autres usagers ainsi que sur l'espace et ce, à même l'expérience sonore en « train de se faire ». Afin de saisir et questionner spécifiquement cette dimension de la trace sonore de pas, une méthodologie singulière a été construite venant interroger l'usager directement sur son vécu sonore, au moment de sa construction. La recherche création et la recherche projet nous ont donné le cadre, mais aussi la latitude nécessaire au développement d'un outil novateur propre à notre problématique : le dispositif sonore. Le dispositif a donc été installé sur quatre sites d'intervention : une terrasse et le parvis de l'ENSAG, une passerelle à proximité des locaux d'un collectif d'artistes et une passerelle située dans un parc urbain à Nantes. Entre immersion et observation, entretien et travail vidéographique, en lien avec le domaine de l'art sonore, notre recherche croise les dimensions sonores, spatiales et usagères. Les analyses conduites s'attardent à révéler et restituer les comportements, conduites, micro-mouvements, gestes et attitudes effectués par les usagers. Les résultats intéresseront le domaine de l'environnement sonore ainsi que le milieu de la conception architecturale et urbaine. En effet, cette recherche propose une meilleure compréhension du rôle des traces sonores de pas dans la composition des espaces collectifs urbains. / In this thesis, we explore the heuristic value of a user's footstep sounds in the urban public space. This intention is originally one of a common interest in user sound productions, their productive and active aspects within the daily experience of the city. To achieve this, the concept of sound trace has been developed in order to better understand, categorize and characterize these special and ordinary sounds produced by the user. Often ignored, remaining unconscious to the user, footstep sound traces are part of the sounds he produces, but are not studied in the fields related to urban design. We thus want to learn more about the information content of footstep sound traces, and especially about the potential of action that we believe are related to them. In summary, we want to know what a footstep tells us through the sound traces it makes. We thus state the hypothesis that footstep sound traces carries key informations on its producer, the other users as well as the space, all this throughout the sound experience “in process”. To capture and question this specific aspect of the footstep sound traces, we built a unique methodology that questions the user in real-time on his sound experience. Research design and research project gave us the framework, and the flexibility to develop an innovative tool specifically designed for our problematic : the sound device. The device has been installed on three sites : a terrace and the front of the ENSAG, a footbridge near the studio of a collective of artists and a footbridge located in a city park of Nantes. Between immersion and observations, interviews and video work, in connection with the field of sound art, our research crosses sound, space, and practice dimensions. The analyses reveal the behavior, conduct, micro-movements, gestures, and attitudes made ​​by the users. The results will be of interest in the fields of sound environment as well as architectural and urban design. Indeed, this research offers a better understanding of footstep sound traces roles in the composition of urban public spaces.

La production sonore biologique, étudiée par acoustique passive, doit être évaluée comme méthode complémentaire pour l’étude des effets des perturbations anthropiques sur les milieux côtiers.Alors que les sons émis par les mammifères marins et les poissons sont largement documentés, ceux issus des invertébrés benthiques restent peu décrits, même si ces derniers peuvent assurer des fonctions-clés dans les systèmes marins. L’enjeu principal de cette thèse était d’évaluer la pertinence de l’utilisation de l’acoustique passive comme outil écologique en s’appuyant sur la biophonie des invertébrés benthiques d’habitats côtiers tempérés et plus particulièrement en prenant comme habitat-modèle les bancs de maërl de la rade de Brest. Nous avons mis en évidence l’existence d’espèces sonifères remarquables qui constituent de bons candidats pour leur suivi en milieu naturel. Ces travaux ont de plus montré l’importante contribution de certains invertébrés benthiques dans le paysage sonore sous-marin, encourageant à ne plus imputer systématiquement les sons benthiques uniquement aux « crevettes claqueuses ». Le deuxième volet de cette thèse a montré que les variations de production sonore des invertébrés benthiques, à l’échelle individuelle ou collective, offrent des informations précieuses sur la mise en évidence de stress tels qu’un bloom d’algues toxiques ou l’impact du dragage. Ainsi, le nombre de mouvements sonifères des coquilles Saint-Jacques est doublé en présence de fortes concentrations d’algues toxiques, et le paysage sonore des bancs de maërl fortement pêchés est trois fois plus silencieux et moins complexe que celui du maërl préservé. Les résultats de ce travail de thèse, discutés dans un contexte de développement d’outils pour l’évaluation de l’état de santé des écosystèmes marins, permettent l’émergence de nouvelles hypothèses de travail en écologie marine. / Biological sound production, as studied by passive acoustics, should be considered as a complementary method to study the effect of anthropogenic disturbances on coastal systems. While sounds emitted by marine mammals and fish are well documented, those from benthic invertebrates are poorly described, although they can play key roles in marine ecosystems. The main goal of this PhD work was to evaluate the suitability of passive acoustics as an ecological tool based on sound production by benthic invertebrates living in temperate coastal habitats, and particularly in maerl beds of the Bay of Brest.We highlighted the existence of interesting soniferous species that appear to be good candidates to monitor in the field. This work also showed the important contribution of some benthic invertebrates to the underwater soundscape, suggesting that benthic sounds should not be attributed only to snapping shrimps. The second part of this PhD thesis emphasized that changes in benthic invertebrate sound production, at individual or collective scales, provides valuable information on the detection of stress such as a toxic algal blooms or the impact of dredging. Thus, the number of soniferous movements made by the great scallop doubles in the presence of high concentrations of toxic algae, and the soundscape of heavily fished maerl beds is three times quieter and less complex than preserved ones. The results of this PhD thesis, which are discussed in the context of tool development for the assessment of marine ecosystem health, raise new working hypotheses in marine ecology.

Fluid flow creates an expansive range of acoustic possibilities, particularly in the case of water, which has unique turbulence and vortex shedding properties as compared with the air of ordinary wind instruments. Sound from water flow is explained with reference to a new class of musical instruments, hydraulophones, in which oscillation originates directly from matter in its liquid state. Several hydraulophones which were realized in practical form are described. A unique user-interface consisting of a row of water jets is presented, in terms of its expressiveness, tactility, responsiveness to derivatives and integrals of displacement, and in terms of the direct physical interaction between a user and the physical process of sound production. Signal processing algorithms are introduced, which extract further information from turbulent water flow, for industrial applications as well as musical applications.

Fluid flow creates an expansive range of acoustic possibilities, particularly in the case of water, which has unique turbulence and vortex shedding properties as compared with the air of ordinary wind instruments. Sound from water flow is explained with reference to a new class of musical instruments, hydraulophones, in which oscillation originates directly from matter in its liquid state. Several hydraulophones which were realized in practical form are described. A unique user-interface consisting of a row of water jets is presented, in terms of its expressiveness, tactility, responsiveness to derivatives and integrals of displacement, and in terms of the direct physical interaction between a user and the physical process of sound production. Signal processing algorithms are introduced, which extract further information from turbulent water flow, for industrial applications as well as musical applications.

No description available.

In the summer of 1953, Karlheinz Stockhausen began composing his first piece of elektronische Musik at the Westdeutscher Rundfunk Studio for Electronic Music in Cologne. Up to that point, Stockhausen's only experience with electroacoustic music was his time spent at the Radiodiffusion-Télévision Française the previous year, where he assisted Pierre Schaeffer and composed a piece of musique concrète. An early case study in the marriage of serial aesthetics and electroacoustic techniques, Studie I is a rigorously organized work that reflects Stockhausen's compositional philosophy of a unified structural principle in which all musical materials and parametric values are generated by and arranged according to a single governing series. In spite of this meticulously wrought serial structure, Studie I displays features that are the consequences of the realities of electronic sound production either imposing on the sonic result, or altering the compositional plan entirely. I use a three-part approach to my analysis of Studie I by examining Stockhausen's serial system, the electroacoustic studio techniques in use in 1953, and the original recorded realization through spectrographic analysis. Using this methodology, I expose the blurring of the supposed divide between elektronische Musik and musique concrète by exploring the features that lie between the serial plan and the technical processes Stockhausen used to realize Studie I.