Cette recherche interroge les pratiques d'écoute musicale des adolescents en régime numérique. Depuis la « démocratisation » des voies d'accès illégales (Napster, KazAa, eMule, et aujourd'hui le convertisseur YouTube) et l'avènement du numérique (abonnements téléphoniques et ADSL, taux d'équipements), les modes de production et de consommation de la musique se trouvent bouleversées. Nous appuyant sur une ethnographie (combinant entretiens compréhensifs et observation participante) menée auprès d'adolescents, notre objectif est de comprendre comment la musique peut faire sens dans leur quotidien. Nous avons cherché à comprendre de quelles manières la musique, à l'ère du numérique, participe des phénomènes de construction identitaire – à la fois individuelle, mais aussi sociale et générationnelle –, ainsi que de la structuration des univers culturels des adolescents. Questionnant les usages et les ergonomies des équipements, cette étude brosse un portrait des différentes situations d'écoute en fonction des éléments pragmatiques et contextuels. La méthodologie qualitative que nous avons choisie a permis de faire émerger les médiations au sein de la cellule familiale entre frères et sœurs et entre parents et enfants, révélant la fonction phatique de la musique, dont le numérique se fait le support. / This research examines the music listening practices of teenagers in a digital era. Production and receptions modes as well as the music itself have deeply changed since the “democratisation” of the illegal ways to access music (Napster, KazAa, eMule, and even now the YouTube converter) and the advent of the digital technologies (phone subscriptions and ADSL, household penetration rates of computers). Based on an ethnography of adolescents (combining comprehensive interviews with participant observation), we aim to understand how music makes sense in their everyday lives. We have thus tried to understand in what ways music, in the digital era, contributes to the phenomena of identity construction - individual, but also social and generational - as well as to the configuration of teenagers’ cultural worlds. Questioning the ergonomics and uses of devices, this study depicts different listening situations in accordance with pragmatic and contextual elements. The qualitative methodology that we have chosen enabled us to highlight the mediations in the family unit between brothers and sisters and between parents and children, which revealed the phatic expression of the music supported by digital technology.

Music is an important part of people’s lives and thanks to technology development music is more accessible than ever. It creates a pleasant auditory environment in many situations such as when driving, and in-car music streaming is one of the most requested features amongst drivers. Using technology such as mobile devices when driving is a major safety concern which can be addressed by implementing voice control. Said modality, if implemented successfully, puts less cognitive demand on the driver than using manual controls or looking at a monitor. This thesis has resulted in a set of design suggestions for voice interaction between driver and a music service for a safe and pleasant user experience where the dialogues aim at providing drivers with a feeling of familiarity and brand recognition with the music service. The design suggestions are based on design guidelines and previous research on voice interaction and in-car technology including cognitive demands on the driver. Input from drivers and music listeners have been collected first through a questionnaire on controlling music applications while driving followed by a design workshop where the participants, based on different stories, designed dialogues between driver and a music service. The research found that drivers are highly concerned with traffic safety, and want to be able to quickly and safely search for specific music or music that suits a current mood. In terms of familiarity, drivers should be able to use existing features from the music service when interacting through voice and be able to make actions that affect their private account - such as saving songs to a playlist. / Musik är en viktig del i människors liv och tack vare teknikutveckling är musik mer tillgängligt än någonsin. Det skapar en behaglig och musikalisk miljö i flertalet situationer såsom under bilkörning, och musikströmning i bilen är en av de mest efterfrågade funktionerna bland bilförare. Användning av teknik såsom mobila enheter under bilkörning är dock en viktig säkerhetsfråga vilken kan åtgärdas genom att implementera röststyrning då en lyckad implementation av röststyrning kräver lägre kognitivt fokus av bilföraren än användandet av manuella kontroller eller att titta på en skärm. Detta examensarbete har resulterat i ett antal designförslag för röstinteraktion mellan bilförare och en musiktjänst för en säker och trevlig användarupplevelse, där ett mål är att bilföraren via dialogen ska få en känsla av bekantskap med musiktjänsten och dess varumärke. Designförslagen är baserade på riktlinjer för design samt tidigare forskning inom röstinteraktion och teknik i bilen, då även inkluderat kognitiv belastning på föraren. Åsikter från bilförare och musiklyssnare har samlats in via en enkät om att kontrollera musikapplikationer under bilkörning och en designworkshop där deltagarna, baserat på olika historier, designade dialoger mellan bilförare och musiktjänsten. Studien fann att bilförare är väldigt säkerthetsmedvetna och att de vill på ett säkert och snabbt sätt söka efter specifik musik eller musik som passar det nuvarande humöret. När det kommer till igenkänningsfaktorn bör bilförare vid röststyrning kunna använda existerande funktioner i musiktjänsten och kunna använda funktioner som påverkar ens egna användarkonto - såsom att kunna spara låtar i en spellista.

Submitted by Odilio Hilario Moreira Júnior (odilio@espm.br) on 2016-11-28T11:43:17Z No. of bitstreams: 1 Igor da Costa Bento.pdf: 1998113 bytes, checksum: 2d92fce83dcc4fa643a078f0ea361b40 (MD5) / Approved for entry into archive by Odilio Hilario Moreira Júnior (odilio@espm.br) on 2016-11-28T11:43:58Z (GMT) No. of bitstreams: 1 Igor da Costa Bento.pdf: 1998113 bytes, checksum: 2d92fce83dcc4fa643a078f0ea361b40 (MD5) / Approved for entry into archive by Debora Cristina Bonfim Aquarone (deborabonfim@espm.br) on 2016-11-28T11:44:09Z (GMT) No. of bitstreams: 1 Igor da Costa Bento.pdf: 1998113 bytes, checksum: 2d92fce83dcc4fa643a078f0ea361b40 (MD5) / Made available in DSpace on 2016-11-28T11:44:39Z (GMT). No. of bitstreams: 1 Igor da Costa Bento.pdf: 1998113 bytes, checksum: 2d92fce83dcc4fa643a078f0ea361b40 (MD5) Previous issue date: 2010-03-25 / The process of symbiosis between information networks and the urban areas gives rise to an informational dimension of ubiquitous access to cyberspace that promotes the emergence of a myriad of new social practices from the appropriation of these networks and a variety of connection devices (cell phones, palms, MP3 players, etc.). Nomadic listening is one of the social practices identified in the current urban scene. It can be seen as a semiotic modulation, also social, cognitive, corporal and it works on the coupling between mobile devices and the act of roaming through the city. This new form of consumption focuses on listening to digital music and mounting customized playlists as soundtracks for the day to day. From a conceptual framework that focuses on the intersection between media and consumption, this paper aims to map the nomadic listening in the urban scene and to understand how the music industry has incorporated this practice into their promotion and commercialization strategies. / O processo de simbiose entre as redes telemáticas e a malha urbana enseja uma dimensão informacional de acesso ubíquo ao ciberespaço, que propicia o surgimento de uma miríade de novas práticas sociais a partir da apropriação destas redes e dos mais variados dispositivos de conexão (celulares, palms, MP3 players, etc.). A escuta nômade é uma das práticas sociais identificadas na cena urbana atual. Ela pode ser entendida como uma modulação semiótica, social, cognitiva e corporal, e funciona no acoplamento entre aos dispositivos móveis e o vagar pela cidade. Esta nova forma de consumo privilegia a escuta de música digital e a montagem de playlists personalizadas como trilhas sonoras para o dia a dia. Partindo de uma estrutura conceitual que privilegia a interseção entre mídia e consumo, este trabalho pretende mapear a escuta nômade na cena urbana e compreender de que modo a indústria da música tem incorporado esta prática às suas estratégias de promoção e comercialização.

The purpose of this experimental study was to investigate mindfulness strategies and their influence on working memory. The potential role of music in facilitating mindfulness practice is explored. Various listening exercises were investigated along with their influence on working memory (i.e. attention control). Thirty-four individuals were randomly assigned to participate in one of four listening groups: 1) mindfulness with music, 2) mindfulness without music, 3) music only, and 4) silence. Thirty-four participants engaged in a computerized digit-span task before and after the listening exercise to assess pre- and post-test working memory performance. Thirty participants were included in data-analysis due to technical errors in data collection. Differences between listening exercises were explored and comparisons were made between mindfulness, non-mindfulness, music, and non-music based exercises. Two-tailed independent samples t-tests found no significant differences in working memory when comparing mindfulness versus non-mindfulness and music versus non-music based exercises. An Analysis of Variance (ANOVA) indicated no significant differences in working memory for any of the listening conditions. Results call for further examination of control variables and methodology to explore the role of music listening in mindfulness practice. Implications for further research and contributions to music therapy and music education are considered.

Currently, little evidence has been gathered on the impact of listening to preferred music on the healing experiences of cancer patients, justifying the need for qualitative inquiry. Three disease-free women that survived breast cancer were invited to share their stories about how listening to preferred music assisted in decreasing their symptoms of depression, fatigue, and pain during their recovery. Data analysis followed a multiple case study methodology. Findings reveal the importance of listening to music and its affect on the emotional and physiological state of cancer patients, as well as their ability to cope with their illness. Four major themes emerged from the transcripts of participants: Music as Vibration, Music as Getaway, Music as Emotion Regulation, and Music as Spiritual Validation.

Ein Großteil zeitgenössischer Musik und insbesondere solche, die sich nicht primär auf Tonhöhenrelationen stützt, findet zu wenig Platz im Gehörbildungsunterricht an Musik(hoch)schulen. Das liegt möglicherweise auch daran, dass es kaum methodische Zugänge oder Hilfestellungen dazu gibt. In diesem Artikel wird die Klangfeld-Transkriptionsmethode vorgestellt, mit der Musik zum Unterrichtsthema werden kann, die mit Geräuschen und anderen nicht tonhöhenbasierten Klangtexturen arbeitet. Die Methode geht davon aus, dass die Studierenden das Gehörte als akusmatisch rezipieren, dass sie also die Hervorbringung oder Erstellung der Klänge nicht auf Anhieb nachvollziehen können. Sie verbindet verschiedene Ansätze zum Umgang mit elektroakustischer Musik, musique concrète instrumentale und elektronischer Popmusik im Kontext des Transkribierens. Nach einer kurzen Übersicht über Lehrwerke zur Gehörbildung sowie einem Abriss verschiedener Analyseansätze zu nicht-notierter Musik werden drei Ausschnitte von Werken Amon Tobins und Helmut Lachenmanns mithilfe der Klangfeld-Transkriptionsmethode erläutert und abschließend auf ihr Potenzial hin ausgewertet. / A large part of contemporary music, especially music which is not primarily based on pitch, seems to be missing from current ear training classes in German music academies and music schools. One possible reason for this shortcoming could be the lack of methodological access or support. This article introduces the method of sound-field transcription, which makes music with a high degree of foley, noise, or other non-pitched features accessible for teaching in music classes. The method assumes that students receive aural material primarily acousmatically, not being able to identify the creation or production of the sounds at first hearing. It combines various approaches from different musical genres such as electroacoustic music, musique concrète instrumentale, and popular electronic music on the basis of musical transcriptions. After a short outline of ear training textbooks and various analytical approaches to non-notated music, three excerpts from works by Amon Tobin and Helmut Lachenmann are explicated by the method of sound-field transcription. By conclusion, these analyses are evaluated for their potential.

Music listening is considered one of the most ubiquitous activities in everyday life, and one of the main reasons why people listen is to affect and regulate their mood. The vast availability and unlimited access of music has made it difficult to find relevant music that fits both the context and the preferences of the music listener. The aim of this project was to investigate the personalized relationship between music and mood using everyday technologies, focusing on how a listening experience could be adapted to the desired affect of a music listener while also taking the user’s individual listening history into account. In large, the project concentrated on the possibility of using context-aware music recommendation to generate personalized playlists by focusing on the audio features and corresponding mood of the music. A web-based application was developed to act as a prototype for the study, where the application allowed users to connect to Spotify, pick a desired mood and generate a playlist. By allowing people to access music in this personalized way, a user study could be conducted in order to investigate their music listening while incorporating this recommendation tool. The findings showed that the users’ found the experience to be engaging in that they could use the application as a companion to everyday tasks in addition to it being a tool for getting new, personalized music recommendations. Overall, the participants also found the generated playlists to be accurate to their music preferences and desired affective state.

Denna uppsats diskuterar fyra unga vuxnas, i Växjö, relation till vinylskivor som format för musiklyssning. Genom den kvalitativa intervjumetoden görs ett försök att beskriva hur informanterna motiverar användandet av vinylskivor, vilka egenskaper som de tillskriver skivorna och hur det förhåller sig gentemot digital musiklyssning. Materialet har analyserats med hjälp av teorier kring retrologier (skapandet av sätt att se tillbaka), affordance (vinylskivans polyvokala egenskaper) och rekontextualiseringsprocesser (vilka egenskaper tillskrivs formatet i en modern kontext). Studien visar på vinylskivans förmåga att frambringa en särskild känsla hos informanterna och hur detta skapas utifrån flertalet olika dimensioner, så som skivans fysikalitet, visuella egenskaper och inbjudan till ett aktivt lyssnande.

L’amusie congénitale est un trouble neurodéveloppemental qui affecte la perception mélodique, malgré une ouïe et une intelligence normale. Un déficit de la discrimination des fines variations de hauteur des sons serait à l’origine de ces difficultés. Les études ayant permis de caractériser les corrélats neuronaux de ce trouble ont mis en lumière des anomalies anatomiques et fonctionnelles du réseau fronto-temporal droit dans l’amusie. Notamment, les processus tardifs et conscients de détection des fines variations de hauteur sonore apparaissent perturbés chez les amusiques, alors que le traitement plus précoce et automatique de ces mêmes variations de hauteur serait normal. À ce jour, la vaste majorité des études sur l’amusie congénitale ont été effectuées auprès d’adultes et nous détenons peu d’informations sur la façon dont ce trouble se manifeste au cours du développement. La présente thèse vise ainsi à caractériser les corrélats comportementaux et neuronaux de l’amusie congénitale chez l’adolescent, pour ensuite explorer les perspectives de réhabilitation de ce trouble neurodéveloppemental. Dans une première étude, nous avons tenté de mieux comprendre comment le cerveau d’adolescents amusiques traite les fines variations de hauteur des sons, tant en ce qui a trait aux processus précoces et automatiques (associés à la composante de potentiel évoqué mismatch negativity; MMN) qu’au niveau du traitement conscient et plus tardif (associé à la composante de potentiel évoqué P300), en comparaison aux contrôles. Nous avons étudié les effets d’un mois d’écoute musicale quotidienne chez ces participants. Une deuxième étude a ensuite été effectuée, afin d’examiner l’impact de trois mois de leçons de guitare sur le traitement des fines variations de hauteur sonore chez des adolescents ii amusiques et leurs témoins. Nous nous sommes intéressés aux effets de cette formation musicale sur diverses composantes des potentiels évoqués, dont la P300 et la MMN. Les résultats de cette thèse révèlent que l’amusie peut se manifester à part entière à l’adolescence. Plus précisément, les adolescents amusiques présentent un profil hautement similaire à celui documenté chez l’adulte, soit une incapacité à détecter consciemment les fines variations de hauteur des sons, associée à l’absence de la composante P300, en dépit d’un traitement précoce et automatique normal tel que reflété par une MMN comparable aux contrôles. En outre, il appert qu’un mois d’écoute musicale quotidienne ne constitue pas une technique de réhabilitation efficace dans l’amusie, dont les manifestations sont demeurées inchangées suite à cette intervention. Par ailleurs, nos résultats révèlent qu’il est possible pour de jeunes amusiques d’apprendre à jouer d’un instrument de musique et que cette formation musicale a le potentiel d’engendrer des phénomènes de plasticité cérébrale prometteurs chez certains d’entre eux. Plus précisément, nous observons l’émergence de la composante P300 associée à une amélioration des capacités de discrimination des fines variations de hauteur chez trois amusiques sur quatre suite à cette intervention. Ces résultats enrichissent notre compréhension de l’amusie et de sa trajectoire développementale, en plus de motiver de futurs travaux de recherche qui pourraient mener au développement d’interventions optimales dans une perspective de réhabilitation de ce trouble neurodéveloppemental. / Congenital amusia is a neurodevelopmental disorder that specifically impairs melodic perception despite normal hearing and intelligence. The disorder is thought to arise from a deficit in perceiving fine-grained pitch changes. Studies that aimed to characterize the neural correlates of congenital amusia have highlighted anatomical and functional anomalies along the right fronto-temporal pathways. Notably, the amusic brain has been shown to perceive fine-grained pitch distinctions at an early and automatic level of processing, but this does not reach higher levels of conscious processing. To date, the majority of research on amusia has been performed with adults and consequently little information has been acquired on how this disorder manifests itself during development. The goal of this thesis is therefore to characterize the behavioral and neural correlates of congenital amusia during adolescence, and then to explore different rehabilitation strategies in an attempt to attenuate the perceptual deficits. In a first study, we documented how amusic adolescents process fine-grained pitch changes using event-related potentials, both in terms of early and automatic processing (as indexed by the mismatch negativity component; MMN) and conscious processing (associated with the P300 component) compared to controls. We also explored the effects of a month of daily music listening among these participants. A second study was then conducted to explore the impact of three months of weekly guitar lessons on fine-grained pitch processing in amusic adolescents and controls. In particular, we investigated the effects of musical training on various evoked-potential components, including the P300 and the MMN. The results show that amusia can be fully expressed in the developing brain with manifestations that are similar to those observed in adults. Specifically, the amusic adolescent brain does not elicit a normal positivity (P300) in response to small pitch changes, while early and automatic processing of these pitch deviations appears normal (as indexed by the MMN). In addition, it appears that a month of daily music listening is not an effective amusia remediation strategy, since all electrophysiological and behavioral manifestations were unchanged following this intervention. Furthermore, we show that it is possible for amusic adolescents to learn to play a musical instrument despite their perceptual deficit and this intervention as the potential to induce promising brain plasticity phenomena for some of them. Specifically, a P300 response elicited by fine-grained pitch changes was seen after three months of guitar lessons in three out of four amusic adolescents. Importantly, the emergence of the P300 was paralleled by an improved perceptual ability to detect fine-grained pitch changes. These findings add to our understanding of congenital amusia and its developmental trajectory, while motivating future research that could lead to the development of optimal interventions to help young people with amusia engage with music.

Cette thèse présente les résultats d'une recherche sur la musique au cinéma et la prolongation de l'expérience cinématographique en dehors de l'espace et du temps du dispositif cinématographique par l'écoute de la bande originale du film. Plus particulièrement elle aborde la bande originale du film en tant que musique emblématique de l'univers filmique. Elle instruit une réflexion sur la place de la musique dans nos vies et sa capacité à créer et recréer des expériences esthétiques du quotidien. A partir de la tripartition sémiologique développée par Jean Molino, nous proposons d'appréhender la bande originale de l'univers Disney depuis les conditions et le contexte de sa production d'abord, c'est-à-dire au niveau «poïétique ». Nous procédons à l'analyse de l'univers filmique et musical ensuite en nous plaçant au niveau « neutre » de l’œuvre. Enfin, par le biais d'une enquête par questionnaire dans le cadre d'un protocole de recherche expérimental nous analysons la réception de la bande originale de film à son niveau « esthésique ». Le mickeymousing, technique cinématographique définissant la ponctuation narrative des mouvements par la musique, est appréhendé comme une forme d'esthétisation du réel. Entre synchronisation, emblème et réel esthétisé cette recherche porte, in fine, sur l'esthétisation cinématographique du quotidien par la musique. De la bande originale de film à la bande originale de vie, les fonctions emblématiques de la musique sont décrites par une ethnographie de la musique au quotidien (festivals, trains, Disneyland, rayons des disquaires). / This thesis presents the results of a research on music in cinema and the extension of the cinematographic experience out of the cinematographic model by listening to the film score. More specifically, it addresses the issue of the film score being the emblematic music of the film environment. Being such, it generates a reflexion about the role of music in our lives and its capacity to create and recreate aesthetic experiences of our daily lives. Based on Jean Molino?s semiotic tripartition, we propose to tackle Disney?s film score starting from its production context, that is, the ?poietic? level. We then proceed to analyse the film and musical environment by placing ourselves on the ?neutral? level of the work. Finally, through the use of a questionnaire survey made in a experimental context, we will analyse the film score reception at a ?aesthetic? level.Mickey Mousing, film technique that syncs the actions in the movie with music is tackled as a way to aestheticize the world. Between the synchronisation, the token and the aestheticized reality, the research is eventually about the cinematographic aesthetisation of the daily-life through music. From movie soundtracks to life soundtracks, the emblematic fonctions of music are described through an ethnography of the daily usage of music (festivals, trains, Disneyland, music stores)