L’objectif de cette recherche est d’étudier la coordination temporelle entre l’organisation de la performance maternelle (chant et gestes des mains), les variations de l’attention visuelle et la vocalisation du bébé à 3 mois et à 6 mois au cours de la ‘chanson-action’ française ‘les marionnettes’. Le terme ‘chanson-action’ désigne des routines interactives associant une ‘mise en scène’ des mains (ici de la mère) coordonnée à un chant pour bébé. Le ‘chanter-bébé’ fait partie des premières stimulations musicales du bébé. Des recherches expérimentales ont mis en évidence qu’il possède plusieurs fonctions et qu’en particulier il maintient l’attention du bébé au cours des échanges. Les ‘chansons-actions’ apparaissent dans le cours des interactions précoces un peu avant le milieu de la première année du bébé. Or des expériences ont montré qu’à cet âge précoce le bébé semble déjà capable de partager son attention entre la mère et un autre centre d’intérêt dans certaines conditions, en particulier lorsque la mère manipule un objet familier. Les ‘chansons-actions’ apparaissent alors comme une situation naturelle permettant d’étudier l’aptitude du bébé à partager son attention. Nous avons donc cherché à tester l’hypothèse centrale selon laquelle l’organisation hiérarchisée de la performance maternelle et en particulier du chant devait fournir un cadre organisant les variations dynamiques de l’attention visuelle du bébé. Nous pensions de plus que l’organisation temporelle de ses vocalisations devait refléter sa sensibilité à cette organisation musicale et qu’il devait vocaliser à des moments saillants de la chanson-action. Nous avons choisi d’étudier les échanges de mêmes dyades à 3 mois et à 6 mois car ces âges sont périphériques à l’émergence spontanée des ‘chansons-actions’ dans le répertoire des routines interactives de la mère et du bébé. Nous voulions ainsi explorer l’évolution de la coordination entre l’organisation temporelle de la performance maternelle et les variations de l’attention du bébé.Nous avons étudié les échanges de 20 dyades à 3 mois (12 dyades ‘mère-garçon’ et 8 dyades ‘mère-fille’) et de 18 de ces mêmes dyades à 6 mois (10 dyades ‘mère-garçon’ et 8 dyades ‘mère-fille’). L’originalité de notre recherche est d’explorer l’évolution dynamique des variations de l’attention du bébé au cours de la chanson-action... / The aim of this study was to analyze the temporal coordination between the organization of the maternal performance (singing and hand gesturing), the visual attention and vocalization of the infant at 3- and 6-months during sequences of the French ‘action-song’ ‘les marionnettes’. The word ‘action-song’ is used to refer to interactive routines that combine hand gestures coordinated with a baby song. Infant-directed singing has been shown to be among the first musical stimulations addressed infants. Experimental studies have demonstrated that it possesses several functions and that one of them is maintaining the infant’s attention. Action-songs emerge in interactions at about 4-months. Experimental studies have proved that the infant exhibits the ability to share her attention between the mother and another object of interest, in particular when it is a familiar object that the mother holds in her hands. Actions-songs appear to be a natural situation that allows us to study this ability. We tested the central hypothesis that the hierarchical levels of maternal singing performance would provide a frame that would organize the dynamic variations of the infant’s visual attention. Moreover the infant would vocalize at specific moments of the musical structure of maternal singing. We studied the exchanges of the same dyads at 3- and 6-months to explore the developmental trajectory of the coordination between the temporal organization of the maternal performance and the infant’s visual attention.We studied the interactions of 20 dyads at 3 months (12 boys and 8 girls) and of 18 of those dyads at 6 months (10 boys and 8 girls). We performed both video and acoustic microanalyses to study the dynamic variations of infant’s attention during the action-song. Thus, each gaze orientation of the infant was associated with a specific element of the maternal singing. Our results showed that maternal singing was articulated at three hierarchical temporal levels (verse, line, pulse) both at 3- and at 6-months. At 3 months the infant’s attention was oriented mainly towards the mother’s face. The variations of the infant’s attention were coordinated with the phrasing of maternal singing and the infant reoriented her attention towards the hands just before the end of the verse. Infants’ vocalizations also occurred at the end of the verse. At 6-months, infants were more attentive to the mother’s hands. Six-month-olds reoriented her attention towards the mother’s face at the end of the verse. Infants’ vocalizations were synchronized with pulse of the maternal singing. Furthermore our results exhibited gender differences at 3- and at 6-months. The performance of mothers of boys was more regular than the performance of mothers of girls. We suggest that actions-songs provide a frame that scaffolds the ability of the infant to share her attention between the mother’s face and hands.

O presente trabalho propõe-se investigar os diálogos existentes entre a musicalidade e o teatro no âmbito da dramaturgia de atores, tendo como estudo de caso o grupo de teatro português O Bando. Apoia-se nas vanguardas do século XX à contemporaneidade com o propósito de buscar os procedimentos de atuação teatral fundados no diálogo entre o teatro e a música. O percurso metodológico segue as pesquisas dos artistas e pedagogos teatrais Appia, Jaques- Dalcroze, Meyerhold, Artaud e Barba, a fim de selecionar e analisar os elementos musicais que sustentam o ofício do ator e fundam uma prática atoral de característica musical. Seguindo o mesmo percurso com educadores musicais, compositores e musicólogos, busca-se referências sobre os conceitos musicais do início do século XX à contemporaneidade, especialmente aquelas que se deixam impregnar pelo cruzamento de áreas e saberes. Finalmente, propõe-se observar a musicalidade na prática pedagógica do Teatro O Bando, em seu curso de formação “Consciência do Actor em Cena”. As principais conclusões apontam que a musicalidade está presente na pedagogia da atuação tanto nas vanguardas teatrais do século XX quanto no caso do Teatro O Bando e corresponde a uma estratégia de criação atoral que favorece a precisão e a imaginação. A musicalidade estabelece ainda novas formas de leitura por parte dos espectadores, novos procedimentos de improvisação e notação, novas regras e convenções. Busca-se colaborar com as pesquisas sobre a pedagogia de ator e oferecer um auxílio para o ensino teórico e prático da atuação em instituições de ensino e coletivos teatrais e performativos. / This study aims to investigate the existing dialogues between drama and musicality in the field of actor’s dramaturgy, having as case study the Portuguese theater group O Bando. This work is based on twentieth century and contemporary vanguards in order to search the procedures of acting, founded in the dialogue between drama and music. The methodological approach is based on the researches of artists and theatrical pedagogues, mainly Appia, Jaques-Dalcroze, Artaud and Barba, aiming to find and analyze the musical elements that sustain the actor’s work and underlie an actor’s practice of musical characteristics. Following the same route with music educators, composers and musicologists, we look for references about music concepts from the beginning of the 20th century to nowadays, especially those references that leave impregnate themselves by the crossing of different knowledge and disciplines. Finally, this work aims to observe how the relations between music and drama happen in the pedagogical practice of Teatro O Bando in their course “Consciência do Actor em Cena” (Actor’s Conscience in Scene). The main findings show that musicality is present in the pedagogy of acting both in theatrical vanguards of the 20th century as in the case of Teatro O Bando and corresponds to a “atoral” creation strategy that favors precision and imagination. The music also establishes new ways of reading by the spectators, new procedures of improvisation and notation, new rules and conventions. With this work we aim to collaborate to the researches about actor’s pedagogy and also offer an aid for theoretical and practical education to be used in educational institutions and theater groups.

A presente pesquisa é dedicada à poesia do simbolista português Camilo Pessanha, tendo em vista sua relação com a dos autores franceses Paul Verlaine e Stéphane Mallarmé, na tentativa de mostrar que Pessanha em muito supera a imagem de Verlaine Português, ao propor uma obra inovadora e fragmentária, que em alguns aspectos aproxima-se da escrita mallarmeana, preservando, no entanto, toda sua identidade e originalidade. Para tanto, atentou-se aos princípios formais da poética simbolista presentes na obra de cada um dos três, notadamente à sonoridade utilizada como forma de sugestão. Do mesmo modo, foi examinado como o uso de sintaxe truncada em poemas fragmentários pode favorecer os efeitos musicais e plásticos do texto também no sentido de suscitar e evocar imagens. Além disso, buscou-se identificar temas e símbolos comuns ao Simbolismo para verificar como cada um deles desenvolve tais aspectos em suas composições poéticas. A partir das semelhanças, dissonâncias e especificidades entre a poética desses três autores, tentou-se, pois, estabelecer pontos de contato entre a obra de Camilo Pessanha e as de Paul Verlaine e de Stéphane Mallarmé. Estudou-se também o lugar de Camilo Pessanha no movimento simbolista português, uma vez que foi, dentre os portugueses, aquele que mais se aproximou do Simbolismo parisiense, a despeito de muito pouco ter vivido em Portugal. Por fim, pretendeu-se destacar a grande importância destes três poetas para o desenvolvimento daquilo que se convencionou chamar de modernidade lírica. / The present research studies the poetry from the Portuguese symbolist poet Camilo Pessanha, considering his relation with the French authors Paul Verlaine and Stéphane Mallarmé, aiming to display that Pessanha surpasses by far the \"Portuguese Verlaine\" image, by proposing an innovative and fragmentary writing, which in some aspects nears mallarmean writing, although preserving his entire identity and originality. To that end, the formal principles from the symbolist poetic found in the works of the three aforementioned poets were observed, especially sonority as means of suggestion. Moreover, it was analyzed how the use of intricate syntax in fragmentary poems can assist the musical and pictorial effects of the poem to evoke images. It is expected to disclosure the similarities, dissonances and specificities between the poetic of the aforementioned authors, in an attempt to establish contact points between the Camilo Pessanhas writing and the poetics of Paul Verlaine and Stéphane Mallarmé. Camilo Pessanhas place in the Portuguese symbolist movement was also studied, considering that he was, among the Portuguese poets, the one who neared the Parisian symbolism the most, though he did not live much in Portugal. Finally, it was intended to highlight the great importance from these three poets to the development of what we stipulated to name the lyrical modernity.

A presente pesquisa é dedicada à poesia do simbolista português Camilo Pessanha, tendo em vista sua relação com a dos autores franceses Paul Verlaine e Stéphane Mallarmé, na tentativa de mostrar que Pessanha em muito supera a imagem de Verlaine Português, ao propor uma obra inovadora e fragmentária, que em alguns aspectos aproxima-se da escrita mallarmeana, preservando, no entanto, toda sua identidade e originalidade. Para tanto, atentou-se aos princípios formais da poética simbolista presentes na obra de cada um dos três, notadamente à sonoridade utilizada como forma de sugestão. Do mesmo modo, foi examinado como o uso de sintaxe truncada em poemas fragmentários pode favorecer os efeitos musicais e plásticos do texto também no sentido de suscitar e evocar imagens. Além disso, buscou-se identificar temas e símbolos comuns ao Simbolismo para verificar como cada um deles desenvolve tais aspectos em suas composições poéticas. A partir das semelhanças, dissonâncias e especificidades entre a poética desses três autores, tentou-se, pois, estabelecer pontos de contato entre a obra de Camilo Pessanha e as de Paul Verlaine e de Stéphane Mallarmé. Estudou-se também o lugar de Camilo Pessanha no movimento simbolista português, uma vez que foi, dentre os portugueses, aquele que mais se aproximou do Simbolismo parisiense, a despeito de muito pouco ter vivido em Portugal. Por fim, pretendeu-se destacar a grande importância destes três poetas para o desenvolvimento daquilo que se convencionou chamar de modernidade lírica. / The present research studies the poetry from the Portuguese symbolist poet Camilo Pessanha, considering his relation with the French authors Paul Verlaine and Stéphane Mallarmé, aiming to display that Pessanha surpasses by far the \"Portuguese Verlaine\" image, by proposing an innovative and fragmentary writing, which in some aspects nears mallarmean writing, although preserving his entire identity and originality. To that end, the formal principles from the symbolist poetic found in the works of the three aforementioned poets were observed, especially sonority as means of suggestion. Moreover, it was analyzed how the use of intricate syntax in fragmentary poems can assist the musical and pictorial effects of the poem to evoke images. It is expected to disclosure the similarities, dissonances and specificities between the poetic of the aforementioned authors, in an attempt to establish contact points between the Camilo Pessanhas writing and the poetics of Paul Verlaine and Stéphane Mallarmé. Camilo Pessanhas place in the Portuguese symbolist movement was also studied, considering that he was, among the Portuguese poets, the one who neared the Parisian symbolism the most, though he did not live much in Portugal. Finally, it was intended to highlight the great importance from these three poets to the development of what we stipulated to name the lyrical modernity.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-05T13:17:27Z No. of bitstreams: 1 Herica Cambraia Gomes.pdf: 5659818 bytes, checksum: bab407a2e9635d11c447b020893b9bad (MD5) / Made available in DSpace on 2017-12-05T13:17:27Z (GMT). No. of bitstreams: 1 Herica Cambraia Gomes.pdf: 5659818 bytes, checksum: bab407a2e9635d11c447b020893b9bad (MD5) Previous issue date: 2017-10-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / With the advancement of neuroscience, we find ourselves in a promising moment for inclusive mathematics, which has significant repercussion in the learning of the Decimal Numbering System, mainly in the associative aspects of mathematical cognition and psychomotor stimulation as inseparable in the body and mind relation. Musicality is presented as an innate process, in a construct of elements that encompass Corporeity, Rhythm and Sound, as a possibility of a new teaching strategy. Therefore, this investigation chose to identify teacher’s perception by elaborating, developing and analyzing teaching experiences of the Decimal Numbering System with Musicality in the first two years of Primary Education. The theoretical anchorage in composed of concepts that unfold into triads deriving from Neuroscience (SNARC effect, Numerical Route and Numerical Reasoning), Executive Functions (Voluntary Attention, Operational Memory and Inhibitory Control), Musicality (Corporeity/Watchful Hearing; Movements/Rhythms; and Qualities/Sound) and Teaching Mediation (Intentionality/Reciprocity. Meaning and Transcendence). The research, using a qualitative method, unfolds itself into practical activities, analyzed from the contributions of Musicality in the Decimal Numbering System teaching, into the curriculum and into teaching mediation. The results showed three improvements in teaching: 1) Voluntary Attention and Operational Memory brought by Musicality through watchful hearing projected in the Counting and in the Mental Calculation accomplished by the students, without distinction; 2) the development of the Corporeity and Musicality Scheme for Mental Calculation, in which the representation of the numerical writing comes from the Global Praxis, following systematized, coordinated, enlarged and ascending steps; and 3) the accomplishment of Mental Calculation during the Musicality activities that associate numbers and pulses, tones of musical instruments and mathematical operations, working as a process of evaluating Decimal Numbering System learning. The teacher’s self-evaluation elected studying practice, autonomy and creativity as the main influences of Musicality in the teaching performance; the teachers pointed out, also, the perspective of “error” as a boosting mechanism for the learning process and the respect of individual times as an inclusive practice of Mathematics Teaching / Com o avanço da neurociência, encontramo-nos em momento promissor na educação matemática inclusiva, com significativas repercussões na aprendizagem do Sistema de Numeração Decimal, sobretudo nos aspectos associativos da cognição matemática e estimulação psicomotora como indissociáveis na relação corpo-mente. A Musicalidade é apresentada como processo nato, em um constructo de elementos que envolvem Corporeidade, Ritmo e Som, como possibilidade de nova estratégia de ensino. Neste sentido, esta investigação optou por analisar as contribuições da Musicalidade no ensino do Sistema de Numeração Decimal por meio da identificação de percepções de professores nos dois anos iniciais do ensino fundamental, ao elaborarem, desenvolverem e analisarem experiências de ensino do Sistema de Numeração Decimal utilizando a Musicalidade. A ancoragem teórica é composta por conceitos, que se desdobram em tríades, advindos da Neurociência (Efeito SNARC, Rota Numérica e Senso Numérico), das Funções Executivas (Atenção Voluntária, Memória Operacional e Controle Inibitório), da Musicalidade (Corporeidade/Escuta Atenta; Movimentos/Ritmos; e Qualidades/Som) e da Mediação Docente (Intencionalidade/ Reciprocidade, Significado e Transcendência). A pesquisa, de abordagem qualitativa, exploratória e descritiva, configura-se com desdobramentos em atividades práticas, analisadas a partir de contribuições da Musicalidade no ensino do Sistema de Numeração Decimal, no Currículo e na Mediação Docente. Os resultados apontaram três evoluções no ensino: 1) a Atenção Voluntária e a Memória Operacional desencadeadas pela Musicalidade por meio da Escuta Atenta projetadas na Contagem e no Cálculo Mental realizados pelos alunos, sem distinção; 2) o desenvolvimento do Esquema de Corporeidade da Musicalidade para o Cálculo Mental, no qual a representação da escrita numérica parte da Praxia Global, obedecendo a etapas sistematizadas, coordenadas, ampliadas e ascendentes; e 3) a realização do Cálculo Mental durante as atividades de Musicalidade, que associam números e pulsos, timbres de instrumentos musicais e operações matemáticas, funcionando como processo de avaliação da aprendizagem do Sistema de Numeração Decimal. A autoavaliação das professoras elegeu a prática de estudos, a autonomia e a criatividade como principais influências da Musicalidade na performance docente; as docentes apontaram, também, a perspectiva do “erro” como mecanismo impulsionador do processo de aprendizagem e o respeito aos tempos individuais como prática inclusiva da educação matemática

Humans are a musical species and every culture has its music. However, twenty individuals out of a cohort of twenty-nine participants in this study judged themselves to be 'not musical'. Through their words, silences and responses, the story of music in the lives of these self-perceived non-musicians uncovered a musical world where concepts of performance, judgment and talent dominate. My investigation into individuals' perceptions of their musicality revealed a pervasive societal belief that individuals were either born 'musical' or they were not; their everyday reality was one where music was perceived as a performance, an object, something that only talented people can 'do'. I planned conversations with participants that aimed to reveal clues that could help to unravel a paradox that lies within music in our Western culture: every young human is intrinsically musical but only some are born with a gift to be musical. Participant convictions that they were not musical deterred some individuals from active engagement in music making. They felt as if they had been left out of the 'musical ballpark'. Details from conversations illustrated a constricting cultural imposition on individuals; this was perpetuated in many schools and also in private music teaching. Data revealed that current educational practice contributed to a denial of a natural birthright and alienated some individuals from being part of a musical community. As their stories revealed failed attempts to engage in music making, iterative contacts created a daunting quantity of data. But there was poetry in participant data. These self-perceived non-musicians simultaneously demonstrated their musicality in the rhythms of their narrative as they denied that they were musical; this emerged as a means to report the research whereby participants' words combined to tell a non-musician's tale. Compelling narrative revealed a society where educational practice does little to address individual musical development. While each story alone was specific and complex, once the stories became woven together as a complex and contradictory whole, the ballad of the never picked captured the essence of a distanced musicality in our Western society. Narrative drove towards meaning. Through interpretation and detailed qualitative analysis, understandings began to emerge from depths of experience and from friction existing within contradictions. Deep within narrative which evolved over a period of five years were perceptions that led to understandings of our cultural reality. Active involvement in this research became part of an emancipatory process for several participants where mutually reflective acts exposed unnecessary impositions from societal expectations. Participant voices uncover a bifurcated reality wherein the musical development of many individuals is undermined through an ignorance of holistic human potential; this musical-unmusical divide is perpetuated in educational practice.

L’expression « musicalité de la peinture », et tous ses usages dérivés se sont multipliés dans les discours depuis la fin du XIXe siècle. La vivacité de cette métaphore conflictuelle s’est peu à peu diluée en raison du phénomène d’auto-alimentation verbale et opérale dont elle est l’objet. La validation de l’usage d’une telle métaphore suppose donc sa revivification et sa relève par le concept. Elle peut en effet être pensée, par opposition à la musicité, comme part nécessaire (et non présence élargie) de la musique. Elle est alors comprise comme principe d’animation silencieuse et siège du sens et de l’expressivité musicale. Ainsi, en tant que liant et Forme structurante, elle est apte à s’incarner dans d’autres matériaux et notamment le matériau pictural. Elle est reconnaissable dans ce matériau insonore, du point de vue de la production, par l’esthétique de l’Achevé-inachevé qu’elle met en place, et du point de vue de la réception, par l’expérience esthétique spécifique qu’elle provoque, allant vers une compréhension émotive toujours réajustée et infinie de l’œuvre picturale « musicale ». / The expression “musicality of the painting” and all its derivative uses have multiplied in the speeches since the end of the 19th century. The liveliness of this conflicting metaphor is gradually weakened because of the verbal and operative self-supplying phenomena to which it is the subject. The validation of the use of such a metaphor assumes its own revivification and its relief by the concept. It can indeed be considered, as opposed to the musicity, as a necessity (and not an extended presence) to music. It is thus understood as a silent moving principle and as a base for the meaning and the musical expressivity. Therefore, as binder and structuring Form, it is able to be embodied in other materials and in particular the pictorial material. The musicality is recognizable in this quiet material, in terms of production, thanks to the aesthetic of the Complete-incomplete that it sets up, and in terms of the reception, thanks to the specific aesthetic experience it triggers, reaching to an always readjusted, and infinite emotional comprehension of the “musical” pictorial work.

This diploma thesis is divided into theoretical and practical part. The theoretical part contains the characteristics of school age, basic physiology of hearing and voice, describes the development of musical abilities and their classification. It also defines the basic concepts of music psychology, describes some of the basic methodology of music education and addresses issues of motivation at school. The practical part consists of a project for school clubs on "Round the world journey". The project focuses on developing musical skills and abilities through play, building positive relationships within the group and learning about the culture of other nations.

Orientador: Ricardo Goldemberg / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T03:06:21Z (GMT). No. of bitstreams: 1 Signori_PauloCesar_M.pdf: 1831901 bytes, checksum: 2e5824675e396e7f0513beb7d883207b (MD5) Previous issue date: 2009 / Resumo: O Tamba Trio foi um dos grupos que surgiram no Brasil no final dos anos 50 e tem uma trajetória histórica que se estende por mais de quatro décadas. No início da década de 60 era considerado importante representante da 'Moderna Música Popular Brasileira'. O presente trabalho teve por finalidade, inicialmente, reconstruir a trajetória histórica do grupo. Num segundo momento, concentrando-se no recorte 1962-1964, buscou-se traçar o perfil estético-musical do grupo naquele período, a fim de verificar de que forma o Tamba Trio articulou elementos da música popular urbana, da música erudita e do jazz nos arranjos, tendo em vista que os procedimentos musicais e interpretativos adotados pelo grupo nos aproximam da idéia de fricção de musicalidades. Nesse caso, os universos musicais - a música brasileira, o jazz e a música erudita - não se fundem, pelo contrário, os contornos são, por vezes, muito bem delineados. / Abstract: The Tamba Trio was a band that appeared in Brazil in the late 50s and has a historic trajectory extending over four decades. In the early beginning of 60s it was considered an important representative of 'Brazilian jazz'. This research had the objective of initially rebuild the historic trajectory of the band. After that, focusing on the span of 1962-1964, it aimed at tracking the musicalaesthetic profile of the group in that period, in order to verify in which way Tamba Trio handled elements of Brazilian music (mainly samba and bossa nova), classical music, and jazz in their arrangements. It was taking into account the musical procedure and interpretation adopted by the band take us close to the idea of 'friction of musicality': in this case the musical universes -Brazilian music, jazz, and classical music - do not merge, inversely, the boundaries are very often quite highlighted. / Mestrado / Processos Criativos / Mestre em Música

Après une introduction présentant un historique des rapports entre la poésie et la chanson, cette thèse tente de déterminer d’abord ce qui peut faire poésie, en s’arrêtant sur la mise en musique des poèmes, étudiant notamment comment un poème peut devenir une chanson ; ensuite, il sera question de la chanson, de la façon dont on peut la définir comme de son pouvoir évocateur, ce que le chanteur Eric Guilleton appelle « la bande originale de nos vies », qui n’est pas sans conséquences dans la culture et la mémoire populaires. La troisième partie s’arrête sur la musique des mots, et donc sur l’utilisation du son, dans la poésie comme dans la chanson. La quatrième partie présente le rapport des chanteurs à la poésie, ainsi que celui des poètes à la chanson. Les témoignages de poètes et de chanteurs permettent de déterminer si tel art est, ou non, étranger à ceux qui pratiquent l’autre. Enfin, il est question du débat ouvert par Jacques Roubaud au sujet de la poésie aujourd’hui, auquel cette thèse prend part, suivi d’un bref panorama qui amène à déterminer la nature et la place du slam. / After an introduction explores the historical bond between poetry and song, the first part of this thesis tries to define what poetry is and how music is used to transform a poem into a song. The second part then discusses the definition of singing and in particular, its evocative power and its consequences on culture and popular memory : what Eric Guilleton calls “the soundtrack of our lives”. The third part focuses on the musicality of words themselves, and how it is used in both poetry and singing. The fourth part emphasizes the relationship that singers have with poetry and songs, by trying to determine whether artists practicing the poetry can understand and practice the music, and vice-versa. This is emphasized through testimonials of poets and singers. The thesis concludes with the debate initiated by Jacques Roubaud about what poetry is today, as well as the nature and place of this new form of performance called “slam”.