Qu’est-ce que l’invention ? Ce travail repose la question dans l’horizon du développement de la technoscience contemporaine, lorsque la frontière entre les notions de production, de découverte et d’innovation se brouille. Il s’installe au carrefour des sciences cognitives (l’énaction), de la philosophie (le post-kantisme de Fichte) et de la technologie (thèse de la technique anthropologiquement constituante). C’est le paradigme de l’énaction qui fournit l’impulsion initiale : il permet d’une part de reposer le rapport entre un organisme et son environnement, d’autre part de repenser les oppositions conceptuelles reçues à partir de la « relation Étoile » qui montre qu’il n’y a pas d’extériorité entre les termes. L’énaction permet donc d’étayer la définition de l’invention comme rapport à ce qui n’est pas donné. Il faut alors dégager l’invention des « manèges » dans lesquels elle a souvent été pensée : découverte ou création, exhumation ou production, etc. La philosophie de Fichte confirme la nouveauté épistémologique d’une telle approche : la doctrine de la science est cette démarche qui fait émerger le Moi et le non-Moi dans l’énonciation de ce qui ne se trouve pas là comme préexistant sans pour autant le créer ex nihilo. Enfin, la dernière partie de ce travail propose une approche organologique de l’invention, comme rapport entre organes, organismes et organisations : il s’agit toujours d’épistémologie, dès lors que celle-ci est bien la pensée de la mise en situation du connaissant dans l’institution pragmatique de ce qu’il décrit, c’est-à-dire de ce qu’il fait-venir – ce que dit l’invention dans son étymologie. / What is invention? This work raises the question in the midth of the contemporaneous developments of technoscience, where the frontiers between production, discovery, and innovation are blurring. It is at the crossroads of cognitive science (namely enaction), philosophy (Fichte’s philosophy), and technology (thesis of technology as anthropologically constitutive). The paradigm of enaction triggers the first steps of demonstration; it allows on the one hand to reset the relationship between organism and environment ; on the other hand, to cast new thoughts on traditional conceptual oppositions, where the « Star relationship » shows that there are no exteriority between such terms. Therefore, enaction strengthens the definition of invention as relation to what is not given. Hence the task to free inventions from alternatives: discovery or creation, exhumation or production, etc. Fichte’s philosophy brings confirmation to the epistemological novelty of such an approach: the Theory of science is precisely this conceptual move to have Ego and non-Ego emerge jointly in the enunciation of what is not there, not preexisting, without being inexistent and created ex nihilo. The fourth and last part proposes an organological approach of invention, as being a relation between organs, organisms, and organisations: it is still a matter of epistemology, when it is thought as a reflection on the situatedness of the knower caught in the pragmatic institution of what she describes, that is to say what she makes to come – what is invention according to etymology.

The Jew’s harp is unique among instruments, and in its apparent simplicity it is deceptive. It has been adapted to a wide array of cultural contexts worldwide and a diverse range of playing techniques, which, upon closer examination, reveal much about the cultures that generate them. Drawing on perspectives from organology, ethnomusicology, comparative musicology, ethnography, material culture, and the anthropology of the body, I situate my approach to the study of musical instruments as one that examines the object on three levels: physically (the interaction between the human body and the body of the instrument), culturally (the contexts in which it is used), and musically (the way it is played and conceptualized as a musical instrument). Integrating written, ethnographic, and musical evidence, this study begins broadly and theoretically, then gradually sharpens focus to a general examination of the Jew’s harp, finally looking at a single Jew’s harp tradition in detail. Using a case study of the Balinese Jew’s harp genggong, I demonstrate how the study of musical instruments is a untapped reservoir of information that can enhance our understanding of the human relationship with sound. / Arts, Faculty of / Music, School of / Graduate

The oboe, which first came into being in the middle of the seventeenth century in France, underwent a number of changes throughout the following century. French instruments were influenced both by local practices and by the introduction of influences from other parts of Europe. The background of the makers of these instruments as well as the physical properties of the oboes help to illuminate the development of the instrument during this period. The examination of measurements, technical drawings, photographs, and biographical data clarify the development and dissemination of practices in oboe building throughout eighteenth-century France. This clarification provides new insight into a critical period of oboe development which has hitherto not been exclusively addressed.

At the Edinburgh University Collection of Historical Instruments (EUCHMI) there are two virginals where the strings are plucked extremely close to 1/4 of their length over a substantial part of the compass. Principles of Acoustics dictate that in such cases the fourth partial of the resulting sound is unlikely to be produced with any appreciable magnitude. Similar situations affecting different partials also occur when the plucking point is located at other fractional parts of the string length, such as 1/3 or 1/5. A database of plucking points, based on museum catalogues, was created and analysed, so that pitch regions are identified where such phenomena are likely to occur for different categories of instruments. The main cue used in harpsichord tuning is related to beat phenomena produced by partials of two simultaneously played notes, whenever there is a small difference between their frequencies. Partial four being relevant for major thirds and perfect fourths, these intervals may result less accurate, or less reliably tuned, in instruments like the above virginals. Historical sources were surveyed for expressions which describe the cues that tuners were supposed to use in identifying the ideal of an interval. Although expressions such as Schwebungen are mostly related with beats, broader meanings are discussed. Hints of the use of alternative, not beat-related cues, are identified. A series of practical tuning experiments was performed in which selected intervals were tuned, the accuracy of the tuning process being assessed from recordings, which were subjected to spectral analysis. Only cues that could be related to historical sources were used. The effects of factors such as pitch, pitch region, instrument, interval type, and particularly the potential absence of relevant partials were investigated, statistical methods playing a substantial role in the research. A logbook was created, where the experimenter detailed the cues used for each tuned interval in one of the experiments. The recorded information provided some insight into a number of strategies a tuner may use for coping with difficulties in cases of absent or weak partials. The impact of inharmonicity on the exact size of just intervals was also examined, both on theoretical grounds and based on data from the experiments. A number of case studies were included, where a comparison was made between missing partial notes predicted from plucking points and the degree of absence of those partials in the actual spectra for some historical instruments.

O trabalho aqui apresentado observa a possibilidade de liberdade criativa através da interface musical na obra de arte bricolada com meios eletrônicos: a artemídia. Segundo o filósofo Vilém Flusser, perdemos a capacidade de criar e desenvolver o sentimento livre, uma vez introduzida a tecnologia em nossas vidas. Essas caixas pretas, as quais não sabermos ao certo o seu conteúdo, nos obriga a executar sempre a mesma rotina maquínica, nos aprisionando. Com o desenvolvimento da interface musical na artemídia essa realidade muda e, graças a ela, temos a possibilidade e a liberdade criativa restituída. / The work presented here looks at the possibility of creative freedom through the music interface in the art work mixed with electronic media: the artmedia. According to philosopher Vilém Flusser, we lost the ability to create and develop the free feeling once introduced the technology in our lives. These \"black boxes\", which we do not know sure for your inside, require us to always perform the same machined routine, imprisoning us. With the development of musical interface in artmedia that reality changes, and thanks to it, we have the opportunity and creative freedom restored.

Dans l'optique d'une organologie de la performance, on commence par élaborer, autour de la notion de système haptique d'un instrument de musique, un cadre taxinomique et une typologie aboutissant à un questionnement sur l'identité conceptuelle d'un instrument-objet. Une approche inductive sur le cas exemplaire de la guitare permet alors de définir une distance potentielle dans l'interaction instrument/instrumentiste ; puis, par modélisation d'extraits de pièces musicales, de considérer l'optimisation gestique comme un argument de distanciation qui consiste en une abstraction dans le champ logique de l'espace haptique (géométrisation). Pour finir, on rend compte de l'aperception du musical par l'instrumentiste, dans le cadre d'une exécution et au travers de son instrument, par un modèle dichotomique où les concepts de processus de solmisation et de vectorisation s'avèrent proportionnels aux aspects stylistiques des œuvres et de leurs interprétations. / From the perspective of an organology of performance, we first developed, around the concept of haptic system for a musical instrument, a taxonomic framework and typology leading to a questioning about the conceptual identity of an instrument-object. An inductive approach to the exemplary case of the guitar allows us to define a potentially distance in the interaction instrument/instrumentalist ; then, by modeling excerpts of musical works, to consider gestural optimization as an argument of distancing which is an abstraction in the logical field of haptic space (geometric). Finelly, we report the apperception of musical by the instrumentalist, as part of a performance and through his instrument, with a dichotomic model where the concepts of solmisation process and vectorization are proportional to the stylistic aspects of the works and their interpretations.

Made available in DSpace on 2015-05-14T12:52:22Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3927411 bytes, checksum: b8bf8ad83fe8ee014d9114380688f167 (MD5) Previous issue date: 2011-05-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The rabeca is a cordophone played with a bow. The introduction of this instrument in Brazil is attributed to the Portuguese and the Spanish. Its farthest origins reach back to the medieval rabeca, which is derived from the Arabian raba. The present Master‟s thesis addresses aspects of the Brazialian Rabeca of the Northeast of Brazil. It begins with a brief history of the rabeca´s European predecessors, which presents visual characteristics in common with a type of four chord rabeca typically found in the Northeast of Brazil, denominated here as rabeca-violin. The present research identifies the use of violins by rabeca players, some of these modified and here denominated violin-rabecas. Moreover, this study indicates procedures for the adaptations of rabecas to adhere to the demands of new players who perform on stage. The study also investigates methods used for teaching rabeca at the Felipe Camarão Connection Project in Natal, RN, as well as the manufacturing of the rabecas at Master Cicero‟s workshop. within the same Project. The study describes the process of construction of a rabeca-violin by the Potiguar artisan Janildo Dantas and addresses aspects of his second profession as a rabeca maker. In this same section, reference is made to the work of Paraiban luthier, Fernando Antônio de Souza. Finally, the research presents results of an experiment in musical perception involving a rabeca and a violin, with the participation of 53 students from the Integrated Technical course of Electromagnetics and Geologia at the Federal Institute of Education, Science and Technology of Rio Grande do Norte. This experiment uses the VAS scale for measuring, in conjunction with interviews of rabeca players, researchers and musicians. The objective of this research is to present some cultural aspects of the rabeca in the Northeast, among these, the identification of aspects of culturally mediated perceptions of the rabeca and the violin. / A rabeca é um cordofone tangido por um arco. A introdução desse instrumento no Brasil é atribuída a portugueses e espanhóis. Sua origem mais remota é creditada à rabeca medieval. A presente dissertação aborda alguns aspectos da Rabeca na Região Nordeste. Inicia com um breve histórico sobre os antecedentes da rabeca na Europa. Apresenta características visuais comuns a um tipo de rabeca de quatro cordas muito comum no Nordeste brasileiro, aqui denominada rabeca-violino . Identifica a utilização de violinos por rabequeiros, alguns desses modificados, aqui denominados violinos-rabecas . Indica, ainda, procedimentos para adequação da rabeca a fim de atender à demanda dos novos rabequeiros, adeptos da música de espetáculo. O estudo aborda processos para o ensino de rabeca no projeto Conexão Felipe Camarão na cidade de Natal-RN, bem como a manufatura de rabecas na oficina de luteria Mestre Cícero, do mesmo projeto. Descreve o processo de construção de uma rabeca-violino pelo artesão potiguar Janildo Dantas e aborda aspectos da sua segunda profissão como construtor de rabecas. Na mesma seção, faz referência ao trabalho do luthier paraibano Fernando Antônio de Souza. Finalmente, apresenta o resultado de um experimento de percepção musical envolvendo uma rabeca e um violino, tendo a participação de 53 alunos dos cursos Técnicos Integrado de Eletromecânica e Geologia do Instituto Federal de Educação, Ciência e Tecnologia do Rio Grande do Norte. Esse experimento utiliza uma escala VAS de medição, elaborada a partir de entrevistas com rabequeiros, pesquisadores e músicos. O objetivo da pesquisa consiste em apresentar alguns aspectos culturais que envolvem a rabeca no Nordeste, entre os quais a identificação de aspectos da percepção culturalmente mediada da rabeca e do violino.

For over one hundred years the drum kit has been a driving force in shaping popular music, yet in popular culture the kit is not taken as seriously as other instruments, with drummer jokes abound. This hierarchy is reflected across academia and music literature, where the drum kit is least discussed amongst other instruments commonly found in popular music. Looking within the context of early jazz—one of the first styles of music the drum kit helped shape—historians and publishers were keen to ensure leading horn players told their story, while the drummers, who rarely secured similar levels of fame or recognition, had comparatively little chance to record their story. Detailed histories of the instrument are therefore scarce, incomplete, or riddled with inaccuracies and misunderstandings. This thesis presents a clear and detailed history of the instrument, from its beginnings to its early form in the mid 1930s. I then examine how the early drum kit was represented at the time through recordings, one of the most important methods of documenting how this instrument was used. Finally, I investigate how drummers performing on early drum kits today approach their playing, and how they deal with the problems identified in this thesis. In doing so I used optical character recognition (OCR) on digital archives, newspapers, interviews, magazines, catalogues and photographs from the early twentieth century, much of which has only become available in the past few years. Using these primary sources, I have constructed a reliable history and have unearthed new sources that shed light on the history and development of the instrument. Furthermore, through my own experiences and interviews of current early drum kit players, I have shown how this instrument in its early form is played, and how it differs from the instrument we know today.

La présente thèse porte sur la circulation du rubâb afghan en Asie Centrale et en Occident. Elle s'inscrit dans une perspective anthropologique et historique dont l'objet est de rendre compte de l'évolution organologique et typologique de l'instrument, dans différents pays où il est pratiqué. L'accent est mis sur la genèse de ce luth à table en parchemin, notamment à partir d'analyses comparatives de la morphologie des différents rubâbs centrasiatiques. Grâce à des modélisations et une approche expérimentale innovante, on a examiné les relations structurelles et typologiques entre cet instrument et les autres rubâbs ou luths similaires. On a ainsi pu constater qu’il n’y a aucune filiation entre ces instruments et le rubâb afghan. Un examen approfondi de certaines vièles de ces régions met en évidence des similitudes frappantes avec l’instrument. On a tenté d'apporter une réponse quant à une éventuelle parenté de la vièle jusqu'au luth, hypothèse qui est également envisagée sous l'éclairage de données historiques, philologiques et organologiques. L'analyse comparative des différents instruments repose sur une abondante source iconographique, accompagné de modélisations et d'expérimentations organologiques. Cette recherche souligne les différents types de rubâb afghan, mises en relation avec les exigences des différents répertoires où ils sont utilisés. Enfin on a abordé la pratique du rubâb afghan en Occident, ce qui pose la question des nouveaux moyens mis en œuvre pour assurer une transmission du savoir et des savoir-faire, en l'absence de contact direct ou suivi avec un maître. / This thesis focuses on the diffusion of the Afghan rubâb in Central Asia as well as in the occidental Western countries. It is part of an anthropological and historical perspective, which tends account the organological and typological evolution of the instrument in the different countries where it is practiced. The emphasis is placed on the genesis of the parchment sounding board lute, in particular through morphological comparative analyses of various rubâbs bodies from Central Asia. Thanks to the modelings and an innovative and experimental approach we examined the structural and typological relationships between this instrument and other rubâbs or similar lutes. It has thus been found that there is no filiation between these instruments and the Afghan rubâb. A closer look at some of the bowed lutes from these areas highlights striking similarities with the Afghan rubâb. An attempt has been made to answer the question of a possible relationship between one bowed lute and the Afghan rubâb, a hypothesis which is also considered in the light of historical, philological and organological data. The comparative analysis of the various instruments is based on an abundant iconographic source, accompanied by modeling and organological experiments. This research results in a typology of the Afghan rubâbs, in relation with the requirements of the different repertoires where they are used. Finally, the practice of rubâb in the West has been discussed, under the question of the new means used to ensure the transmission of knowledge and know-how with the absence of direct contact with or follow-up with a master.

O trabalho aqui apresentado observa a possibilidade de liberdade criativa através da interface musical na obra de arte bricolada com meios eletrônicos: a artemídia. Segundo o filósofo Vilém Flusser, perdemos a capacidade de criar e desenvolver o sentimento livre, uma vez introduzida a tecnologia em nossas vidas. Essas caixas pretas, as quais não sabermos ao certo o seu conteúdo, nos obriga a executar sempre a mesma rotina maquínica, nos aprisionando. Com o desenvolvimento da interface musical na artemídia essa realidade muda e, graças a ela, temos a possibilidade e a liberdade criativa restituída. / The work presented here looks at the possibility of creative freedom through the music interface in the art work mixed with electronic media: the artmedia. According to philosopher Vilém Flusser, we lost the ability to create and develop the free feeling once introduced the technology in our lives. These \"black boxes\", which we do not know sure for your inside, require us to always perform the same machined routine, imprisoning us. With the development of musical interface in artmedia that reality changes, and thanks to it, we have the opportunity and creative freedom restored.