Notre travail de recherche a pour objectif d’éclairer le parcours logique dissimulé derrière les compositions pour le théâtre de Salvatore Sciarrino, afin de réduire la distance entre l’artiste e le destinataire de ses œuvres. Nous avons réfléchi dans un premier temps aux conditions culturelles qui ont joué un rôle important et décisif dans la création du compositeur pour ensuite nous pencher sur l’observation, l’analyse et la compréhension de son premier essai d’esthétique : Le figure della musica da Beethoven a oggi. L’analyse des formes musicales individuées et formalisées par Sciarrino s’est révélée conséquente pour :a. mettre en évidence la forma mentis du compositeur et les innombrables aspects de sa personnalité ;b. déceler l’ensemble de normes et de lois qui sont à la base de son langage organique.Sans nous engager dans le domaine sémantique de la musique, nous avons néanmoins réfléchi avec Sciarrino sur le langage musical et sur la question de sa communication. La recherche du compositeur se présente en fait comme un cas particulier de création d’un langage conçu pour le domaine artistique en général et non pas exclusivement pour le domaine musical.Afin de retracer les aspects les plus singuliers de son travail artistique, nous avons mis l’accent sur l’un des concepts fondamentaux de son enseignement : la musique découle entièrement de la réalité sonore qui nous entoure et qui en constitue l’essence. L’événement sonore, conçu en tant qu’organisme vivant, renvoie à l’idée de Sciarrino d’une écoute écologique, qui traduit la faculté de transformation des sons naturels dans le langage musical, à travers une écoute en perspective.Le découpage dramatique et dramaturgique mis en œuvre par le compositeur propose à l’auditeur et à l’interprète de sa musique un véritable travail de perception, à la fois du texte et de la musique, et les plonge dans un monde caractérisé par l’incertitude et l’imperceptibilité. D’où l’originalité de sa recherche musicale et de ses projets dramaturgiques, qui n’ont pas pour objectif de faire coïncider la réalité visuelle avec la réalité sonore, mais de l’évoquer à travers des sons imperceptibles, à la limite du silence. / The goal of this research is to shed light on the logical trail that is hidden behind Sciarrino’s compositions for theater; it will help us reduce the distance between the artist and the recipient of his works. At first, we will ponder the cultural circumstances, which played an important and decisive part in the composer’s artistic creations. Then, we will devote time to observe, analyze and understand his first writing on aesthetics : Les figure della musica da Beethoven a oggi.The analysis of the unique musical forms created by Sciarrino will prove useful as we :a. reveal the forma mentis of the composer and the innumerable aspects of his personality ;b. trace his organic language back to the system of norms and laws from which it originates.Without involving ourselves in the category of musical semantics, we will nonetheless consider musical language and its levels of communication. In fact, Sciarrino’s research appears as the special instance of a language that is being created for the artistic world in general and not exclusively for the musical world.In order to recount the most singular aspects of his artistic work, we will focus on one of the fundamental concepts of his teachings : that music derives entirely from the sonic reality, which surrounds us and which therefore constitutes its essence.The sonic event, conceived as a living organism, refers to the idea of ecological listening. It is the faculty of transforming natural sounds within a musical language, by listening in perspective.The dramatic and dramaturgic division put in place by Sciarrino offers the listener and the performer of his music a study on perception, of both text and music, and immerges them in a world characterized by uncertainty and imperceptibility. Hence the originality of his musical research and dramaturgic project, which goal is not to make the visual reality coincide with the sonic reality, but to evoke the former with imperceptible sounds, ones that border on silence.

A pesquisa tem o intuito de explorar a noção de \"Presença\", que é amplamente estudada no campo das artes da cena e em performance art. Essa noção é emancipada a um dispositivo conceitual criativo nas áreas da música e de arte sonora. Passando por questionamentos acerca da performance musical, contrapõe o conceito de obra à ideia de impureza, que surge como um território propício para a investigação do conceito de presença. Para isso, é levantada uma definição desse conceito, balizada em estudos teatrais e filosóficos, que possibilitam a abertura de um campo de estudos em criação e performance sonora. Dentro desse contexto, são feitas reflexões sobre artistas que buscam relacionar seus trabalhos a elementos extramusicais, e que, de alguma forma, tangenciam o conceito de presença que fora delineado. / The research aims to explore the notion of \"presence,\" which is widely studied in the stage arts and performance art. This notion is emancipated to a creative conceptual device in the areas of music and sound art. Through discusses about the musical performance, the research opposes the concept of work to the idea of impurity, which appears as a breeding ground for the investigation of the concept of presence. Therefore, it is raised a definition of this concept, rooted by theatrical and philosophical studies, which allows the opening of a field of sound studies about performance and composition. In this context, reflections are made about artists who seek to relate their work to extramusical elements, and that, somehow, are related to the concept of presence that had been outlined by this research.

Engaging in the music set of one’s favorite artist or DJ is oftentimes leading to the result of a powerful and euphoric felt experience, a sensation partly also induced from dancing in beat to the music. In an attempt to simulate a similar dance experience, this user-study examines when a user is let to dance in rhythm to a music playback and in addition, in control of a music playback tempo through the generated dance movements. A proof-of-concept prototype was built and tested in an initial study, followed by a main study where the prototype had been modified and 12 participants participated. A questionnaire was given containing various question statements to be rated through a Likert-scale regarding their subjective experience. Open-ended questions were also included to collect their own opinions. From the results, an enhanced engagement and enjoyment of the music could be identified when being able to manipulate the tempo. / Att engagera sig i ett musik-set av ens favoritartist eller DJ leder ofta till resultatet av en kraftfull och euforisk känsloupplevelse, en känsla delvis framkallat av att man dansar i takt med musiken. I ett försök att simulera en liknande dansupplevelse undersöker denna användarstudie när en användare dansar i rytm till musik och dessutom är i kontroll av tempot genom de skapade dansrörelserna. En proof-of-concept prototyp konstruerades och testades i en första studie, följt av en huvudstudie där prototypen hade modifierats och 12 deltagare deltog. Ett frågeformulär gavs med olika frågor som skulle bedömas via en Likert-skala, med avseende på deras subjektiva erfarenhet. Öppna frågor ingick också för att samla deras egna åsikter. Från resultaten kunde ett ökat engagemang och en förhöjd njutning av musiken identifieras när man kunde manipulera tempot.

The purpose of this research is to understand the senses of the sound practice called “música propia” (own music) in the ontology of Misak amerindian collective, that inhabits the southwest of Colombia, through an ethnography. The central concerns were triggered during a dialogic relationship in a participant observation that was modulated by the visual and auditory perceptions. These are the main two points: what do the Misaks call “música propia”, and what do they mean with the frequent claim that “música propia” differs from the "chirimía". The latter consists of a type of musical ensemble that has been associated with festive and catholic practices which manifests itself in different variations, common near the Misak territory and in other regions of the country. The sonority of the “música propia” comes from the mixing of two flutes timbres and two or more drums, whose sounds refer to the presence of non-human alterities performed in public and ritualized events within what Misaks call the “Ciclo de Vida” (Life Cycle). Drawing from performance studies, and on the discussion of epistemologies of sound in ethnomusicology and anthropology of music (Seeger, Feld, Bastos), I propose that the idea of cosmo-sonic (Stein) is a possibility to understand the música propia. Sonoro-performatic categories, socio-cosmological conceptions and the ideal principles of being Misak are all articulated within the Misak’s cosmo-sonic. In this sense, the Misak cosmo-sonic is a sonic ontology that enters cosmopolitical scene when disputing with other worlds its existence. One of these worlds is in the process of patrimonialization of the type of ensemble of “chirimía caucana” that is underway and intendes to include in it the música propia. Here I interpret this attempt of patrimonialization as a state’s mechanism of simplification supported by global policies that tries to incorporate the música propia within a standardized logics. It is a hegemonic form of the ontology of modernity that is not detached from the coloniality of power, and which is revealed in the effects of the interactions of subjects. Faced with this process, some Misak musicians have reacted and, based on the field of cosmopolitics, these reactions are taken in here as an indicator of an ontological conflict. / El objetivo de esta investigación es, mediante una etnografía, comprender los sentidos de la práctica sonora de la “música propia” en la ontología del colectivo amerindio misak, que habita en el sudoeste de Colombia. Las inquietudes centrales fueron provocadas durante la relación dialógica en la observación participante, modulada por lo visual y lo auditivo, concretándose en las dos siguientes: qué es lo que los misak llaman música propia y a qué se refiere el frecuente esclarecimiento de que la música propia se diferencia de la “chirimía”. Esta última consiste en un tipo de conjunto musical que ha estado relacionado con prácticas festivas y católicas, y que se manifiesta en diferentes variaciones, comunes en las proximidades del territorio misak y en otras regiones del país. La sonoridad de la música propia surge del trenzado tímbrico de dos flautas y dos o más tambores, cuyos sonidos remiten a la presencia de alteridades no humanas performadas en eventos públicos y ritualizados dentro de lo que los misak llaman el Ciclo de Vida. Basado en los estudios de performance, y en la discusión sobre epistemologías sonoras en la etnomusicología y en la antropología de la música (Seeger, Feld, Bastos) planteo que la idea de cosmosónica (Stein) es una posibilidad de entender la música propia. En la cosmosónica misak se articulan categorías sonoro-performáticas, las concepciones sociocosmológicas y los principios ideales del ser misak. En este sentido, la cosmosónica misak es una ontología sonora que entra en escena cosmopolítica (De la Cadena, Blaser) al disputar con otros mundos su existencia. Uno de estos mundos es el proceso de patrimonialización del conjunto de chirimía caucana que está en curso y pretende incluir en él a la música propia. Aquí interpreto esta tentativa de patrimonialización como un mecanismo de simplificación del estado apoyado en políticas globales, que intenta incorporar a la música propia dentro de unas lógicas estandarizadas. Se trata de una forma hegemónica de la ontología de la modernidad que no se desliga de la colonialidad del poder, y que se revela en los efectos de las interacciones de los sujetos. Frente a este proceso, las reacciones por parte de algunos músicos misak se revelan en el campo de la cosmopolítica como un conflicto ontológico.

L’environnement sonore de la région de La Roche-Bernard en Haute-Bretagne arrive, à la fin du 19e siècle, dans une période de changements importants qui accompagne le déclin d’une société rurale traditionnelle. Une reconstitution de cet environnement disparu s’avère compliquée, partielle et subjective, compte tenu de la disparité des sources d’information disponibles. Basée principalement sur des enquêtes orales complétées par des recherches en archives, cette étude permet, plutôt que d’établir les relations exactes des sons les uns avec les autres, de réfléchir à une catégorisation qui prenne davantage en compte leur perception et leur émission, ou plus exactement leurs fonctions, usages et interprétations. Le classement qui en découle tient de surcroît compte du caractère traditionnel ou folklorique des sons retenus. Cette manière d’inventaire, qui n’est pas exhaustif, repère cependant dans un second temps les moments de rupture où un type d’environnement sonore disparaît et cède la place à un autre. Une chronologie générale établit enfin, dans la société rurale traditionnelle étudiée, les éventuels rapports entre sa disparition et l’évolution de son environnement sonore. / At the end of the 19th century, the sonic environment of the region of La Roche-Bernard in Upper Brittany was affected by a period of important modifications which accompanied the decline of traditional rural society. A reconstitution of this disappearing environment is necessarily complex, partial and subjective with regard to the disparity of the available resources. This study, principally based on oral interviews supplemented by archive research, rather than establishing the exact relationships between sounds, opens up reflection around a possible categorization which principally considers their perception and emission, or more precisely their functions, usage and interpretations. In addition, the resulting classification takes into account the folklore or traditional character of the sounds studied. This manner of inventory, which is non exhaustive, does however reveal, on closer inspection, the periods of change where one type of sonic environment gives place to another. Lastly, a general chronology establishes possible links between the disappearance and the evolution of the sonic environment in the traditional rural society studied.

A pesquisa tem o intuito de explorar a noção de \"Presença\", que é amplamente estudada no campo das artes da cena e em performance art. Essa noção é emancipada a um dispositivo conceitual criativo nas áreas da música e de arte sonora. Passando por questionamentos acerca da performance musical, contrapõe o conceito de obra à ideia de impureza, que surge como um território propício para a investigação do conceito de presença. Para isso, é levantada uma definição desse conceito, balizada em estudos teatrais e filosóficos, que possibilitam a abertura de um campo de estudos em criação e performance sonora. Dentro desse contexto, são feitas reflexões sobre artistas que buscam relacionar seus trabalhos a elementos extramusicais, e que, de alguma forma, tangenciam o conceito de presença que fora delineado. / The research aims to explore the notion of \"presence,\" which is widely studied in the stage arts and performance art. This notion is emancipated to a creative conceptual device in the areas of music and sound art. Through discusses about the musical performance, the research opposes the concept of work to the idea of impurity, which appears as a breeding ground for the investigation of the concept of presence. Therefore, it is raised a definition of this concept, rooted by theatrical and philosophical studies, which allows the opening of a field of sound studies about performance and composition. In this context, reflections are made about artists who seek to relate their work to extramusical elements, and that, somehow, are related to the concept of presence that had been outlined by this research.

Made available in DSpace on 2016-04-28T20:38:50Z (GMT). No. of bitstreams: 1 Altieres Edemar Frei.pdf: 966537 bytes, checksum: c6290cc3df33b7dabeafa1f1c68a23e4 (MD5) Previous issue date: 2013-11-22 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research which has as its final stop the present essay-dissertation had as its point of departure an investigation concerning the means and the ways of subjectivity crossed, involved, forged and reinforced by the daily movements displayed by the citizens in São Paulo´s underground (considered the most crowded underground system in the world in its peak hours). We understand that in the current stage of sophistication in the control society, in a time defined by some as late capitalism or economic globalization, the politics concerned with accommodating, conditioning and piling up the citizens-users of the underground transportation system demand more emphasis and aesthetical elegance than the semiotic strategies have provided up to now. In our research, we state that biopower politics are being applied in the underground transportation system, and those politics seem to be of high relevance not only to its own operations, as well as to the urban configuration. In this sense, we consider the underground transportation system as a state-device. The underground is a fold of São Paulo metropolis in state of metastasis. Our investigative method was anchored by the theoretical references able to provide lights and follow our hypothesis, and also by the ethnographic incursions done in order to gather samples of the life gapsdisplayed over the electric tracks: stereotypes, boredom, lines of escape, dialogues biopolitical samples, in a wider sense. As results of this investigation, we also present single propositions of intervention on the daily life of underground users, with the suggestion of occupying its sonic territory through a project of audio compositions specially produced to be accessed during the underground trips / A pesquisa que desembarca neste formato de ensaio-dissertação partiu do objetivo de investigar os Modos e Modelos de Subjetivação atravessados, envolvidos, forjados e reforçados em meio aos deslocamentos diários de cidadãos no Metrô de São Paulo neste que já é considerado o mais superlotado do mundo, com mais de dez passageiros por metro quadrado em horários de pico. Entendemos que no atual estágio de refinamento da chamada sociedade de controle, em tempos definidos por alguns de capitalismo tardio ou mundialização da economia, as estratégias para acomodação, condicionamento, empilhamento dos cidadãos-usuários do Metrô exigem mais do que pode alcançar o regime de signos ou as estratégias semióticas até então utilizadas com ênfase e certa elegância estética. Justificamos que são aplicadas estratégias do chamado biopoder de relevância ímpar para a operação do Metrô e, em nossa hipótese, de relevância para a própria configuração urbana. Consideramos, desta forma, o Metrô como um dispositivo-Estado. O Metrô é dobra de São Paulo megalópole em metástase. Nosso método investigativo pautou-se no levantamento ou cartografia de referenciais teóricos que pudessem ilustrar e acompanhar a hipótese levantada, bem como de incursões etnográficas em que foi possível colher amostras das chamadas frestas de vida sobre trilhos eléctricos: clichês, tédio, linhas de fuga, diálogos. Enfim: amostras biopolíticas, em seu amplo sentido. Apresentamos também, entre os resultados obtidos, singelas propostas de intervenção no cotidiano dos usuários do Metrô, com a sugestão da ocupação do seu Território Sonoro, por meio de um projeto-piloto de confecção de conteúdos de áudio para serem acessados durante as viagens de Metrô

Depuis plusieurs dizaines d’années, les cristaux photoniques et phononiques font l’objet d’études poussées notamment enoptique, électromagnétisme et en acoustique. Ces Métamatériaux, constitués de diffuseurs périodiques, ont despropriétés impossibles à observer pour des matériaux usuels et peuvent par exemple, courber les rayons où interdire latransmission des ondes sonores sur certaines gammes de fréquences (bandes interdites). En agissant sur lescaractéristiques géométriques du cristal il est possible de combiner les pertes en transmission liées à la période, à deseffets de résonances plus basses fréquences liés aux diffuseurs (rigide, résonnant...) et obtenir des coefficients de transmission quasi nuls, où d’absorption quasi totale sur de larges bandes de fréquences. Deux métamatériaux sont étudiés, visant à trouver des solutions alternatives à des problématiques rencontrées en acoustique et utilisant un réseau périodique d’inclusions résonantes. Le premier est un cristal sonique utilisé comme barrière acoustique et créé à l’aide de cannes de bambou percées comportant des pertes en transmission basses fréquences. Le second est un panneau de matériau poreux enfermant des inclusions résonantes et offrant une absorption acoustique quasi totale pour des longueurs d’ondes jusqu’à 10 fois supérieures à l’épaisseur du matériau. Les comportements de ces deux dispositifs ont été étudiés théoriquement, expérimentalement et numériquement via plusieurs méthodes qui ont permis de mettre en évidence leurs excellentes performances pour des applications acoustiques dans l’audible. / Since several decades, photonic and phononic crystals are the center of numerous studies and in particular in the optics,electromagnetism and acoustics fields. These metamaterials, created by a periodic array of inclusions, have propertiesimpossible to obtain with usual materials. They can, for example, bend the waves or stop the waves for some frequencyranges (band gap). By changing the characteristic of the unit cell, it is possible to combine transmission losses linked to theperiodicity, with low frequency resonances linked to the type of scatterer (rigid, resonator...) and obtain very low transmissioncoefficient or very high absorption coefficient on very large frequency ranges depending on the device. Two metamaterialsdevices are studied to find alternative solutions, for acoustics problems, by using periodic array of scatterers. The first deviceis a sonic crystal used has an noise barrier and built with drilled bamboo rods, that have low frequency transmission losses(around 300 Hz and around 2000 Hz). The second device is a periodic array of resonant inclusions embedded in a porousplate that can absorb almost all the waves for a wide frequency range that correspond to wavelength up to 10 times bigger than de thickness of the plate. The behavior of this two devices are studied theoretically, experimentally and numerically by using several methods (Plane Waves Expansion, Multiple Scattering Theory for the first device and finite element method for the second). All this methods allow to bring out the very good performances of this metamaterials devices in audiblefrequency range.

La voie de signalisation du morphogène Sonic Hedgehog (Shh) met en jeu des processus complexes étudiés, jusque là principalement, au cours du développement embryonnaire, où Shh est primordial pour le développement du tissu nerveux. Shh transmet son action via le complexe-récepteur Patched/Smoothened (Ptc/Smo) et le facteur de transcription Gli1, et interagit avec la glycoprotéine Hip (Hedgehog interacting protein) proposée comme antagoniste des protéines Hedgehog. Des analyses biochimiques ont permis de montrer qu'en plus de la forme membranaire, une forme soluble de Hip existe, notamment dans le cerveau adulte, et inhibe la voie de signalisation Shh in vitro. Par ailleurs, une cartographie de Hip dans le cerveau de souris embryonnaire (E13.5) et adulte supporte l'hypothèse que Hip interviendrait dans la régulation négative de la voie Shh. Enfin l'expression de Hip dans des cellules exprimant l'enzyme de synthèse de l'oxide nitrique (NO) dans le cerveau mature suggère des interactions entre les voies de signalisation impliquant respectivement Hip et le neuromédiateur gazeux NO. Pour étudier le rôle de Shh in vivo sur les progéniteurs neuraux du cerveau mature, la protéine recombinante ShhN a été injectée par stéréotaxie dans le ventricule latéral (VL) de souris adultes. En plus d'une forte activation de la voie Shh, reflétée par l'augmentation de la transcription de Ptc et Gli1 dans plusieurs régions cérébrales, telles que la zone sous ventriculaire (ZSV), le striatum, le septum latéral, le corps calleux et le cortex cérébral, le nombre de cellules ayant incorporé le marqueur de prolifération Bromodésoxyuridine (BrdU), est augmenté d'un facteur 3-4 dans le corps calleux et le cortex cérébral des souris ayant reçu la protéine Shh en comparaison avec des souris contrôles. Une telle augmentation n'a pas été observée dans la ZSV, une aire de neurogenèse majeure chez l'adulte. Par ailleurs, deux jours après l'injection de ShhN, un nombre significativement plus important de cellules en prolifération exprimant le protéoglycan membranaire NG2, marqueur des précurseurs oligodendrocytaires, est observé dans le cortex cérébral des souris ayant reçu la protéine ShhN. Afin d'analyser l'effet à long terme de la surexpression continue de la protéine Shh, un vecteur adénoviral Ad5-hShh-ires-eGFP destiné à exprimer la forme humaine de la protéine Shh a été développé puis caractérisé in vitro. Ce vecteur a ensuite été délivré dans le VL de cerveau de souris adultes et quatre jours après, la protéine Shh a été détectée dans les régions épendymaire et subépendymaire. Vingt-six jours après l'injection du vecteur Ad5-hShh-ires-eGFP, la voie Shh est toujours active comme révélé par la présence de nombreuses cellules exprimant le transcrit Gli1 dans plusieurs aires cérébrales. Une augmentation de 50% du nombre de cellules BrdU+ exprimant le marqueur oligodendroglial dm20+ est détectée dans le cortex cérébral et le corps calleux des souris ayant reçu le vecteur adénoviral Ad5-hShh-ires-eGFP par rapport aux souris ayant reçu le vecteur contrôle Ad5-eGFP. Dans leur ensemble, ces résultats suggèrent la capacité de la voie Shh à stimuler les cellules oligodendrocytaires pré-matures dans plusieurs régions du cerveau de rongeurs adultes. La modulation de cette voie apparaît donc potentiellement intéressante pour le traitement des maladies affectant le lignage oligodendrocytaire.

We have previously shown that the arcuate organization of cell fates within the ventral midbrain critically depends upon the morphogen, Sonic Hedgehog (SHH), which is secreted from a signaling center located along the ventral midline, called the floor plate (FP). Thus, it is ultimately the specification of the FP that is responsible for the patterning and specification of ventral midbrain cell fates. Interestingly, we have found that the chick midbrain FP can be divided into medial (MFP) and lateral (LFP) regions on the basis of gene expression, mode of induction and function. Overexpression of SHH alone is sufficient to recapitulate the entire pattern of ventral cell fates, although remarkably it cannot induce MFP, consistent with the observation that the MFP is refractory to any perturbations of HH signaling. In contrast, overexpression of the winged-helix transcription factor FOXA2/HNF3[beta]robustly induced the MFP fate throughout ventral midbrain while blocking its activity resulted in the absence of the MFP. Thus, by analyzing the differences between SHH and FOXA2 blockade and overexpression, we were able to attribute functions to each the LFP and the MFP. Notably, we observed that FOXA2 overexpression caused a bending of the midbrain neurepithelium that resembled the endogenous median hinge-point observed during neurulation. Additionally, FOXA2 misexpression led to a robust induction of DA progenitors and neurons that was never observed after SHH expression alone. In contrast, we found that all other ventral cell types required HH signaling directly, at a distance and early on in the development of the midbrain when its tissue size is relatively small. Additionally, HH blockade resulted in increased cell-scatter of the arcuate territories and in the disruption of the regional boundaries between the ventral midbrain and adjacent tissue. Thus, we bring new insight into the mechanism by which midbrain FP is specified and ascribe functional roles to its subregions. We propose that while the MFP regulates the production of dopaminergic progenitors and the changes in cellshape required for bending and shaping the neural tube, the LFP appears to be largely responsible for cell survival and the formation of a spatially coherent pattern of midbrain cell fates. / text