Le présent travail prend appui sur une synthèse de travaux déjà effectués dans l’équipe LaLIC (Langues,Linguistiques, Informatique, Cognition) ; il insiste sur l’articulation entre différents concepts, centrés sur la notion deréférentiel. Ma thèse fait partie d’une chaîne où sont approfondis certains concepts rendus de plus en plus opératoires.Mon travail prend appui sur les travaux sur le temps et l’aspect d’E. Benveniste, A. Culioli et J.-P. Desclés, enparticulier, il s’inscrit le développement de la théorisation du temps et de l’aspect entreprise par J.-P. Desclés et Z.Guentchéva. Dans cette approche, il existe cinq classes de concepts importants :1) Trois notions aspectuelles de base constitutives d’un procès : état, processus, événement ;2) Aspectualisation d’un procès sur un intervalle topologique d’instants ;3) Énonciation conceptualisée comme processus inaccompli ;4) Repérage par identification, différenciation et rupture ;5) Prise en compte de différents référentiels.Certains concepts avaient déjà reçus une formalisation rigoureuse. Au fil des analyses de plus en plus diversifiées, lanotion de référentiel est devenue de plus en plus importante dans le dispositif théorique et dans les descriptions associées.Il m’a donc été demandé de mieux préciser cette notion de référentiel en en proposant une approche formalisée quipermettrait ultérieurement des traitements informatiques. J’ai replacé cette notion dans le cadre théorique de latemporalité appréhendée par les langues en argumentant son introduction et en formalisant ses concepts. Afin de mieuxéprouver le caractère opératoire des concepts formalisés, il est apparu que leurs traductions dans un langage informatiquepermettraient de prouver leurs caractères réellement opératoires et de jeter des ponts solides orientés vers une utilisationopérationnelle des analyses linguistiques que nous proposons. / This dissertation support a synthesis of already accomplished works at the laboratory LaLIC(Languages, Linguistics, Informatics, Cognition) ; it emphasizes the articulation among different concepts, centered onthe notion of referential. My thesis forms a part of a chain where some rendered concepts are deepened more and moreoperatively. My work supports the works about the tense and the aspect of E. Benveniste, A. Culioli and J.-P. Desclés, inparticular, it is in line with the development of the theorization about the tense and the aspect proceeded by J.-P. Desclésand Z. Guentchéva. In this approach, there are five types of important concepts:1) Three basic aspectual notions constituent of a process (situation): state, process, event;2) Aspectualisation of a process (situation) on a topological interval of instants;3) Conceptualized enunciation as imperfective process;4) Reference by identification, differentiation and rupture;5) Recognition of different referentials.Some concepts are already received rigorous formalizations. Over the analyses being increasingly diversified, the notionof referential becomes more and more important in the theoretical plan and in the associated descriptions. It wasdemanded to me to improve the specification of this notion of referential while I proposed a formalized approach thatwould admit the computing treatments later. I put this notion within the theoretical framework of the temporality whichapprehended by the languages while arguing its introduction and while formalizing their concepts. To better perceive theoperative character of the formalized concepts, it was their translations in the computer language which enables to provetheir effectively operative characters and to dispose the solid link oriented towards an operational utilization of thelinguistic analyses that we propose.

MA, Faculty of Humanities, University of the Witwatersrand, 2012 / This research-report presents a theoretical exploration of musical encoding which has its basis in general semiotic theory. By examining what this reveals about the problematic and mysterious issue of music’s meaning, I argue that the most visceral and direct form of it is found in the manner in which the composer shapes a certain kind of temporal experience (erlebnis) which is engendered by the music itself. This reveals that sensations of goal-directed movement, closure, tension and release are shaped in a phenomenological way against a background of continuity that is established by metrical cyclicity and phrasal periodisation. As a result, the interpretation of certain kinds of accumulative structural effects generated by the gestural (rhythmic and melodic/harmonic) inflections of the temporal and intonational planes become meaningful in a rhetorical, affective (affekten) and topical sense. A study of Ngqoko (Xhosa) overtone-music, as a case study into African indigenous music (as opposed to the examples cited of Western art music), shows that an intensification of the relationships between pitch and rhythm that exist in speech-tone results in the formation of melody and a culturally embedded vocabulary of intonations. I argue that this resultant edifice exists in the music of most cultures and that this ultimately serves as the basis of musical encoding. Therefore musical meaning develops in ways that are completely intrinsic to music.