Cette thèse s’inscrit à l’interface d’une part de la phonétique et de la phonologie prosodiques et d’autre part de l’analyse du discours. Plus spécifiquement, ce travail a eu pour objet de décrire et d’expliquer les phénomènes relatifs au marquage prosodique de la structure du discours narratif en français. Notre méthodologie s’appuie sur l’analyse d’un corpus de 58mn de parole naturelle issue des narrations de 20 locuteurs français natifs, qui devaient raconter le contenu de BD. D’une part, le corpus a été aligné aux niveaux phonématique, syllabique, lexical et en unités inter-pausales ; des données acoustico-phonétiques ont ensuite été extraites à tous ces niveaux de granularité. D’autre part, nous avons appliqué une segmentation en parties narratives selon les critères du modèle de Labov (1972) qui se base sur des critères sémantiques et informationnels. La mise en correspondance de ces deux analyses a été faite sur deux niveaux structurels : global et local. Les résultats ont démontré l’existence d’un lien entre le découpage séquentiel narratif et les variations à long terme de la mélodie, du débit de parole et de l’intensité. Toutefois ces résultats n’ont pas mis en évidence un effet des variations prosodiques à court terme sur le découpage structurel. Par ailleurs, nous avons pu démontrer, pour chaque domaine prosodique, la réalisation d’une réinitialisation au niveau de l’enchainement narratif. Sans prôner une relation biunivoque entre organisation prosodique et structuration discursive, nos résultats démontrent ainsi que la prosodie, au même titre que la syntaxe ou la sémantique, participe aux marquages de la continuité et de la discontinuité informationnelles. / This thesis is at the interface of, on one hand, prosodic phonetics and phonology and, on the other hand, of discourse analysis. More specifically, this work aims to describe, explain and compare the phenomena related to prosodic marking of the narrative structure of discourse in French.Our methodology is based on the analysis of a 58-minute-long corpus of 20 natural speech narratives by French native speakers, who were asked to tell the content of comics without any warning. On one hand, the corpus was aligned with phonemic, syllabic, lexical and inter-pausales units levels; acoustic-phonetic data was then extracted automatically with all levels of granularity. On the second hand, we applied a narrative segmentation according to the criteria of Labov’s evaluative model (1972) which is based on semantic and informational criteria.The mapping of these two analyzes was made on two structural levels: global and local. The results showed the existence of a link between the narrative sequential segmentation and long-term variations of melody, speech rate and intensity. However, these results did not show an effect in the short term prosodic variations related to the structural segmentation. Furthermore, we demonstrated that for each prosodic domain, the realization of a reset at the narrative junction.Without advocating one relationship between prosodic and discursive organization structure, our results demonstrate, that prosody, as well as syntax or semantics, takes part in marking informational continuity and discontinuity.

Orientador: Maria Lucia Senna Machado Pascoal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T23:26:50Z (GMT). No. of bitstreams: 1 Gado_AdrianoBraz_M.pdf: 3056486 bytes, checksum: a933f5c10e18be7c591f36dfbb5f7576 (MD5) Previous issue date: 2005 / Resumo: Este trabalho tem por objetivo apresentar um estudo de análise em peças de compositores brasileiros que empregaram a técnica de doze sons: Hans Joachim Koellreutter e César Guerra-Peixe. O estudo se justifica por proporcionar o entendimento de obras de relevância histórica no panorama da música do Brasil, porém ainda não exploradas sob o ponto de vista de suas estruturas. A metodologia constou do estudo da história, da teoria e da análise da música no século vinte, das técnicas de análise e das técnicas de composição; da aplicação da análise nas peças, do estudo ao piano e da edição digitalizada das obras manuscritas. A análise está dividida, considerando os aspectos de: motivos e conjuntos; séries e sua utilização; células rítmicas e texturas. A conclusão aponta os processos usados pelos compositores no tratamento original das séries de doze sons e em outras associações de alturas. Com este estudo, espera-se contribuir para maior conhecimento e divulgação da música de compositores brasileiros do século vinte / Abstract: This work aims to present an analysis study of Brazilian composers that have employed the principles of the twelve-tone technique in some of their pieces: Hans Joachim Koellreutter and César Guerra-Peixe. In spite of be part of a relevant historic period in the scenery of Brazil¿s music, this repertory have not been yet explored from the point of view of their structures. The methodology consisted of the study of history, theory and analysis of the twentieth century music; the analysis of the pieces; the study of the pieces at the piano and the realization of the digitalized edition of the manuscripts. The analysis work has considered the following aspects: motives and sets; rows and their application; rhythm cells and textures. The conclusion shows the processes used by composers in an original use of the twelve-tone technique and in other procedures involving different pitch associations. With this dissertation it will be expected more information and spreading of Brazilian composers of the twentieth century music / Mestrado / Mestre em Música

Motor Function Evaluation of Hydrocephalus Children Background: Hydrocephalus constitutes a pathological condition that is manifested through signals and symptoms, including neurological and motor deficits that can result functional ability limitations. However, there are few studies that show the motor function of children with this illness. Objectives: To evaluate the kinetic and functional framework of hydrocephalus children; to identify the condition of muscle tone; to check the static and dynamic functional activities; to verify the association between tone alterations and functional activities in hydrocephalus children. Methods: A cross-sectional, descriptive, exploratory and field study, using qualitative and quantitative approach, performed at the University Hospital in Aracaju city, from August 2009 to March 2010. Results: From 50 evaluated children, 30 (60%) had hypertonia; 10 (20%) were hypotonic; and 10 (20%) showed no muscle tone alteration. The age average was considerably lower in hypertonic children and higher in hypotonic and without tone alteration children. The average of carried through surgeries was more expressive in hypertonic children. Motor sequels were present in 92% of the sample. The static functional activities, as well as dynamic ones, were lower in hypertonic children and higher in hypotonic and normal tone children. Conclusions: Muscle tone exacerbation is more present in hydrocephalus children and motor function is impaired, being the neuropsychomotor development delayed more evident in spastic children group and less pronounced in children with normal muscle tone. / Fundamento: A hidrocefalia constitui uma condição patológica que se manifesta através de sinais e sintomas, incluindo déficits neuromotores que podem resultar em limitações nas habilidades funcionais. No entanto, há poucos estudos que avaliem a função motora de crianças com esta doença. Objetivos: Avaliar o quadro cinético-funcional de crianças com hidrocefalia; identificar a condição do tônus muscular; verificar as atividades funcionais estáticas e dinâmicas; verificar a associação entre as alterações de tônus e as atividades funcionais nas crianças com hidrocefalia. Métodos: Estudo transversal, de caráter descritivo, exploratório e de campo, sob abordagem quali-quantitativa, realizado no ambulatório do Hospital Universitário, do município de Aracaju, no período de agosto de 2009 a março de 2010. Resultados: Das 50 crianças avaliadas, 30 (60%) apresentavam hipertonia; 10 (20%) eram hipotônicas; e 10 (20%) não apresentavam alteração de tônus muscular. A média de idade foi consideravelmente menor nas crianças hipertônicas em relação às crianças hipotônicas e normotônicas. O número de procedimentos cirúrgicos realizados foi mais expressivo no grupo de crianças com hipertonia muscular. As sequelas motoras estiveram presentes em 92% da amostra. As atividades funcionais estáticas, bem como as dinâmicas, encontraram-se mais comprometidas nas crianças hipertônicas do que nas hipotônicas e normotônicas. Conclusões: A hipertonia muscular foi a alteração tônica mais presente nas crianças com hidrocefalia, e a função motora é deficitária, sendo o atraso no desenvolvimento neuropsicomotor mais evidente no grupo de crianças espásticas e menos pronunciado nas crianças com tônus muscular sem alterações.

L’élégie chez Rousseau rassemble les époques, elle rend le sens étymologique [l’élégie thrène], celui de l’époque romaine [l’élégie d’amour] et le sens moderne [l’élégie tendre de l’amitié] où on parle plutôt de tonalité élégiaque. Elle rappelle à plusieurs égards le genre classique illustré principalement par Tibulle, Properce et Ovide. Rousseau semble emprunter des motifs à l’héritage antique sans pour autant s’y assujettir. Le ton de la plainte ou du chant est dicté par des personnages vertueux. L’élégie chez Rousseau échappe au stéréotype et à la « spécialisation » : elle n’est pas dans le sillage du modèle pour lequel elle fut réputée, et dont la matière est purement funèbre ; elle n’est pas, également, un paradigme de l’élégie romaine qui s’est associée presque exclusivement à l’expression de la passion amoureuse, elle n’est pas limitée à l’expression tendre de l’amitié. Elle n’est pas seulement une esthétique. L’élégie chez Rousseau est l’ensemble de toutes ses manifestations. C’est l’expression d’une attitude. / Rousseau’s elegy deals with the themes of the lament for the death, of the absence and of the loss of one beloved. Rousseau seems to be influenced by the latin poets such as Tibulle, Propers and Ovide. Nevertheless, he is distinguished from them by the way, with which he treats the motifs. These are submitted to the nature of the characters in the novel of Julie ou la Nouvelle Héloïse. In addition, Rousseau uses these motifs in different other contexts. Then, elegy becomes a source of "tools" to say an idea or a point of view. Rousseau’s elegy is more than a statement of complaints or a sad love story: it is an art of writing.

Context. Tone mapping operators (TMO) are designed to reduce the dynamicrange of high dynamic range images so that they can be presented onstandard dynamic range display devices. Many operators focus on creatingperceptually similar images. Objectives. This thesis aims to investigate how dierent TMOs reproducephotographed text. The underlying reason being to test the contrast reproductionof each TMO. Methods. An experiment has been performed in order to investigate thelegibility of photographed and tone mapped text. A user study was conducted,in which 18 respondents partook, where respondents were to ratehow much of the text in each photograph that they found to be legible. Results. Due to low participation, the results of the experiment are mostlyinconclusive. However, some tendencies have been observed and analyzedand they fall in line with previous work within the area. Conclusions. The main conclusion that can be drawn from the results isthat the TMO presented by Kuang [11] is rated as better than the TMOsby Fattal [7] and Kim and Kautz [10].

This study assessed the effective use of pure-tone testing versus speech testing as used to predict the degree of hearing handicap experienced by an individual. Twenty-one subjects over the age of 65 were tested. Each subject was administered the following test battery: spondee threshold; a pure-tone evaluation, including air and bone conduction; Speech Perception in Noise (SPIN) test; Synthetic Sentence Identification (SSI) test; NU-6 for speech discrimination; establishment of most comfortable listening level (MCL) and loudness discomfort listening level (LDL); immittance testing including tympanograms, acoustic reflex thresholds, and reflex decay.

The purpose of this paper is to investigate how idioms help the building of opposing characters in a literary work and also what similarities and differences there are in the usage of idioms between the characters. The material, i.e. the idioms, in this study was manually collected from Othello written by William Shakespeare. The material was analyzed and categorized according to a list of idiomatic properties. The material was also analyzed according to the tone of the idioms. The results showed that there was not any prominent difference in usage of idioms between the two characters; neither in general nor in the tone of the idiom. The results suggested, however, that the idioms were used in a negative sense, regardless of character.

Ce travail propose une description systématique du Lumbu. Cette langue est parlée au Gabon et au Congo. Nous avons porté notre choix sur la variété parlée à Mayumbu ; dans la partie septentrionale du Gabon.Notre approche a porté sur deux niveaux d’analyse suivants : la phonologie et la morphologie de cette langue. Le système phonologique décrit les phonèmes selon le critère de pertinence. En effet, cette première partie décrit le système consonantique et vocalique du lumbu. L’inventaire des phonèmes qui caractérisent la structure même de la langue nous a permis de répertorier seize phonèmes consonantiques et dix phonèmes vocaliques répartis de façon équitable sur la durée de réalisation des voyelles. Cependant, le système vocalique ne comporte pas de voyelles nasales. On note plutôt un phénomène de nasalisation favorisée par la présence d’une consonne nasale placée après la voyelle.La structure syllabique est caractérisée par des syllabes ouvertes c’est-à-dire qu’on ne retrouve pas de consonne en finale de mot. Nous bouclons cette partie par la description du système tonal. Il comporte deux tons simples / H/ (haut), /B / (bas) et deux tons modulés: /Mt / (montant) /Dt/ (descendant). La structure morphologique est envisagée sous deux angles ce qui nous a permis de faire ressortir les caractéristiques morphologiques de chacun des domaines. La description morphologique s’emploie à identifier les différents thèmes nominaux et les différentes structures verbales.La dérivation est relevée aussi bien dans le domaine lexical que verbal. Tout au long de notre travail, nous avons procédé à une analyse dérivationnelle en partant de la forme de base jusqu’à la forme réalisée. Cette façon de faire met en avant les différentes étapes du processus dérivationnel. Les nominaux sont identifiés par rapport aux classes nominales. Le Lumbu compte quatorze classes nominales qui fonctionnent par des appariements singulier /pluriel. Parmi les nominaux nous avons relevé les pronoms, les adjectifs qui se distinguent par la chaîne des accords. / This work provides a systematic description of Lumbu, a bantu language spoken at Mayumba,Gabon. I have chosen to focus on the phonological and morphological analysis.The inventory of phonemes shows 16 consonants and 10 vowels. There are no nasal vowels, butthere is however nazalization favored by the presence of a nasal consonant after the vowel. This part of theanalysis is completed with the description of the tonal system. There are two simple tones /H/ (high) and /B/(low), and also a rising tone /Mt/ (for « montant » in French) and a falling tone /Dt/ (for « descendant » inFrench). Tonal variation is induced by a floating tone.There are 13 noun classes and 3 locative classes. As a rule, classes are grouped in pairs (singular andplural). There is no masculine.feminin distinction. The class prefix of nouns governs concord on all theterms that depend on the noun, i.e., adjectives, demonstratives, possessives, etc.All through the work I have analysed the derivational processes step by step, from the root upwardto the surface form.

Les technologies d'écran ont connu récemment une évolution rapide. De la télévision 3D à l'Ultra Haute Définition, la tendance est maintenant aux écrans HDR (pour ''High Dynamic Range'') permettant de reproduire une gamme de luminance bien plus élevée que les écrans classiques. L'émergence de cette technologie implique de nouveaux travaux de standardisation dans le domaine de la compression vidéo. Une question essentielle pour la distribution à grande échelle de contenu HDR est celle de la rétro-compatibilité. Tandis que la future génération d'écrans de télévision sera adaptée à ce nouveau format, il est nécessaire de permettre aux équipements plus anciens de décoder et afficher une version du même contenu dont la dynamique a été préalablement réduite par un procédé appelé ''tone mapping''. Cette thèse vise à explorer les schémas de compression HDR rétro-compatibles. Dans une première approche, un algorithme de tone mapping spécifié par l'encodeur est appliqué à l'image HDR. L'image générée, alors appelée LDR (pour ''Low Dynamic Range''), peut être encodée et décodée dans un format classique. L'encodeur transmet par ailleurs une quantité réduite d'information permettant à un décodeur HDR d'inverser l'opération de tone mapping et de reconstruire une version HDR. L'étude de ces schémas est axée sur la définition de méthodes de tone mapping optimisées pour les performances de compression. La suite de la thèse se concentre sur l'approche scalable dans laquelle les deux versions sont fournies à l'encodeur sans connaissance à priori sur l'opérateur de tone mapping utilisé. Le producteur garde donc le contrôle sur la création du contenu LDR. Cette version LDR est d'abord compressée comme une première couche. L'image reconstruite est utilisée par le codeur scalable pour compresser plus efficacement la couche HDR grâce à un mécanisme de prédiction inter-couches. Notre approche locale et non linéaire nous permet d'améliorer les performances de codage par rapport aux méthodes scalables existantes, en particulier dans le cas où un tone mapping complexe est utilisé pour générer la version LDR. / In recent years, the display technologies have been rapidly evolving. From 3D television to Ultra High Definition, the trend is now towards High Dynamic Range (HDR) displays that can reproduce a luminance range far beyond the capabilities of conventional displays. The emergence of this technology involves new standardization effort in the field of video compression. In terms of large scale content distribution, the question of backward compatibility is critical. While the future generation of television displays will be adapted to this new format, it is necessary to enable the older equipment to decode and display a version of the same content whose dynamic range has been previously reduced by a process called “tone mapping”. This thesis aims at exploring the backward compatible HDR compression schemes. In a first approach, a tone mapping operator specified by the encoder is applied to the HDR image. The resulting image, called Low Dynamic Range (LDR), can then be encoded and decoded in a conventional format. The encoder additionally transmits a small amount of information enabling a HDR capable decoder to inverse the tone mapping operator and retrieve the HDR version. The study of these schemes is directed towards the definition of tone mapping operators optimized for the compression performance. We then focus on scalable approaches, where both versions are given to the encoder without prior knowledge on the tone mapping operator used. The producer thus keeps full control on the LDR content creation process. This LDR version is compressed as a first layer. The reconstructed image is used by the scalable encoder to compress the HDR layer efficiently by performing inter-layer predictions. Thanks to a local and non-linear approach, the proposed schemes improve the coding performance compared to the existing scalable methods, especially in the case where a complex tone mapping is used for generating the LDR version.

The use of the Alexander Technique in teaching, performing and practicing the flute is investigated, in order to determine how to apply the Technique to the art of producing a good flute tone. The author's application of the Alexander Technique to teaching and playing the flute is described. Knowledge was acquired both through doing case studies on two flute pupils, and through the integration of personal experience, gained through taking Alexander Technique lessons, into flute lessons. This is set out in detail. The decision to work intensively on the technique of sound production on the flute, made the author aware of the fact that we. as teachers and performers, encounter a large number of different problems in teaching and playing. Matters are complicated by a pupil's eagerness and "wanting to do things right". This can cause a certain amount of apprehension and even anxiety. Often the habits which inhibit progress prove very difficult for the teacher to correct. This study is aimed at detecting and solving these problems by using the Alexander Technique; hopefully leading to a better understanding of how the Technique can be applied to flute teaching and playing. Posture, breathing and embouchure control are specifically addressed. For the teacher or performer who has little understanding of his/her own problems in playing the flute - e.g. in coping with the loss of a good tone caused by stage fright and other anxieties - the use of the Alexander Technique can mean the creation a new sense of physical freedom and mental flexibility. A knowledge of how to work on changing faulty habits and the creating of new and better means of body use, can be gained through the taking of Alexander IV Technique lessons. The general principles and various applications of the Technique are described. The problems musicians face - e.g. postural problems from sitting or standing for hours while practicing the instrument, instrument-specific problems such as pain in the arms or shoulders, or physical tension caused by anxiety - are all habitual difficulties which can be detected, weakened and, hopefully, even erased through the use of the Alexander Technique. This study aims to show that mind-body awareness work is fundamental for the teacher, the pupil and the performer. Very often, what appear to be simple problems in musical performance are bound to deeply-felt and long-standing emotions and experiences. Therefore, the seemingly simple problems associated with producing a good flute tone cannot be addressed without dealing with the person as a whole. It is thus crucial for us as musicians to attend to the whole person - as we practice, perform and teach. This study attempts to lead musicians to a better understanding of all facets of themselves and others, through the application of the Alexander Technique. / Dissertation (MMus (Performing Arts))--University of Pretoria, 2006. / Music / unrestricted