Tesi sul tema "Formation auditive"

Les processus impliques dans la construction des flux auditifs ont ete examines autour de trois questions, definissant les trois parties experimentales de la these : comment mesurer ces processus ? quels sont les mecanismes qui sous-tendent cette analyse de la scene auditive ? et quelles sont leurs bases neurales ? un paradigme de post-reconnaissance de melodies intercalees a ete elabore afin de mesurer de facon objective les mecanismes impliques dans l'analyse primaire de la scene auditive. Cette tache consiste a presenter a l'auditeur une melodie cible intercalee a une sequence distractrice suivie d'une melodie test, et a lui demander de determiner si la melodie test etait ou non presente dans la sequence composite. La reconnaissance de la melodie intercalee s'ameliorait a mesure que ladifference de hauteur ou la dissemblance de timbre la separant des sons distracteurs augmentait. Les concepts de seuil de fission melodique partiel et seuil de reconnaissance de melodies intercalees sont proposes pour etablir un lien entre la fission d'une sequence cyclique et celle d'une melodie. Les performances de post-reconnaissance ont ete comparees a celles obtenues dans une tache ou la melodie a reconnaitre etait presentee avant la sequence a organiser. Lorsque l'auditeur entendait prealablement la melodie qu'il devait extraire du "melange", ses performances de reconnaissance etaient globalement augmentees, mettant en evidence le role des connaissances dans la construction des flux auditifs. Enfin, deux etudes exploratoires ont examine la capacite de patients cerebro-leses a reconnaitre une melodie intercalee. Elles ont revele l'existence d'une interference en memoire en ecoute polyphonique chez des patients epileptiques presentant une atrophie hippocampique droite ou gauche, et une dissociation dans l'aptitude a reconnaitre une melodie intercalee lorsque celle-ci etait ou non presentee prealablement chez un patient presentant une lesion temporale droite.

Le but de ce mémoire était de cerner comment les enseignants de formation auditive des cégeps francophones du Québec mettent en application les directives du programme d’études en musique présenté par le Ministère de l’Éducation, du Loisir et du Sport. Pour ce faire, nous avons procédé à une enquête auprès des enseignants, par questionnaire et entrevues. Au terme de cette démarche, nous avons décrit le profil des enseignants, le contenu spécifique de leurs cours, le matériel pédagogique qu’ils utilisent, les caractéristiques de leurs approches et démarches pédagogiques, et les ressources dont ils disposent. Nous avons également identifié certains besoins reliés à l’exercice de leur profession. Cette recherche nous permet d’avoir une vue d’ensemble de l’enseignement de la formation auditive dans les cégeps francophones du Québec, tel que perçu par les enseignants eux-mêmes.

Les prothèses auditives ont pour but de faire recouvrir les principales capacités auditives, au premier rang de laquelle : l’intelligibilité de la parole. Cela est assuré principalement par deux tâches : compenser la perte auditive et réduire le niveau de bruit. La réduction de bruit et la compensation de perte auditive sont effectuées l’une à la suite de l’autre. Or, toutes deux ont des objectifs antagonistes et introduisent des artefacts néfastes à l’appréhension d’une scène sonore complexe dans sa globalité. Dans un premier temps, nous unifions le formalisme sous-jacent aux algorithmes de débruitage et de compensation de perte de sorte à développer une solution explicite au problème dans son ensemble, pour une scène sonore composée d’une source de parole et d’un bruit ambiant. Dans un second temps, nous nous employons à mieux préserver les indices de localisation interauraux pour toutes les directions de l’espace. Pour cela, nous développons trois méthodes basées sur des approximations du terme de coût associé à la préservation de la fonction de transfert interaurale. Enfin, nous élargissons notre modèle de scène sonore à plusieurs sources de parole et du bruit ambiant. Le contexte des prothèses auditives rend ce cas difficile à traiter du fait du nombre réduit de microphones. Nous proposons d’exploiter la propriété de parcimonie de la parole dans le domaine temps-fréquence pour dépasser cet obstacle
Hearing aids are designed to restore the essential abilities of hearing, the most important of which is speech intelligibility. This is achieved mainly through two functions: compensating for hearing loss and reducing the noise level. Noise reduction and hearing loss compensation are performed one after the other. However, both have antagonistic objectives and introduce artifacts that are detrimental to the apprehension of a complex auditory scene in its entirety. In a first step, we unify the formalism underlying the denoising and loss compensation algorithms in order to develop an explicit solution to the problem as a whole, for an auditory scene composed of one speech source and an ambient noise. In a second step, we focus on a better preservation of the interaural localization cues for all spatial directions. For this purpose, we develop three methods based on approximations of the cost function related to the interaural transfer function preservation. Finally, we extend the auditory scene model to several speech sources and ambient noise. The context of hearing aids makes this case difficult to handle due to the small number of microphones. We propose to exploit the sparsity property of speech in the time-frequency domain to overcome this obstacle

Ce projet a pour but de dresser un portrait de l’enseignement de la formation auditive (FA) en milieu extrascolaire offert aux enfants de 6 à 12 ans au Québec. Un questionnaire en ligne complété par 147 professeurs a permis de récolter des informations sur les activités réalisées avec les élèves, leurs perceptions à propos de l’apprentissage et de l’enseignement de la formation auditive, ainsi que sur leur utilisation des technologies et des stratégies qu’ils proposent aux élèves lorsqu’ils réalisent des dictées musicales. De façon générale, les résultats obtenus permettent d’en savoir davantage sur la façon dont la FA est enseignée aux enfants au Québec, et sur les besoins des professeurs. Plus précisément, ces réponses obtenues mettent en lumière que les professeurs interrogés ont, pour la plupart, une conception traditionnelle de la pédagogie de la formation auditive. Une majorité des professeurs questionnés ont vécu une expérience positive de leur propre apprentissage de la FA, et ont une perception positive de l’enseignement de cette matière. De plus, ces professeurs semblent peu utiliser les technologies pour enseigner la FA, et ceux qui néanmoins les utilisent sont davantage les hommes, ceux n’enseignant pas le piano, de même que ceux ayant une perception plus négative de leur apprentissage de la FA ou des ressources disponibles pour l’enseigner. Finalement, le choix des stratégies pour enseigner la dictée musicale est corrélé avec des caractéristiques sociodémographiques, avec le vécu des professeurs pour l’apprentissage de la FA et avec leur perception pour l’enseignement de cette matière. Mots-clés : formation auditive, dictée musicale, enfants, milieu extrascolaire, stratégies, technologies.
The goal of this project is to draw a portrait of aural skills (AS) teaching to children between 6 and 12 in studios, in Quebec. An online survey completed by 147 teachers gave insights about the activities made with their students, their perceptions of learning and teaching of AS, their use of technology, and the strategies they propose to their students during musical dictations. The results lead to a better understanding of the way AS are taught in Quebec, and of the teachers’ needs. More precisely, the data highlights the fact that most of the surveyed teachers have a rather traditional conception of AS pedagogy. A majority of participants have a positive perception of their own learning of AS and of its teaching. Furthermore, they do not use technologies a lot when teaching AS, and those who use them most are men, people who teach another instrument than piano, and those who have a negative perception of their learning experience of AS and of the resources currently available to teach it. Finally, the strategies chosen by the respondents to teach musical dictation are correlated with sociodemographic characteristics, learning experience of AS, and the perception of its teaching. Keywords: aural skills, musical dictation, children, instrumental teaching, strategies, technologies.

A l’heure actuelle, des didacticiens des diverses disciplines s’interrogent sur les pratiqueslangagières mises en oeuvre pour penser, pour négocier des significations et stabiliser dessavoirs au sein des contextes scolaires (Jaubert, Rebière). Participant à cette recherche enéducation musicale, l’objet de cette étude porte sur l’analyse de « l’outil » langage (oral etécrit), à la fois linguistique et musical, dans l’acquisition des connaissances des élèves del'école et/ou des étudiants pour le professorat des écoles. Il s’inscrit dans une perspectivehistorique et culturelle, qui voit dans le langage un outil de conceptualisation
At the moment, didacticiens of the diverse disciplines wonders about the linguistic practicesoperated to think, to negotiate meanings and stabilize knowledges within the school contexts(Jaubert, Rebière). Participating in this research in musical education, the object of thisstudy concerns the analysis of " the tool " language (oral and paper), at the same timelinguistic and musical, in the acquisition of the knowledge of the pupils of the school and thestudents for the teaching profession of schools. It joins in a historical and culturalperspective, which sees in the language a tool of conceptualization

Cette thèse propose une revue de l'état de l'art des applications pédagogiques pour la formation auditive dans l'enseignement supérieur et explore des stratégies d'optimisation potentielles pour ces applications. Nous avons effectué une analyse de la manière dont ces applications sont utilisées du point de vue des étudiants, des enseignants et des développeurs. L'objectif est d'identifier des stratégies pour optimiser le développement et l'utilisation de ces applications dans les programmes éducatifs. En particulier, nous avons étudié l'interaction entre la formation auditive, la technologie d'apprentissage, la cognition musicale et les théories de l'apprentissage. Notre recherche vise à combler l'écart entre les exigences pédagogiques de l'entraînement auditif et les avancées technologiques en menant une analyse multidisciplinaire. Nous traitons en premier lieu l'évolution historique de l'enseignement des compétences auditives, en commençant par retracer ses racines dans le solfège, en passant par la notation et la théorie musicales et en terminant par sa forme spécialisée actuelle en France. Les théories de l'apprentissage liées au développement des compétences auditives, à la cognition musicale et à l'apprentissage en ligne ont également été examinées. Après cette revue approfondie de la littérature, nous définissons des lignes directrices pour la conception d'applications pédagogiques pour la formation auditive. Nous complétons notre proposition par des exemples d'exercices qui utilisent ces lignes directrices pour améliorer les apprentissages. Enfin, nous présentons les résultats de notre approche expérimentale afin d'évaluer la pertinence de nos idées en tant qu'alternative innovante aux méthodes d'enseignement traditionnelles, en offrant de nouvelles perspectives sur la manière dont la technologie peut améliorer le processus d'apprentissage auditif. Plusieurs facteurs doivent cependant être pris en compte pour parvenir à optimiser ces applications : l'inclusion des théories d'apprentissage basées sur les neurosciences, la prise en compte des besoins spécifiques des enseignants et des étudiants et la mise en œuvre d'une approche pédagogique qui reflète la complexité du traitement auditif
This thesis presents a review of the current state of learning applications for higher aural education and potential optimization strategies. An analysis of how these applications are used is conducted from the point of view of students, teachers, and developers. The goal is to identify ways to optimize the development and use of these applications in educational programs. In particular, we study the interaction between aural education, learning technology, music cognition, and learning theories. The research aims to bridge the gap between the educational requirements of aural training and technological advancements by conducting a multi-perspective analysis. The historical evolution of aural skills education was studied, starting from tracing its roots in "solfège", passing by its connection to music notation and theory, and finishing with its current specialized form in France. Learning theories related to auditory skills development, music cognition, and e-learning were also reviewed. After a deep review of the literature in the field, we define possible guidelines for designing aural learning applications for aural education. In addition, the thesis proposes sample exercises that utilize these guidelines for supporting learning. We conducted an experimental approach to evaluate our ideas as a novel alternative to traditional teaching methods, providing new perspectives on how technology can improve the aural learning process. However, several factors must be considered to achieve such optimization: include learning theories based on neuroscience, consider the specific requirements of teachers and students, and implement a pedagogical approach that reflects the complexity of auditory processing. Finally, we want to emphasize that instructors, students, developers, and institutions must engage in robust dialogue to create a more inclusive educational environment using digital applications

Le développement croissant des moyens de transport a engendré des nuisances sonores en zone urbaine et périurbaine. Pour pallier ce problème les industriels sont amenés à effectuer des études en vue de la réduction du bruit. La première étape de ce travail consiste à localiser les zones responsables de la production sonore. Le traitement d’antenne microphonique associé à la formation de voies (beamforming) est une méthode classique et robuste de localisation de sources sonores. Dans le cas de sources aéroacoustiques, cette technique d'imagerie peut être appliquée in situ, engendrant un coût important, ou en soufflerie anéchoïque. L'application de cette technique à des mesures en soufflerie permet ainsi de localiser des sources de bruits dans un écoulement, mais les effets de l'écoulement sur la propagation doivent être pris en compte pour une localisation optimale. Une expérience de localisation de source est mise en place dans la soufflerie anéchoïque Eole afin de valider le traitement par formation de voies associé aux corrections des effets de l’écoulement. Deux modèles correctifs distincts sont testés (modèle d’Amiet et modèle de Koop). Les résultats montrent que cette technique permet d’estimer très précisément la position de la source acoustique. De plus, nous montrons que les effets de l'écoulement sur la propagation sont bien indépendants de la longueur d'onde acoustique. Cependant, les moyens techniques limitent l'étude sur la localisation de source à de faibles vitesses, ainsi un code numérique résolvant les équations d'Euler linéarisées est utilisé afin de simuler des conditions d’écoulement plus diverses. Nous mettons en évidence que le décalage apparent de la position de la source, dû aux effets de convection et réfraction des ondes acoustiques, est approximativement proportionnel au produit du nombre de Mach par l'épaisseur d'écoulement uniforme. De plus, nous montrons que les deux corrections testées demeurent robustes même pour un nombre de Mach élevé. Dans une seconde partie nous présentons une méthode originale de localisation de source pour l'aéroacoustique s'appuyant sur une technique connue en acoustique, le retournement temporel. Contrairement à la formation de voies, cette méthode ne fait aucune hypothèse sur le rayonnement de la source et sur la distance source-antenne. Nous montrons que les équations d'Euler linéarisées autour d'un écoulement moyen sont invariantes par retournement temporel en changeant le sens de l'écoulement moyen. Puis une étude numérique des capacités d'un miroir à retournement temporel pour la localisation de source monopolaire ou dipolaire en soufflerie est réalisée. Finalement des expériences sont menées en soufflerie ; les signaux obtenus sont retournés temporellement et la phase de rétropropagation est réalisée numériquement. Les résultats montrent qu'il est possible de localiser la position de la source sans les hypothèses liées à la formation de voies et sans correction des effets de l'écoulement. De plus, les capacités de la méthode à localiser une source aéroacoustique intermittente sont mises en évidence
Beamforming (BF) is a powerful technique to localise sound sources in a wind-tunnel, but the flow effects on the acoustic propagation should be taken into account. An experiment is carried out in an anechoic wind-tunnel in order to validate the BF treatment associated to flow corrections. The results show that the BF technique can estimate very accurately the position of the source. However, the experiments are limited by the low speed of the wind-tunnel. So, a numerical code solving the linearized Euler equations (EEL) is used to simulate different flow conditions. We show that the apparent position shifting of the source, due to the effects of the flow is roughly proportional to the product of the Mach number by the thickness of the uniform flow. Furthermore, we show that the corrections remain robust for a higher Mach number. Then we present a new method for localising a source in a wind-tunnel based on the time-reversal technique. We show that EEL are invariant under time-reversal in changing the direction of the flow velocity. The experimental signals obtained are time-reversed and the backpropagation is performed numerically. The results show that it is possible to localise the source position, without BF assumptions and without flow corrections. The ability of the method to localise an intermittent aeroacoustic source is highlighted

Lorsque des enfants sont victimes, leur témoignage occupe bien souvent une place centrale dans le processus d'enquête. Pour recueillir leur parole dans les meilleures conditions possibles, plusieurs techniques d'audition ont été développées et testées au cours des dernières décennies. Le protocole d'audition du National Institute of Child Health and Human Development (NICHD), un guide qui aide les enquêteurs à mener l'audition, semble constituer à l'heure actuelle l'une des techniques les plus conseillées et les plus validées au niveau international. Il a ainsi été intégré dans les programmes de formation des gendarmes et des policiers français en 2016. Toutefois, depuis, aucune étude ne s'était penchée sur les effets de cette mise en place sur les pratiques de terrain. Les objectifs poursuivis par cette recherche étaient donc d'en savoir plus sur les modalités du recueil des témoignages des mineurs en France, de vérifier si les recommandations nationales et internationales étaient respectées et si les formations mises en place avaient permis la mise en œuvre effective du protocole du NICHD. Les recherches se sont concentrées sur les pratiques des gendarmes français. En 2021, la plupart des auditions de mineurs victimes faisaient l'objet d'un enregistrement vidéo et se déroulaient dans une salle spécifiquement dédiée. Toutefois, la majorité des enquêteurs qui auditionnaient des enfants n'étaient pas formés au protocole du NICHD. De plus, la parole des mineurs témoins semblait être recueillie selon des conditions moins optimales. Les enquêteurs formés au protocole du NICHD ont rapporté adopter plus souvent les meilleures pratiques en audition que ceux qui n'avaient pas reçu une telle formation. Ces retours obtenus via un questionnaire en ligne ont été en partie confirmés par l'analyse de 92 procès-verbaux d'auditions réalisées avant et après la formation. Les auditions préformation étaient peu conformes aux recommandations : les invitations, bien que vivement conseillées, étaient les questions les moins utilisées ; à l'inverse les questions fermées et suggestives représentaient 58 % des questions posées, alors qu'elles devraient être évitées. Les auditions postformation étaient quant à elles de bien meilleure qualité : elles contenaient plus de 7 fois plus d'invitations, 2 fois plus de facilitateurs et 2 fois moins de questions suggestives que les auditions préformation. Par ces résultats, nous avons ainsi pu confirmer les bénéfices de la formation française au protocole du NICHD. Toutefois, malgré l'amélioration de la qualité des auditions constatée, le questionnement reste perfectible, tous les interviewers formés n'appliquent pas toujours le protocole et la qualité des auditions se dégrade au fil du temps écoulé depuis la formation. Afin de mieux comprendre les raisons pour lesquelles les enquêteurs français utilisent ou non le protocole, nous avons mobilisé un modèle d'acceptance et d'utilisabilité d'une nouvelle technologie, le modèle Unified Theory of Acceptance and Use of Technology (UTAUT). Ainsi, nous avons pu mettre au jour que plus les enquêteurs formés pensent que le protocole du NICHD les aide à mieux auditionner les mineurs (attentes de performance) et que cela demande peu d'efforts de le mettre en place (attentes d'effort) plus ils ont l'intention d'utiliser ce protocole lors des auditions. Cette intention d'utilisation et la présence de ressources matérielles et intellectuelles suffisantes (conditions facilitantes) constituent des prédicteurs importants de l'utilisation effective du protocole du NICHD en audition. Plusieurs préconisations ont ainsi pu être proposées afin d'augmenter l'intention et l'utilisation effective du protocole sur le terrain
When children are victims, their testimony is often central to the investigation process. In recent decades, several interview techniques have been developed and tested to ensure that the child's testimony is gathered under the best possible conditions. The National Institute of Child Health and Human Development (NICHD) interview protocol currently appears to be one of the most recommended and validated techniques at the international level. It was included in the training programs of French gendarmes and police officers in 2016. However, since then, no study has examined the impact of this implementation on field practice. The objectives of this research are therefore to learn more about how child testimonies are gathered in France, to verify whether national and international recommendations have been followed, and whether the training courses provided have enabled the NICHD protocol to be effectively implemented. In 2021, most interviews with child victims were video-recorded and took place in a dedicated room. However, the majority of investigators interviewing children were not trained in the NICHD protocol. Moreover, child witnesses seemed to be interviewed under less optimal conditions. Investigators trained in the NICHD protocol reported adopting best practices in interviews more often than those who had not received such training. These self-reported practices, collected via an online questionnaire, were confirmed by an analysis of 92 interview reports and transcripts of pre- and post-training interviews. The pre-training interviews did not comply with the recommendations: invitations, although strongly recommended, were the questions least used; conversely, closed and suggestive questions accounted for 58% of the questions asked, although they should be avoided. In contrast, the post-training interviews were of much higher quality: they contained over 7 times more invitations, 2 times more facilitators, and 2 times fewer suggestive questions than the pre-training interviews. These results confirm the value of the French training in the NICHD protocol. However, despite the improvement in quality, there is still room for improvement in questioning: not all trained interviewers use the protocol all the time, and the time that has elapsed since training has led to a deterioration in the quality of questions. To better understand the reasons why French interviewers use or don't use the protocol, we mobilized a model of acceptance and usability of a new technology, the Unified Theory of Acceptance and Use of Technology (UTAUT) model. We found that the more trained interviewers believe that the protocol help them to interview children better (performance expectation), and that it requires little effort to implement (effort expectation), the more they intend to use the NICHD protocol during interviews. This intention to use the NICHD protocol and the presence of sufficient material and intellectual resources (facilitating conditions) are important predictors of the actual use of the NICHD protocol in interviews. A number of recommendations have been put forward to increase the intention and effective use of the protocol in the field

Tese de Doutoramento em Psicologia, especialidade de Psicologia Social e Cognitiva, apresentada à Faculdade de Psicologia e Ciências da Educação da Universidade de Coimbra.
O presente estudo investiga o grau em que propriedades temporais e espaciais do som podem influenciar o processamento visual do movimento em tarefas de localização espacial, recorrendo a um paradigma de Momento Representacional (MR) intermodal. Os participantes localizaram a última posição percebida de um alvo visual em movimento que imprevistamente desaparecia, ao mesmo tempo que sons contínuos, mantendo relações temporais e/ou espaciais variáveis com o início (onset) e o fim (offset) do movimento visual, eram apresentados por auscultadores. As tarefas de MR visual com movimentos horizontais dão tipicamente lugar a erros de localização para diante, no sentido do movimento (deslocamento M), e para baixo, ortogonais à direção do movimento (deslocamento O, alinhado com a direção da gravidade). Examinar a forma como estes deslocamentos são modulados pela informação auditiva convoca várias questões em aberto no domínio do processamento audiovisual (AV). Primeiro, a de saber se a audição pode afetar a localização espacial de estímulos dinâmicos em visão central (a evidência encontra-se limitada a estímulos estáticos degradados). Segundo, a de saber se os sons podem modular a localização visualmente percebida de um alvo móvel através da informação temporal, espacial, ou de ambos os tipos de informação (apenas efeitos temporalmente mediados foram demonstrados). Por fim, a de saber se as pistas auditivas podem induzir efeitos de melhoria audiovisual na localização de estímulos dinâmicos visuais (apenas enviesamentos de atração foram reportados em estudos anteriores de RM audiovisual). O estudo compreendeu três tarefas contrabalanceadas obedecendo a um mesmo desenho fatorial onset (disparidades AV no início) × offset (disparidades AV no final) mas diferindo no tipo de pista auditiva fornecida: temporal (tarefa T), espacial (tarefa E) e espácio-temporal (tarefa ET). Uma manipulação adicional envolveu o tamanho e número das disparidades AV, maiores (de modo a aumentar a sua saliência percetiva) e em menor número (de modo a aumentar a sua fiabilidade) do que nos estudos anteriores. A hipótese subjacente a esta manipulação foi a de que poderia promover a relevância percebida para a tarefa das contingências AV e mobilizar mecanismos intermodais distintos dos que suportam os enviesamentos de atração para o som. O seguimento oculomotor dos alvos foi permitido, de modo a assegurar que a resposta de localização ocorria em condições de visão central. Os resultados relativos ao deslocamento M documentaram consistentemente a capacidade dos sons para modular o MR visual por meio de pistas auditivas temporais (tarefa T) e espaciais (tarefa E). Este efeito foi atribuível às disparidades AV no offset, apresentando as disparidades no onset efeitos nulos em todas as tarefas. Ao invés de enviesamentos de atração, foi observado um benefício audiovisual generalizado (localização mais exata do alvo nas condições AV). A hipótese de que disparidades AV mais salientes e em menor número poderiam promover a sua relevância para a tarefa e induzir uma alteração qualitativa do padrão dos efeitos modulatórios foi assim suportada. A localização nas condições AV da tarefa E não correspondeu a uma combinação da informação posicional da visão e da audição (avaliadas em ensaios visuais intercalados e numa tarefa suplementar com alvos auditivos unimodais), excluindo o modelo Bayesiano da integração multissensorial como uma explicação da melhoria AV. No conjunto, os resultados mostraram-se favoráveis a uma interpretação baseada numa articulação flexível, mediada pela tarefa, entre processamento multissensorial e atenção endógena intermodal. Os resultados relativos ao deslocamento O ilustraram o típico erro para baixo nas condições audiovisuais, visuais intercaladas e auditivas unimodais. A juntar ao paralelismo global do MR nas duas modalidades, a semelhança no deslocamento O reforça a perspetiva de que mecanismos amodais comuns (possivelmente preditivos) subjazem em parte à localização de alvos dinâmicos na visão e na audição. Não se observaram benefícios AV no deslocamento O. Diferentemente do deslocamento M, o offset percebido nas condições AV das tarefas E e ET pode ser modelizado como uma média ponderada da informação posicional da visão e da audição, envolvendo uma ponderação não ótima (à luz de um critério Bayesiano). Não se verificaram correlações entre a magnitude dos deslocamentos M e O. Embora a independência estatística não exclua a possibilidade de mecanismos comuns, é em todo o caso contrária a mecanismos partilhados que prevejam correlações entre os dois deslocamentos. Vários dos resultados encontrados contêm implicações práticas para a reabilitação compensatória de défices do processamento visual do movimento, brevemente discutidas na secção final da dissertação.
The present study examines the extent to which temporal and spatial properties of sound modulate visual motion processing in spatial localization tasks. To that end, it resorts to a crossmodal Representational Momentum (RM) paradigm. Participants were asked to locate the place at which a moving visual target unexpectedly vanished, while continuous sounds were presented under variable temporal and/or spatial relationships with the onset and offset of visual motion. The typical result in visual RM tasks with horizontal motions is a forward mislocalization in the direction of motion (M displacement), along with some mislocalization downward, orthogonal to motion direction (O displacement, aligned with gravity for horizontal motions). Studying the way these displacements, particularly the first one, are modulated by auditory information, can bring together several open issues in the realm of audiovisual processing. First, whether audition can influence vision in spatial tasks with dynamic stimuli under central vision (clear answers exist only for degraded static visual stimuli). Second, whether sounds can modulate the perceived location of a moving visual stimulus by means of temporal, spatial, or both kinds of auditory cues (only temporally-mediated effects have been demonstrated). Third, whether auditory cues can also lead to audiovisual enhancement in the visual localization of dynamic stimuli and under which conditions (only sound attraction biases have been reported in previous RM studies). These issues were addressed by way of three counterbalanced tasks obeying a similar onset (AV disparities at the onset) × offset (AV disparities at the offset) factorial design, but differing in the type of auditory cues provided: temporal only (task T), spatial only (task S), spatiotemporal (task ST). An additional core manipulation concerned the size and number of AV disparities, which were larger (expectedly increasing their salience) and fewer in number (expectedly increasing their reliability) than in prior studies. This was intended to promote the perceived relevance of AV contingencies to the task and thereby potentially tap into crossmodal mechanisms other than those underpinning sound attraction biases. Oculomotor tracking of the target was allowed, ensuring that localization took place in central vision. Results for M displacement consistently supported the ability of sounds to modulate visual RM through both temporal (task T) and spatial (task E) auditory cues. This effect was entirely due to AV disparities at the offset, with null results for those at the onset across all tasks. In contrast to previous studies, widespread audiovisual enhancement (more accurate localization of the target) was observed, rather than sound attraction biases. This concurred with the expectation that using more salient disparities in fewer numbers could promote their task-relevance and qualitatively shift the pattern of modulatory effects. Localization in AV conditions of task E could not be derived as a combination of visual and auditory positional information (assessed with visual-only trials and unimodal auditory targets in a supplementary task), excluding Bayesian-inspired models of multisensory integration as an account. Taken together, the findings were mostly suggestive of a task-dependent, flexible interplay between endogenous crossmodal attention and multisensory processing. Results for O displacement disclosed the typical downward mislocalization both in audiovisual, visual-only and auditory unimodal condition. Adding to the overall parallelism of visual and auditory RM, this strengthens the view that common amodal mechanisms (possibly predictive) underlie to some extent the localization of dynamic targets in both vision and audition. No AV enhancement was found for O displacement. Differently from M displacement, the perceived offset in AV conditions of tasks E and ET could be modeled by a weighted average of visual and auditory positional information, although with non-optimal weights (as predicted by optimal Bayesian approaches). No correlations between the magnitude of M and O displacements were found. While statistical independence does not rule out the possibility of common mechanisms, it speaks against shared mechanisms that would predict correlations between the two types of displacement. Several of the outcomes reported in the dissertation may hold practical implications for the compensatory rehabilitation of visual motion processing, which are briefly outlined in the final discussion.

Dissertação de mestrado, Neurociências Cognitivas e Neuropsicologia, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve, 2017
As memórias falsas constituem a recordação de eventos não presenciados ou lembranças distorcidas do sucedido em algum evento. O paradigma DRM constitui o instrumento mais utilizado para a produção de memórias falsas em laboratório, a utilização de versões alternativas ao paradigma DRM a partir da conversão do formato de listas em histórias pode influenciar a ocorrência de memórias falsas. Objetivo: Pretendemos comparar se o formato de apresentação dos estímulos influencia a evocação ou reconhecimento de memórias falsas, analisando igualmente o possível contributo do fator idade. Método: Para este efeito manipulou-se a produção de memórias falsas em jovens adultos e adultos mais velhos a partir de estímulos neutros. Os participantes realizaram duas tarefas de evocação e uma tarefa de reconhecimento. Resultados: Relativamente à evocação de itens falsos apenas observámos diferenças entre a história e lista árvore, com mais itens falsos na lista. Quanto à ativação do item crítico verificámos diferenças entre a história árvore e a lista caneta, que evidenciou mais memórias falsas. Ao compararmos listas com diferentes percentagens de indução observámos diferenças na lista árvore e lista cidade, com mais itens falsos na lista árvore. Apenas verificámos um possível efeito da condição (história vs. lista) na evocação imediata dos estímulos carro onde os jovens adultos evidenciam um melhor desempenho. Os dois grupos não diferem em relação ao seu desempenho mnésico (evocação de itens verdadeiros) para a maioria dos estímulos, sendo exceção a lista caneta onde os jovens adultos tiveram um desempenho superior. Conclusões: A diferença verificada para os itens falsos com o mesmo tema árvore pode sugerir um efeito da condição, uma vez que a lista evidencia mais itens falsos. Quanto à ativação do item crítico foram observadas diferenças entre materiais de temas distintos, mas de igual indução, com efeito numa ativação do item crítico mais evidente na lista caneta. A história parece facilitar a recuperação de itens verdadeiros no entanto, este efeito parece apenas surgir em materiais de fácil identificabilidade temática.

碩士
國立臺灣師範大學
英語研究所
91
This thesis aims at reconsidering character formations of A Midsummer Night''s Dream in the twentieth century. In order to reinforce the title and critical aspects of my thesis, I will evaluate the productions on stage and on screen in the twentieth century, but since now is already the twenty-first century, the interpretations I adopt include the critiques delivered at the turn of the century. By the approaches of Harry Berger, Jr.’s theory of “imaginary audition” and Bert O. States’s view in analyzing actor-audience-character relationship, I situate the issue of character formations in the modern period’s interpretations to estimate the critics’ opinions and productions of the play, both on stage and on screen. Introduction and Conclusion apart, I divide this thesis into two parts and four chapters in total. The first part also Chapter One is about the theory rethinking. Applying discussion in the first chapter to the second part, three chapters about the analyses of character formations in the play are organized according to the dramatic persona’s classifications: aristocrats and lovers, fairies, and mechanicals. Introduction reconsiders the shifts of modern commentary and character formations of the play. By reevaluating interpretations shuttling between page and stage, literary models and theatrical models not only question each other, but are questioned in this introductory chapter as well. In Chapter One, incorporating with States’ illustration about the actor-audience-character relationship, I apply Berger’s theory of imaginary audition to estimate the development of the theatrical and fictional character formations. Berger proposes to listen to a B-B soliloquy from auditing an A-B dialogue. That is to discover an alternative B by using B’s ears to listen to B’s language rather than simply listen to A’s speech. States applies the speaker and listener relationship to rethink the actor-audience-character interaction. Therefore, to insert an active role of the audience into Berger’s view of imaginary audition, more than listening from A or B’s perspective, the audience can also contribute to character formations. Chapter Two begins the second part of this thesis. Lover and aristocrat formations─on page, on stage, and on screen─are reevaluated in a view of auditing a B-B soliloquy from reading an A-B dialogue. Firstly, I discuss the distinctions between the traditional disobedient youths and lovers categorized by modern directors’ on-stage or on-screen strategies. Then, I challenge the stereotyped Theseus and Hippolyta portrayed by the male supremacy in reading an A-B dialogue. I further question Hermia’s rebellious personality and Egeus’s patriarchal authority by reconsidering the dialogues in Hermia’s courtroom trial. Fourthly, from listening to a B-B soliloquy in reading an A-B dialogue, lovers are brought to undergo a self-fashioning. After that, the functions of allusions and the strategy of doubling resulted from reading an A-B dialogue lead the enacted characters to take the risk of being the theatrical commodity nick-picked by the audience. Chapter Three deals with the interaction between the audience’s collaboration and the formations of visible invisible fairies. In this chapter, I rethink both conventions and creations in the twentieth century. I reconsider first the conventional ethereal fairies, which are gauzy, winged, and diaphanous. I discuss next the crux of Harley Granville-Barker’s gilt immortals created in the early twentieth century. Thirdly, I examine Peter Hall’s modern dryad─the fairies painted green. In the next section, Peter Brook’s theatrical illusions are reevaluated. Fifthly, I pay attention to the creations of alternative fairies living in multiple cultures. Sixthly, it is about the mortal-like immortals and the availability of doubling Oberon-Titania as Theseus-Hippolyta. The final section discusses the in-between characteristics of Puck or Robin the Good Fellow and the metatheatrical function of his epilogue. Chapter Four focuses on the interaction between cultural contexts and formations of modern mechanicals. I intend to discuss Shakespearean mechanicals with their in-between characteristics: mass or mortals of another kind. Firstly, I discuss the mechanicals filmed as the mock heroes with the “American Dream” in Hollywood productions. Next, by pointing out mechanicals’ either controlled or subversive personality, the traditional evaluations of the mechanicals’ making a farce of Pyramus and Thisbe is reconsidered. Thirdly, by adopting the relevance between the workmen’s characteristics and the language they use, I draw attentions to the anxiety of modern interpretations and strategies to illustrate the mechanicals as beings under the cultural collision and the cultural collusion. I further reevaluate the validity of workmen impressed with strong libido and conclude the ambivalent state of Shakespearean mechanicals in the twentieth century as both the mass and the minority. Conclusion for this thesis is to rethink the inevitable distance between the representation and the interpretations of the play. Hollywood concerns and effects have altered the insistence of representation, and the audience members in the younger generation turn to be the new target for Hollywood market. Moreover, though the interactive footprints between criticism and performance are shown in the twentieth century, there remains the gap of applying a stylized performance theory to interpret a literary criticism or vice versa. In addition to shuttling between page and stage, cultural contexts indeed give multiple ways for the audience/reader to practice his or her imaginary audition for character formations. Therefore, representing the play by simply insisting on the fixed authorial intention or established literary and theatrical models is a mission impossible.

碩士
中原大學
會計研究所
90
Abstract The internal auditor plays a very important role in a company, who creates profit and avoids loss by judging the internal control system. The internal auditor looks over each department and employee by the rules of internal control system. He evaluates and keeps the efficiency of the system. A great internal control system and an appropriate internal auditor will decrease the operational risk efficiently. The operating quality of the affiliates is related to the earnings and prosperity of a company. According to the statistic by Ministry of Economic Affairs R.O.C, it showed that investing in Mainland China haven’t downturn, besides many Taiwan’s companies consider Mainland China as a very important production base. Therefore, controlling of the affiliates located in Mainland China becomes a very important issue. The samples of this study are internal audit managers and internal auditors, who were employed in Taiwan listing company which also invest in Mainland China. These samples also include the Taiwanese who worked in China. Several results are shown as below. One. The situation of internal audit: In the efficient samples, 20.4% companies set up internal audit departments in affiliates located in Mainland China. However, these departments do not belong to any definitely units in Taiwan headquarters or China subsidiaries. The full-time job rate of internal auditor in China subsidiary is 85.7%, but it is not independent enough, moreover, which function is quite different to Taiwan headquarter. There are less than five peoples in the internal auditor departments both in China subsidiaries and Taiwan headquarters. The internal auditors will go to China subsidiaries every three or six months for auditing tasks, and one or two peoples each assignment. Two. The main factors affect companies setting up internal audit departments in China affiliates: 1.We got six factors from the testees who work in China subsidiaries with internal audit department. The most important one is “building all kinds of management systems and rules”, and the second one is “the company scale becomes large”. 2.We also got three factors from whom without internal audit department. The most important one is “the company scale is not so large”, the second one is “the audit task is doing by the internal auditors from Taiwan headquarter”, and the third one is “not the requirement by government”. Third. The future developments and influenced factors of the internal audit in China subsidiaries: Most of the testees both in China and Taiwan considered that the internal audit is necessary and potential in China. Beside, the major audit item is finance, and then are purchase, manufacture and sales. The sales amount and business locations are the major factors influenced the facilities of setting up internal audit department. Regarding to the future development, we got four factors from the testees worked in China subsidiaries with internal audit department. The major one is “economic development”, and next is “the quality enhancement of the internal audit”. On the other hand, we also got six factors from whom without internal audit department. The major one is “the attitude of China local government” and next is “the requirement by Taiwan government”. Four. There are three factors influenced China company setting up an internal audit department in the future: The most important factor is “the company scale becomes large”, the second one is “the requirement by the government”, and the third one is “the share of the sales amount from China subsidiary increased in whole business group”. Five. For all of the testees whose China subsidiary with internal audit department, their recognitions of the influenced factors are very similar. However, for whom without internal audit department, their recognitions are totally different. Six. Comparing with the electronic and non-electronic industries, which recognitions of the influenced factors are similar.