Teses / dissertações sobre o tema "Analyse de structures musicales"
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Martin, Benjamin. "Analyse de structures répétitives dans les séquences musicales". Thesis, Bordeaux 1, 2012. http://www.theses.fr/2012BOR14711/document.
Texto completo da fonteThe work presented in this thesis deals with repetitive structure inference from audio signal using string matching techniques. It aims at proposing and evaluating inference algorithms from a formal study of notions of similarity and repetition in music.We first present a method for representing audio signals by symbolic strings. We introduce alignment tools enabling similarity estimation between such musical strings, and evaluate the application of these tools for automatic cover song identification. We further adapt a bioinformatics indexing technique to allow efficient assessments of music similarity in large-scale datasets. We then introduce several specific repetitive structures and use alignment tools to analyse these repetitions. A first structure, namely the repetition of a chosen segment, is retrieved and evaluated in the context of automatic assignment of missingaudio data. A second structure, namely the major repetition, is defined, retrieved and evaluated regarding expert annotations, and as an alternative indexing method for cover song identification.We finally present the problem of repetitive structure inference as addressed in literature, and propose our own problem statement. We further describe our model and propose an algorithm enabling the identification of a hierarchical music structure. We emphasize the relevance of our method through several examples and by comparing it to the state of the art
Lascabettes, Paul. "Mathematical Models for the Discovery of Musical Patterns, Structures and for Performances Analysis". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS578.
Texto completo da fonteThe purpose of this thesis is to provide mathematical models for the understanding and analysis of symbolic representations of music. In particular, this thesis is divided into three parts. How to discover musical patterns? How are these patterns organized within the musical structure? And finally, how are these patterns performed during musical performance? First, this thesis focuses on the musical pattern discovery task. Previous work identifies two different approaches: the sequential and geometric approaches. We propose a method for each of these two approaches. We propose a method for developing the multidimensional approach. In particular, we show that the theory of mathematical morphology is well suited to the geometrical approach, making it possible to obtain mathematical results for the discovery of musical patterns. In the second part, we focus on the musical segmentation task. We propose a method based on homogeneity and one based on repetition, which are the two main features to be studied in order to discover the segmentation of a piece. The homogeneity-based method uses morphological filters to detect blocks on the diagonal of the self-similarity matrix. We also develop a method based on almost repetition without overlaps to obtain the hierarchical segmentation of a musical piece. The third part is dedicated to the computational models for music performances. We focus on the MazurkaBL dataset, which contains annotations of over 2000 recorded performances of 46 Chopin Mazurkas. To analyze this dataset, we propose to represent a musical performance in a 2-simplex, allowing us to characterize and interpret the expressivity of a performance. Then, we show how the theory of optimal transport can be used to compare musical performances
Moll, Olga. "Structures de la jouissance musicale : une interprétation psychanalytique". Paris 8, 2003. http://www.theses.fr/2003PA082350.
Texto completo da fonteMusic will be discussed hereunder using psychoanalytical concepts. The ground will be Freud's and Lacan's theories. First, the road from linguistic to psychoanalysis , that places meaning in a new field and lets music be considered a discourse, as well as dreams or symptoms. Musical activity will be confronted to Lacan's intersubjectivity diagram. Applied research studies demonstrated that human development was driven by desire and its realisation. Music will therefore be analysed from the angle of desire. Music's singularity among other forms of sublimation will be obvious. The Orpheus myth, which is of paramount importance for musical activity, will be analysed through its early versions, then through its musical adaptations. The musical discourse will be finally focused on, searching for clues of displacement or condensation
Justel, Elsa. "Les structures formelles dans la musique de production électronique". Paris 8, 2000. http://www.theses.fr/2000PA081902.
Texto completo da fonteBedoya, Ramos Daniel. "Capturing Musical Prosody Through Interactive Audio/Visual Annotations". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS698.
Texto completo da fonteThe proliferation of citizen science projects has advanced research and knowledge across disciplines in recent years. Citizen scientists contribute to research through volunteer thinking, often by engaging in cognitive tasks using mobile devices, web interfaces, or personal computers, with the added benefit of fostering learning, innovation, and inclusiveness. In music, crowdsourcing has been applied to gather various structural annotations. However, citizen science remains underutilized in musical expressiveness studies. To bridge this gap, we introduce a novel annotation protocol to capture musical prosody, which refers to the acoustic variations performers introduce to make music expressive. Our top-down, human-centered method prioritizes the listener's role in producing annotations of prosodic functions in music. This protocol provides a citizen science framework and experimental approach to carrying out systematic and scalable studies on the functions of musical prosody. We focus on the segmentation and prominence functions, which convey structure and affect. We implement this annotation protocol in CosmoNote, a web-based, interactive, and customizable software conceived to facilitate the annotation of expressive music structures. CosmoNote gives users access to visualization layers, including the audio waveform, the recorded notes, extracted audio attributes (loudness and tempo), and score features (harmonic tension and other markings). The annotation types comprise boundaries of varying strengths, regions, comments, and note groups. We conducted two studies aimed at improving the protocol and the platform. The first study examines the impact of co-occurring auditory and visual stimuli on segmentation boundaries. We compare differences in boundary distributions derived from cross-modal (auditory and visual) vs. unimodal (auditory or visual) information. Distances between unimodal-visual and cross-modal distributions are smaller than between unimodal-auditory and cross-modal distributions. On the one hand, we show that adding visuals accentuates crucial information and provides cognitive scaffolding for accurately marking boundaries at the starts and ends of prosodic cues. However, they sometimes divert the annotator's attention away from specific structures. On the other hand, removing the audio impedes the annotation task by hiding subtle, relied-upon cues. Although visual cues may sometimes overemphasize or mislead, they are essential in guiding boundary annotations of recorded performances, often improving the aggregate results. The second study uses all CosmoNote's annotation types and analyzes how annotators, receiving either minimal or detailed protocol instructions, approach annotating musical prosody in a free-form exercise. We compare the quality of annotations between participants who are musically trained and those who are not. The citizen science component is evaluated in an ecological setting where participants are fully autonomous in a task where time, attention, and patience are valued. We present three methods based on common annotation labels, categories, and properties to analyze and aggregate the data. Results show convergence in annotation types and descriptions used to mark recurring musical elements across experimental conditions and musical abilities. We propose strategies for improving the protocol, data aggregation, and analysis in large-scale applications. This thesis contributes to representing and understanding performed musical structures by introducing an annotation protocol and platform, tailored experiments, and aggregation/analysis methods. The research shows the importance of balancing the collection of easier-to-analyze datasets and having richer content that captures complex musical thinking. Our protocol can be generalized to studies on performance decisions to improve the comprehension of expressive choices in musical performances
Bruschini, Adrien. "Tonalités, motifs et structures d'intervalles dans les mélodies de Claude Debussy (1887-1893)". Thesis, Nice, 2014. http://www.theses.fr/2014NICE2049/document.
Texto completo da fonteIn the late 1880's, Claude Debussy's musical language, influenced by Wagner, symbolism and Baudelaire's poetry, deeply transforms itself.The tonal system, still regarded as the unique horizon of expectations (Jauss) of European musical institutions, is pushed to the background in the composer's melodies by his characteristic associations with poetical themes like memories, humor, and reclusion.This thesis focuses on an analysis of these transformations and on a comparison of this new musical language with Ernest Chausson's Serres chaudes, which still shares the same poetic and musical influences
Tillmann, Barbara. "Perception des structures musicales : apprentissage et modélisation". Dijon, 1999. http://www.theses.fr/1999DIJOL026.
Texto completo da fonteWestern listeners acquire a sensitivity to the regularities of the tonal system of Western music by mere exposure to tonal musical pieces. Once acquired, this knowledge allows the construction of a mental representation of the structure of tonal musical pieces. The present research examines the perception of large musical structures, the contribution of tonal knowledge in this processing and the acquisition of this knowledge. The first part of the research investigates the perception of global and local structures in real musical pieces. Different experimental paradigms (judgments of expressivity and coherence, resolution of “musical puzzles”, target detection and recognition) provide evidence that local structures prevail over global structures. Global structures seem to have relatively little importance for the listener in pieces of 3 min. Or 20 sec in length. The second part examines the contribution of tonal knowledge to the processing of event structures in short sequences (8 to 14 chords). The harmonic priming paradigm reveals an influence of global and local structures on chord processing. Simulations with a connectionist model of tonal knowledge representation (Bharucha, 1987) suggest that the influence of the structures emerges from simple activation of tonal knowledge and its accumulation over time – without hierarchical integration in an overall structure. Connectionist models allow modeling of the capacity of the cognitive system to extract underlying regularities from the environment. In the third part, learning simulations of the tonal system are realized with the help of an unsupervised learning algorithm. The network, combined with a spreading activation mechanism, allows modeling of experimental data on the processing of event structures in terms of information accumulation rather than in terms of a hierarchical integration strictly speaking
Déguernel, Ken. "Apprentissage de structures musicales en contexte d'improvisation". Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0011/document.
Texto completo da fonteCurrent musical improvisation systems are able to generate unidimensional musical sequences by recombining their musical contents. However, considering several dimensions (melody, harmony...) and several temporal levels are difficult issues. In this thesis, we propose to combine probabilistic approaches with formal language theory in order to better assess the complexity of a musical discourse, both from a multidimensional and multi-level point of view in the context of improvisation where the amount of data is limited. First, we present a system able to follow the contextual logic of an improvisation modelled by a factor oracle whilst enriching its musical discourse with multidimensional knowledge represented by interpolated probabilistic models. Then, this work is extended to create another system using a belief propagation algorithm representing the interaction between several musicians, or between several dimensions, in order to generate multidimensional improvisations. Finally, we propose a system able to improvise on a temporal scenario with multi-level information modelled with a hierarchical grammar. We also propose a learning method for the automatic analysis of hierarchical temporal structures. Every system is evaluated by professional musicians and improvisers during listening sessions
Bigand, Emmanuel. "Perception et compréhension des phrases musicales". Paris 10, 1990. http://www.theses.fr/1990PA100034.
Texto completo da fonteTwo levels may be distinguished in any tonal melody : one corresponding to the physionomical organization (rhythms, melodic contours, dynamics, etc. ) Called "superficial structure", the other corresponding to the underlying organization defined by the network of hierarchical relations associating the phrase notes. The purpose of this study is to specify how musician and non-musician listeners manage to proceed from the perception of physionomical characteristics of the musical surface to the understanding of the underlying network of hierarchical relations. In the first volume, the author considers an important number of experimental studies realized in psychology of music. They inform us of the different perceptual and cognitive processes occuring while listening to music. Their interaction is studied in a detailed review of lerdahl and jackendoff's book : a generativ theory of tonal music (1983). In the second volume the author exposes a series of seven experiments aiming to test the central hypothesis of that modal. The first three show the influence of underlying organization on the memorizing of melodies. The following experiments, proceed by identification tests. They confirm the existence of a processing level in which the phrase is no more represented by its physionomical aspects but by its underlying hierarchical relations. Three general aptitudes are required in order to be able to abstract such a network : one concerning the implicit knowledge of pitch hierarchies set up by the tonal system, another concerning the principles of rhythmic grouping and the last concerning memorizing processes. Every occidental adult listener possesses the three enabling him to get a more or less elaborated understanding of a tonal musical piece. In conclusion, the author considers how those aptitudes appear during the child's growth and what they tell about a more general competence for musical structuring
Poulin-Charronnat, Bénédicte. "Effet d'expertise sur le traitement des structures musicales". Dijon, 2003. http://www.theses.fr/2003DIJOL012.
Texto completo da fonteThe purpose of the present thesis is to evaluate how the perception of musical structures changes according to the expertise of the listeners. A first set of four experiments using the harmonic priming paradigm shows that the listeners, musicians and non-musicians, behave in an identical way in response to the factors manipulated, and notably that they are more sensitive to the cognitive than to the acoustic manipulations. This first result demonstrates that the listeners possess knowledge of the Western tonal system, and independently of their degree of expertise. A fifth study has then specifically evaluated the musical expertise effect. Once again, an absence of difference between musicians and non-musicians suggest that not only music is something acquired by implicit learning procedures but in addition that the perception of music implies cognitive processes that are themselves implicit. In a sixth study, the implicit learning of regularities underlying a new musical system was shown in both musicians and non-musicians. It appears that the implicit characteristic of learning and processing of music are similar to those of language. The two last studies have shown interactions between language and music, suggesting that our brain, by parsimony, could have identical cognitive processes to treat information coming from similar systems
Louboutin, Corentin. "Modélisation multi-échelle et multi-dimensionnelle de la structure musicale par graphes polytopiques". Thesis, Rennes 1, 2019. http://www.theses.fr/2019REN1S012/document.
Texto completo da fonteIn this thesis, we approach these questions by defining and implementing a multi-scale model for music segment structure description, called Polytopic Graph of Latent Relations (PGLR). In our work, a segment is the macroscopic constituent of the global piece. In pop songs, which is the main focus here, segments usually correspond to a chorus or a verse, lasting approximately 15 seconds and exhibiting a clear beginning and end. Under the PGLR scheme, relationships between musical elements within a musical segment are assumed to be developing predominantly between homologous elements within the metrical grid at different scales simultaneously. This approach generalises to the multi-scale case the System&Contrast framework which aims at describing, as a 2×2 square matrix, the logical system of expectation within a segment and the surprise resulting from that expectation. For regular segments of 2^n events, the PGLR lives on a n-dimensional cube (square, cube, tesseract, etc...), n being the number of scales considered simultaneously in the multi-scale model. Each vertex in the polytope corresponds to a low-scale musical element, each edge represents a relationship between two vertices and each face forms an elementary system of relationships. The estimation of the PGLR structure of a musical segment can then be obtained computationally as the joint estimation of : the description of the polytope (as a more or less regular n-polytope) ; the nesting configuration of the graph over the polytope, reflecting the flow of dependencies and interactions as elementary implication systems within the musical segment, the set of relations between the nodes of the graph. The aim of the PGLR model is to both describe the time dependencies between the elements of a segment and model the logical expectation and surprise that can be built on the observation and perception of the similarities and differences between elements with strong relationships. The approach is presented conceptually and algorithmically, together with an extensive evaluation of the ability of different models to predict unseen data, measured using the cross-perplexity value. These experiments have been conducted both on chords sequences, rhythmic and melodic segments extracted from the RWC POP corpus. Our results illustrate the efficiency of the proposed model in capturing structural information within such data
François, Clément. "Apprentissage implicite des structures linguistiques et musicales : approche multi-méthodologique". Thesis, Aix-Marseille 2, 2011. http://www.theses.fr/2011AIX20673/document.
Texto completo da fonteThe aims of the present thesis were two-folded. Firstly, we wanted to compare behavioral and electrophysiological measures related to the implicit learning of linguistic and musical structures contained within an artificial sung language. While behavioral measures suggest that only the linguistic structure was learned, electrophysiological data revealed similar N400 effects in both linguistic and musical dimensions, suggesting that participants did also learn the musical structure. The second goal was to evaluate to what extent musical expertise can affect speech segmentation. At this aim, we compared a group of adult musicians to a group of nonmusicians. While behavioral data showed that musicians had marginally better performance than non musicians in both dimensions, electrophysiological data revealed, via early (N1/P2) and late (N400) differences, a better speech segmentation in musicians than in non musicians. Moreover, event-related potentials and time-frequency analyzes during learning revealed a faster and more efficient learning process in musicians. However, the only way to unambiguously claim causality between expertise and the observed effects requires a longitudinal approach. At this aim, we conducted a study with 8 year-old children who followed either music or painting lessons over a period of 2 years. Behavioral and electrophysiological data revealed a larger benefit of musical compared to painting training, bringing evidences for the importance of music in childrens' education
Calandra, Joséphine. "L'algorithmie cognitive et ses applications musicales". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL148.
Texto completo da fonteThis thesis presents the formalization and development of a music analysis software called "Multiscale Oracle Representations For Organized Sounds" (MORFOS). This software aims to implement a multi-scale model of musical form based on Jean-Marc Chouvel's Cognitive Algorithm. The work in this thesis is part of the cognitive analysis in musicology, aimed at understanding the cognitive processes involved in listening to music. We study a hierarchical representation of music and explore the influence of this hierarchy on the organization of musical events over time and on musical comprehension. We formalize the concepts of material, object, and formal diagram, and introduce the Multi-scale Formal Diagram, which describes musical structure at different temporal scales and levels of analysis. This comprises three planes, which we introduce: form, structure, and organization. MORFOS has been implemented in Python and accepts audio, symbolic, and vector representations. This software features a modular architecture integrating different modules for audio processing, classification, and segmentation: we present different measures implemented in the form of a set of rules and discuss the constraints associated with the study of classification and segmentation based on an audio representation. We also introduce the notion of Agenda, which corresponds to the user's choice of a set of rules to represent a "listening" model for the software's analysis of a musical work. The thesis also explores the question of the complexity of the musical structure: we propose the expression of a cost associated with the description of the acquired musical object depending on its context, according to Kolmogorov's definition. We also seek to compare the behavior of MORFOS software with attentional phenomena and cognitive load during musical listening. An experiment designed to measure cognitive load during the musical segmentation task has thus been devised. This thesis also presents reflections on the visualization of multi-scale formal diagrams. To this end, we have developed an interface to make the software accessible to all users. Finally, examples of musical analyses carried out with MORFOS are presented, on a pop music database and a corpus of classical works
Amiot, Emmanuel. "Modèles algébriques et algorithmes pour la formalisation mathématique de structures musicales". Paris 6, 2010. http://www.theses.fr/2010PA066680.
Texto completo da fonteBigo, Louis. "Représentations symboliques musicales et calcul spatial". Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST1074/document.
Texto completo da fonteMusical symbolic representations and spatial computing. The notion of symbolic space is frequently used in music theory, analysis and composition. Representing sequences in pitch (or chord) spaces, like the Tonnetz, enables to catch some harmonic and melodic properties that elude traditional representation systems. We generalize this approach by rephrasing in spatial terms different musical purposes (style recognition, melodic and harmonic transformations, all-interval series classification, etc.). Spaces are formalized as topological collections, a notion corresponding with the label- ling of a cellular complex in algebraic topology. A cellular complex enables the discrete representation of a space through a set of topological cells linked by specific neighborhood relationships. We represent simple musical objects (for example pitches or chords) by cells and build a complex by organizing them following a particular neighborhood relationship defined by a musical property. A musical sequence is represented in a complex by a trajectory. The look of the trajectory reveals some informations concerning the style of the piece, and musical strategies used by the composer. Spaces and trajectories are computed with MGS, an experimental programming language dedicated to spatial computing, that aims at introducing the notion of space in computation. A tool, HexaChord, has been developped in order to facilitate the use of these notions for a predefined set of musical spaces
Bouche, Dimitri. "Processus compositionnels interactifs : une architecture pour la programmation et l'exécution des structures musicales". Thesis, Paris 6, 2016. http://www.theses.fr/2016PA066533/document.
Texto completo da fonteThis thesis aims at designing a computer system enabling the computation of musical structures, their presentation/handling on a compositional side, and their interactive rendering. It is a study at the crossroads between several computer science research fields : discrete systems modeling, scheduling, software design and human-computer interfaces. We propose an architecture where program editing can affect their outputs, including during the rendering phase, while preserving the compositional benefits of a deferred-time approach. Compositions are therefore considered as continually running programs, where computation and rendering mechanisms are interleaved. We introduce new tools and interfaces to arrange their execution through time thanks to dynamic temporal scenario scripting, which we call meta-composing. The different results described in this manuscript are implemented in the computer-aided composition environment OpenMusic
Bouche, Dimitri. "Processus compositionnels interactifs : une architecture pour la programmation et l'exécution des structures musicales". Electronic Thesis or Diss., Paris 6, 2016. http://www.theses.fr/2016PA066533.
Texto completo da fonteThis thesis aims at designing a computer system enabling the computation of musical structures, their presentation/handling on a compositional side, and their interactive rendering. It is a study at the crossroads between several computer science research fields : discrete systems modeling, scheduling, software design and human-computer interfaces. We propose an architecture where program editing can affect their outputs, including during the rendering phase, while preserving the compositional benefits of a deferred-time approach. Compositions are therefore considered as continually running programs, where computation and rendering mechanisms are interleaved. We introduce new tools and interfaces to arrange their execution through time thanks to dynamic temporal scenario scripting, which we call meta-composing. The different results described in this manuscript are implemented in the computer-aided composition environment OpenMusic
Guiomard-Kagan, Nicolas. "Traitement de la polyphonie pour l'analyse informatique de partitions musicales". Thesis, Amiens, 2017. http://www.theses.fr/2017AMIE0017/document.
Texto completo da fonteMusic can be either monophonic (a single note sounds at each time) or polyphonic (several notes sound simultaneously, building harmonies). Understanding polyphonic music can be very complex. The goal of this thesis in computer music is to ease the analysis of polyphonic scores by splitting them in either monophonic voices or streams (coherent sets of notes). Research in this thesis first consists in comparing three voices separation algorithms and three streams separation algorithms. I propose an evaluation method to fairly compare these two approaches. This study shows the qualities of the Chew and Wu algorithm. The first step of this algorithm, which segments the score into “contigs” having a constant number of voices, is particularly robust. Further work of this thesis focuses on the second stage of the Chew and Wu algorithm that defines what contigs to connect and how to connect them. I improve these connections by using musical parameters such as the average pitch difference between neighbor contigs. The thesis concludes by evaluating simultaneously voice separation and pattern matching for the music analysis of fugues
Charlier, Claude E. M. "Polythématisme et structure formelle dans l'art de la fugue". Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213116.
Texto completo da fonteSechehaye, Hélène. "Des Gnawa à Bruxelles aux Gnawa de Bruxelles. Analyse de pratiques musicales relocalisées". Doctoral thesis, Universite Libre de Bruxelles, 2020. https://dipot.ulb.ac.be/dspace/bitstream/2013/314334/17/3_3arada.wav.
Texto completo da fonteDoctorat en Histoire, histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
Sechehaye, Hélène. "Des Gnawa à Bruxelles aux Gnawa de Bruxelles. : Analyse de pratiques musicales relocalisées". Thesis, Lyon, 2020. http://www.theses.fr/2020LYSES015.
Texto completo da fonteThe Gnawa are a brotherhood community resulting from the sub-Saharan presence in Morocco. They are known for their nocturnal ritual of trances, the līla, but also for their public musical activity. This thesis focuses on the musical practices of the Gnawa in Brussels. Indeed, the community of Maroxellois is one of the most important in the capital and the Gnawa have become one of its audible voices.This thesis focuses on the movements of the repertoires, the practitioners and their instruments. These movements are, on the one hand, at the origin of the emergence of the Gnawa practice. On the other hand, they are constitutive of the contemporary identity of the Gnawa both in their process of initiation through ǧōla and in the construction of their professional career. In Morocco, each region has an "ancient" style, which has gradually been replaced by a modern globalized style. In Brussels, while the repertoire of the guembri lute is often performed in its globalized version, the drum repertoire remains very attached to its Tangier side. Based on musico-choreographic analyses, this thesis examines how and why regional musical identities are sometimes highlighted, sometimes relegated to the background.This research is based on several years of fieldwork and takes into account historical, ethnomusicological, anthropological and sociological data. Gnawa activities in Brussels are considered both from a transnational perspective, linked to globalized practices around the world, but also anchored in a specific Brussels locality that gives them a unique trajectory
Hirigoyen, Bidart Marie. "Le chant basque monodique (1897-1990) : analyse musicologique comparée des sources écrites et musicales". Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00747090.
Texto completo da fonteGillet, Olivier. "Transcription des signaux percussifs : application à l'analyse de scènes musicales audiovisuelles /". Paris : École nationale supérieure des télécommunications, 2007. http://catalogue.bnf.fr/ark:/12148/cb411983112.
Texto completo da fonteAitrimouch, Hammou. "Analyse de structures mécaniques modifiées". Besançon, 1993. http://www.theses.fr/1993BESA2050.
Texto completo da fonteMihalic, Alexander. "Modèles et données extra-musicales : étude de leur incidence dans le processus compositionnel". Paris 8, 2000. http://www.theses.fr/2000PA081899.
Texto completo da fonteHoch, Lisianne. "Perception et apprentissage des structures musicales et langagières : études des ressources cognitives partagées et des effets attentionnels". Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20049/document.
Texto completo da fonteMusic and language are structurally organized materials that are based on combinatorial principles. Listeners have acquired knowledge about these structural regularities via mere exposure. This knowledge allows them to develop expectations about future events in music and language perception. My PhD investigated two aspects of domain-specificity versus generality of cognitive functions in music and language processing: perception and statistical learning.In the first part (perception), musical structure processing has been shown to influence spoken and visual language processing (Études 1 & 4), partly due to dynamic attending mechanisms (Jones, 1976). More specifically, musical structure processing has been shown to interact with linguistic-syntactic processing, but not with linguistic-semantic processing (Étude 3), thus supporting the hypothesis of shared syntactic resources for music and language processing (Patel, 2003). Together with previous studies that have investigated simultaneous musical and linguistic (syntactic and semantic) structure processing, we proposed that these shared resources might extend to the processing of other structurally organized information that require structural and temporal integration resources. This hypothesis was tested and supported by interactive influences between simultaneous musical and arithmetic structure processing (Étude 4). In the second part (learning), statistical learning was directly compared for verbal and nonverbal materials. In particular, we aimed to investigate the influence of dynamic attention driven by non-acoustic (Études 5 & 6) and acoustic (Étude 7) cues on statistical learning. Non-acoustic temporal cues have been shown to influence statistical learning of verbal and nonverbal artificial languages. In agreement with the dynamic attending theory (Jones, 1976), we proposed that non-acoustic temporal cues guide attention over time and influence statistical learning.Based on the influence of dynamic attending mechanisms on perception and learning and on evidence of shared structural and temporal integration resources for the processing of musical structures and other structured information, this PhD opens new questions about the potential influence of tonal and temporal auditory structure processing on general cognitive sequencing abilities, notably required in structured sequence perception and learning.Jones, M. R. (1976). Time, our lost dimension: Toward a new theory of perception, attention, and memory. Psychological Review, 83(5), 323-355. doi:10.1037/0033-295X.83.5.323Patel, A. D. (2003). Language, music, syntax and the brain. Nature Neuroscience, 6(7), 674-681. doi:10.1038/nn1082
Chan, Wing Yi. "Visualizing the semantic structure in classical music works /". View abstract or full-text, 2009. http://library.ust.hk/cgi/db/thesis.pl?CSED%202009%20CHAN.
Texto completo da fontePerret, Jérémy. "Parsing dialogue and argumentative structures". Thesis, Toulouse 3, 2016. http://www.theses.fr/2016TOU30350/document.
Texto completo da fonteThis work presents novel techniques for parsing the structures of multi-party dialogue and argumentative texts. Finding the structure of extended texts and conversations is a critical step towards the extraction of their underlying meaning. The task is notoriously hard, as discourse is a high-level description of language, and multi-party dialogue involves many complex linguistic phenomena. Historically, representation of discourse moved from local relationships, forming unstructured collections, towards trees, then constrained graphs. Our work uses the latter framework, through Segmented Discourse Representation Theory. We base our research on a annotated corpus of English chats from the board game The Settlers of Catan. Per the strategic nature of the conversation and the freedom of online chat, these dialogues exhibit complex discourse units, interwoven threads, among other features which are mostly overlooked by the current parsing literature. We discuss two corpus-related experiments. The first expands the definition of the Right Frontier Constraint, a formalization of discourse coherence principles, to adapt it to multi-party dialogue. The second demonstrates a data extraction process giving a strategic advantage to an artificial player of Settlers by inferring its opponents' assets from chat negotiations. We propose new methods to parse dialogue, using jointly machine learning, graph algorithms and linear optimization, to produce rich and expressive structures with greater accuracy than previous attempts. We describe our method of constrained discourse parsing, first on trees using the Maximum Spanning Tree algorithm, then on directed acyclic graphs using Integer Linear Programming with a number of original constraints. We finally apply these methods to argumentative structures, on a corpus of English and German texts, jointly annotated in two discourse representation frameworks and one argumentative. We compare the three annotation layers, and experiment on argumentative parsing, achieving better performance than similar works
Martin, Philippe. "Réseaux de neurones artificiels : application à la reconnaissance optique de partitions musicales". Phd thesis, Grenoble 1, 1992. http://tel.archives-ouvertes.fr/tel-00340938.
Texto completo da fonteStervinou, Adeline. "La perception structurelle et temporelle d'extraits de musiques contemporaines par les adolescents musiciens et non-musiciens". Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00664451.
Texto completo da fonteSargent, Gabriel. "Estimation de la structure de morceaux de musique par analyse multi-critères et contrainte de régularité". Phd thesis, Université Rennes 1, 2013. http://tel.archives-ouvertes.fr/tel-00853737.
Texto completo da fonteGillet, Olivier. "Transcription des signaux percussifs : application à l'analyse de scènes musicales audiovisuelles". Phd thesis, Télécom ParisTech, 2007. http://pastel.archives-ouvertes.fr/pastel-00002805.
Texto completo da fonteAndré, Emmanuelle. "Formes filmiques et idées musicales : en quête de musicalité au cinéma". Paris 3, 2000. http://www.theses.fr/2000PA030007.
Texto completo da fonteVu, Viet-Hung. "Analyse modale opérationnelle des structures non stationnaires". Mémoire, École de technologie supérieure, 2010. http://espace.etsmtl.ca/664/1/VU_Viet_Hung.pdf.
Texto completo da fonteDarlay, Julien. "Analyse combinatoire de données : structures et optimisation". Phd thesis, Université de Grenoble, 2011. http://tel.archives-ouvertes.fr/tel-00683651.
Texto completo da fonteGomez, Barreto Paola. "Analyse et évaluation de structures orientées document". Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAM076/document.
Texto completo da fonteNowadays, millions of different data sources produce a huge quantity of unstructured and semi-structured data that change constantly. Information systems must manage these data but providing at the same time scalability and performance. As a result, they have had to adapt it to support heterogeneous databases, included NoSQL databases. These databases propose a schema-free with great flexibility but with a no clear separation of the logical and physical layers. Data can be duplicated, split and/or incomplete, and it can also change as the business needs.The flexibility and absence of schema in document-oriented NoSQL systems, such as MongoDB, allows new structuring alternatives to be explored without facing constraints. The choice of the structuring remains important and critical because there are several impacts to consider and it is necessary to choose among many of options of structuring. We therefore propose to return to a design phase in which aspects of quality and the impacts of the structure are considered in order to make a decision in a more informed manner.In this context, we propose SCORUS, a system for the analysis and evaluation of document-oriented structures that aims to facilitate the study of document-oriented semi-structuring possibilities, such as MongoDB, and to provide objective metrics for better highlight the advantages and disadvantages of each solution in relation to the needs of the users. For this, a sequence of three phases can compose a design process. Each phase can also be performed independently for analysis and adjustment purposes. The general strategy of SCORUS is composed by:1. Generation of a set of structuration alternatives: in this phase we propose to start from UML modeling of the data and to automatically produce a large set of possible structuring variants for this data.2. Evaluation of Alternatives Using a Set of Structural Metrics: This evaluation takes a set of structuring variants and calculates the metrics against the modeled data.3. Analysis of the evaluated alternatives: use of the metrics to analyze the interest of the considered alternatives and to choose the most appropriate one(s)
Raut, François. "Analyse et modélisation des structures de protéines". Bordeaux 1, 1987. http://www.theses.fr/1987BOR10516.
Texto completo da fonteWang, Zixiong. "Analyse des structures des formules mathématiques manuscrites /". Paris : École nationale supérieure des télécommunications, 1991. http://catalogue.bnf.fr/ark:/12148/cb35585847n.
Texto completo da fonteRaut, François. "Analyse et modélisation des structures de protéines". Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37609204g.
Texto completo da fonteLemaitre, Paul. "Analyse de sensibilité en fiabilité des structures". Thesis, Bordeaux, 2014. http://www.theses.fr/2014BORD0061/document.
Texto completo da fonteThis thesis' subject is sensitivity analysis in a structural reliability context. The general framework is the study of a deterministic numerical model that allows to reproduce a complex physical phenomenon. The aim of a reliability study is to estimate the failure probability of the system from the numerical model and the uncertainties of the inputs. In this context, the quantification of the impact of the uncertainty of each input parameter on the output might be of interest. This step is called sensitivity analysis. Many scientific works deal with this topic but not in the reliability scope. This thesis' aim is to test existing sensitivity analysis methods, and to propose more efficient original methods. A bibliographical step on sensitivity analysis on one hand and on the estimation of small failure probabilities on the other hand is first proposed. This step raises the need to develop appropriate techniques. Two variables ranking methods are then explored. The first one proposes to make use of binary classifiers (random forests). The second one measures the departure, at each step of a subset method, between each input original density and the density given the subset reached. A more general and original methodology reflecting the impact of the input density modification on the failure probability is then explored.The proposed methods are then applied on the CWNR case, which motivates this thesis
Bendaas, Mohamed. "Analyse et conception des structures textiles tendues". Grenoble INPG, 1994. http://www.theses.fr/1994INPG0121.
Texto completo da fonteDélécraz, Cyril. "La paramétrisation du geste dans les formes musicales scéniques : L'exemple du théâtre musical contemporain : état de l'art, historiographie, analyse". Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2015/document.
Texto completo da fonteOver the course of the 20th century, gesture gradually became a parameter of musical composition in the repertoires of the Western classical tradition. The avant-garde (Dada, futurism, Bauhaus, expressionism, etc.) is at the origin of performance concept while noise music broadens the field of aesthetically audible sounds. Rejecting the romantic opera and all its attributes (lyrical singing technique, supremacy of the dramatic text over music, orchestra pit, the illusion of the reality, orchestral opulence, intermissions, etc.), composers feel the need to express themselves differently, while the capacity for renewal of the tonal system wanes. They define new scenic musical forms in a framework dictated by performance and in accordance with a new awareness of listening resulting from numerous experiments carried out in the musical studios. After World War II, with the advent of concrete music, the voice became not only the vector of speech but also a generator of sound, the scenic space was rid of the performer and, in return, some composers (Mauricio Kagel, Dieter Schnebel, Luciano Berio, John Cage, to name but a few) offered hybrid pieces where music is combined with the diction of a narrator, pantomime or theatrical action, without one component constantly getting the upper hand. According to an empirical approach to the body mediated through video recording (based on a corpus stretching from 1960 to 2016), it is possible to highlight counterpoints of information from several elements of the recorded performances (music, gestures, movements, light, etc.), which ultimately construct a meaningful reality for the listener-spectator. By directly analysing the performative works, it appears that the gesture is indeed a structural element of a spectacular nature that participates in the creation of discursive forms and, consequently constituting an indispensable element of reception. By focusing on the parameterisation of the gesture, this work provides a first element of answer to the following question: how does musical performance, in its living aspect, integrate the gesture and how does it influence the form? In this way, it hopes to pave the way for a musicology of contemporary music theatre
Rhaouti, Leïla. "Domaines fictifs pour la modélisation d'un problème d'interaction fluide-structure : simulation de la timbale". Paris 9, 1999. https://portail.bu.dauphine.fr/fileviewer/index.php?doc=1999PA090039.
Texto completo da fonteUston, de Villeréglan Bérenger d'. "Conception et analyse mécanique de structures textiles tendues". Lyon, INSA, 1987. http://www.theses.fr/1987ISAL0070.
Texto completo da fonteDERRIEN-PEDEN, DENISE. "Analyse des structures de documents, une approche objet". Rennes 1, 1990. http://www.theses.fr/1990REN10061.
Texto completo da fonteSong, Heping. "Analyse de donnees bidimentionnelle : tendances, structures et contours". Reims, 1998. http://www.theses.fr/1998REIMS037.
Texto completo da fonteDessombz, Olivier. "Analyse dynamique de structures comportant des paramètres incertains". Ecully, Ecole centrale de Lyon, 2000. http://www.theses.fr/2000ECDL0036.
Texto completo da fonteWe are interested in the modelling of structures with uncertain parameters. We focus on the characteristics of static and dynamic responses of such mechanical systems. We distinguish in this study two cases : first, the case of random parameters with a known probability law and second the case of variables of which only the bounds are known. In a first part, we investigate the case of structures with uncertain parameters modelled as random variables. We are particularly interested in the dynamic responses, as well the frequency response functions as the eigenmodes. An inovative method is carried out, which consists in a projection on orthogonal polynomial (polynomial chaos) that leads to the main stochastic characteristics of the responses. In a second part, we use the interval arithmetic to solve static and dynamic problems. We first propose an adapted formulation of the mathematical problems with respect to the finite element modeling of mechanical systems. We then introduce a new formulation of an iterative algorithm that leads to enveloppes of responses for interval linear systems
Heller, Ludek. "Amortissement dans les structures assemblées". Besançon, 2005. http://www.theses.fr/2005BESA2050.
Texto completo da fonteLarrieu, Maxence. "Analyse des musiques d'informatique, vers une intégration de l'artefact : propositions théoriques et application sur Jupiter (1987) de Philippe Manoury". Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC0007/document.
Texto completo da fonteThis thesis question the musical analysis of computer music works. These works are particular insofar as they exist with a wholly singular medium, a digital medium, which we name artifact. Our reflection starts from the ascertainment that the means needed to understand the artifact are new for the theory of musical analysis. Thereby our work begins with the following question : « how does computer music works can be analyzed with the help of their artifact ? ». Our thesis intends to answer to this question through a pioneer work from the 1980s, Jupiter, composed by Philippe Manoury at Ircam with Miller Puckette. Our answer is built in three parts. At first, we enlighten artifact by defining five points of singularity which characterize them. In the same line we identify a key system in the study of artifact, the Man Artifact Sound system. The second part is dedicated to our answer. One of the main difficulties in studying artifact is that they are structured in different levels of abstraction, and each one has its own structure. Consequently, the understanding of artifact had to be done inside a highly dynamic process, where the computational, sound and musical significations overlap as much as necessary. A conceptual framework is then suggested by which artifacts can be described, taking into account the different levels of abstraction. In the last part we put into practice those last propositions in analyzing Jupiter. His artifact is entirely dismantled and then an analysis is carried out, section by section, in confronting the listening and the knowledge we get from the artifact
AYME, CARRIE NATHALIE. "Analyse des effets du vent sur les structures baties : constructions basses et structures elancees". Nantes, 1987. http://www.theses.fr/1987NANT2051.
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