This article presents the theoretical, scientific, and methodological foundations for the design and implementation of an innovative technological and clinical platform that combined sound, music, and vibrotactile mediation used in a therapeutic setting by adolescents suffering from anorexia nervosa. In 2019, we carried out a pilot experiment with a group of 8 adolescent patients hospitalized in the Eating Disorders Unit of the Department of Adolescent and Young Adult Psychiatry of the Institut Mutualiste Montsouris in Paris. Within this clinical framework, we aimed to create conditions suitable for patients to reinvest in their “disaffected” bodily zones and internal experiences through reflecting on the sensations, emotions, and ideas generated by the sensory experiences created when sound and musical stimuli are transmitted through vibrations. The findings demonstrate the ways in which adolescent patients made use of the platform’s audiovibrotactile mediating objects to express a personal associative process through speech during their exchanges with clinical psychologists.
L’étude de « Whole Lotta Love » et « Hats Off To (Roy) Harper » de Led Zeppelin rend compte d’identités sonores de la voix étendues par l’intégration de divers outils techniques et technologiques dans un processus de création rock de la fin des années 1960. Ces titres illustrent comment artistes, ingénieurs du son et producteurs se sont appropriés ces outils, aussi bien à l’enregistrement qu’en post-production. Réciproquement, ils montrent comment ces outils ont induit de nouvelles interactions dans le processus de création. Se pose alors la question de l’analyse de ces procédés en musicologie, dès lors que de nouveaux paradigmes sonores sont introduits et touchent à l’identité même de sources comme la voix transformée, dénaturée, tout en préservant une force expressive et émotionnelle qui fait partie intégrante de l’œuvre.
This work presents a multidisciplinary approach to vibrotactile perception, applying linguistic methods to musical acoustics. We are interested more particularly in the sense of touch as a part of the multisensory experience of playing a musical instrument. Six words and their inflections are chosen from the literature in musical acoustics dealing with vibrotactile perception: “comfort”, “dynamics”, “response”, “feeling”, “touch” and “vibration”. Their use by musicians in playing situation is analyzed. The data used in this article comes from transcripts of two previous studies, conducted in French with professional guitarists natively speaking French. The linguistic analysis of the corpus is based on different features which help to categorize the utterances according to each observed parameter, namely the relationship with the sense of touch, the object that is qualified by the words under study and the implication in discourse of the interviewee. The results permit to understand the use of the six categories of words in relationship with the sense of touch, and provide perspectives to use some of these words to focus the discourse on the sense of touch in future studies.
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