L’acoustique des salles du point de vue du chanteur et de l’orateur

Husson, R; Garde, Édouard; Richard, André

doi:10.1007/bf03017103

Cited by 9 publications

(4 citation statements)

References 9 publications

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“…A historic lesson in this regard comes from early theories about human vocalization. Early theories held that phonation was actively neurally driven, such that active muscle contractions would be needed to complete each vocal fold cycle [97]. This hypothesis was soon refuted in favour of a biomechanical theory [98], which correctly posited that vocal fold oscillation arises out of more neurally passive dynamics.…”

Section: Discussionmentioning

confidence: 99%

Multilevel rhythms in multimodal communication

Pouw

Proksch

Drijvers

et al. 2021

Phil. Trans. R. Soc. B

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It is now widely accepted that the brunt of animal communication is conducted via several modalities, e.g. acoustic and visual, either simultaneously or sequentially. This is a laudable multimodal turn relative to traditional accounts of temporal aspects of animal communication which have focused on a single modality at a time. However, the fields that are currently contributing to the study of multimodal communication are highly varied, and still largely disconnected given their sole focus on a particular level of description or their particular concern with human or non-human animals. Here, we provide an integrative overview of converging findings that show how multimodal processes occurring at neural, bodily, as well as social interactional levels each contribute uniquely to the complex rhythms that characterize communication in human and non-human animals. Though we address findings for each of these levels independently, we conclude that the most important challenge in this field is to identify how processes at these different levels connect. This article is part of the theme issue ‘Synchrony and rhythm interaction: from the brain to behavioural ecology’.

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Section: Discussionmentioning

confidence: 99%

Multilevel rhythms in multimodal communication

Pouw

Proksch

Drijvers

et al. 2021

Phil. Trans. R. Soc. B

View full text Add to dashboard Cite

show abstract

“…A historic lesson in this regard comes from early theories about human vocalization. Early theories held that phonation was actively neurally driven, such that active muscle contractions would be needed to complete each vocal fold cycle [98]. This hypothesis was soon refuted in favor of a biomechanical theory [99], which correctly posited that vocal fold oscillation arises out of more neurally passive dynamics.…”

Section: Discussionmentioning

confidence: 99%

Multilevel rhythms in multimodal communication

Pouw¹,

Proksch²,

Drijvers³

et al. 2020

Preprint

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It is now widely known that much animal communication is conducted over several modalities, e.g., acoustic and visual, either simultaneously or sequentially. Despite this awareness, students of synchrony and rhythm interaction in animal communication have traditionally focused on a single modality at a time in their analyses. This paper reviews our current knowledge of non-human and human rhythm interaction in multi-modal communication at several levels of analysis. We begin by examining how multimodality can be defined as a scale-free phenomenon. Then we review which communicative rhythms are sustained by unique characteristics of processes at several levels. We consider communicative rhythms that are sustained by neural-cognitive, peripheral bodily, and social interactive constraints. Potential adaptiveness of multi-modal interaction, both within and between individuals, can be inferred.

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“…Réactions des qualités acoustiques d'une salle sur la vibration des cordes vocales. les conditions géométriques et physiques susceptibles d'y assurer une audition optima pour tous genres de phénomènes sonores : chant, discours, musiques diverses, etc... Ce n'est qu'en 1952 qu'est apparue, en France, la première (et encore la seule) étude de l'acoustique des salles du point de vue du chanteur et de l'orateur [55], c'est-à-dire se préoccupant de définir les qualités acoustiques susceptibles d'y assurer des conditions phonatoires optimas.…”

Section: La Vibration Des Cordes Vocalesunclassified

“…Un décor très absorbant (rideau par exemple) suffit pour rendre la phonation pénible sur une scène, tandis qu'un décor réfléchissant assure à la même sciène des qualités d'euphorie phonatoire. On se reportera au mémoire original [55] pour le cas de l'orateur (un peu différent) et de la femme (qui chante sur des fréquences plus élevées, comportant des conditions de réverbération différentes).…”

Section: La Vibration Des Cordes Vocalesunclassified

Acoustique et physiologie phonatoires

Husson¹

1957

J. Phys. Phys. Appl.

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L’acoustique des salles du point de vue du chanteur et de l’orateur

Cited by 9 publications

References 9 publications

Multilevel rhythms in multimodal communication

Multilevel rhythms in multimodal communication

Multilevel rhythms in multimodal communication

Acoustique et physiologie phonatoires

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