{"id":55716,"date":"2022-12-13T16:10:43","date_gmt":"2022-12-13T14:10:43","guid":{"rendered":"https:\/\/www.iemn.fr\/?p=55716"},"modified":"2023-07-10T11:50:53","modified_gmt":"2023-07-10T09:50:53","slug":"these-p-cambourian-caracterisation-et-perception-du-retour-vibrotactile-cas-de-la-guitare-electrique","status":"publish","type":"post","link":"https:\/\/www.iemn.fr\/en\/theses-2022\/these-p-cambourian-caracterisation-et-perception-du-retour-vibrotactile-cas-de-la-guitare-electrique.html","title":{"rendered":"THESE : P. CAMBOURIAN- Caract\u00e9risation et perception du retour vibrotactile: cas de la guitare \u00e9lectrique"},"content":{"rendered":"<div id='layer_slider_1'  class='avia-layerslider main_color avia-shadow  avia-builder-el-0  el_before_av_heading  avia-builder-el-first  container_wrap sidebar_right'  style='height: 261px;'  ><div id=\"layerslider_58_udyl3d95w8ll\" data-ls-slug=\"homepageslider\" class=\"ls-wp-container fitvidsignore ls-selectable\" style=\"width:1140px;height:260px;margin:0 auto;margin-bottom: 0px;\"><div class=\"ls-slide\" data-ls=\"duration:6000;transition2d:5;\"><img loading=\"lazy\" decoding=\"async\" width=\"2600\" height=\"270\" src=\"https:\/\/www.iemn.fr\/wp-content\/uploads\/2019\/01\/sliders_news1.jpg\" class=\"ls-bg\" alt=\"\" srcset=\"https:\/\/www.iemn.fr\/wp-content\/uploads\/2019\/01\/sliders_news1.jpg 2600w, https:\/\/www.iemn.fr\/wp-content\/uploads\/2019\/01\/sliders_news1-300x31.jpg 300w, https:\/\/www.iemn.fr\/wp-content\/uploads\/2019\/01\/sliders_news1-768x80.jpg 768w, https:\/\/www.iemn.fr\/wp-content\/uploads\/2019\/01\/sliders_news1-1030x107.jpg 1030w, https:\/\/www.iemn.fr\/wp-content\/uploads\/2019\/01\/sliders_news1-1500x156.jpg 1500w, https:\/\/www.iemn.fr\/wp-content\/uploads\/2019\/01\/sliders_news1-705x73.jpg 705w\" sizes=\"auto, (max-width: 2600px) 100vw, 2600px\" \/><ls-layer style=\"font-size:14px;text-align:left;font-style:normal;text-decoration:none;text-transform:none;font-weight:700;letter-spacing:0px;border-style:solid;border-color:#000;background-position:0% 0%;background-repeat:no-repeat;width:180px;height:30px;left:0px;top:231px;line-height:32px;color:#ffffff;border-radius:6px 6px 6px 6px;padding-left:50px;background-color:rgba(0, 0, 0, 0.57);\" class=\"ls-l ls-ib-icon ls-text-layer\" data-ls=\"minfontsize:0;minmobilefontsize:0;\"><i class=\"fa fa-quote-right\" style=\"color:#ffffff;margin-right:0.8em;font-size:1em;transform:translateY( -0.125em );\"><\/i>ACTUALITES<\/ls-layer><\/div><\/div><\/div><div id='after_layer_slider_1'  class='main_color av_default_container_wrap container_wrap sidebar_right'  ><div class='container av-section-cont-open' ><div class='template-page content  av-content-small alpha units'><div class='post-entry post-entry-type-page post-entry-55716'><div class='entry-content-wrapper clearfix'>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_heading-f43cb7c10d6618245a1e0c5c53f674c1\">\n#top .av-special-heading.av-av_heading-f43cb7c10d6618245a1e0c5c53f674c1{\nmargin:0 0 10px 0;\npadding-bottom:4px;\n}\nbody .av-special-heading.av-av_heading-f43cb7c10d6618245a1e0c5c53f674c1 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-av_heading-f43cb7c10d6618245a1e0c5c53f674c1 .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-av_heading-f43cb7c10d6618245a1e0c5c53f674c1 av-special-heading-h2  avia-builder-el-1  el_after_av_layerslider  el_before_av_hr  avia-builder-el-first'><h2 class='av-special-heading-tag'  itemprop=\"headline\"  >THESE : P. CAMBOURIAN- Caract\u00e9risation et perception du retour vibrotactile: cas de la guitare \u00e9lectrique <\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-18u73nj-dad6a947580930e400fc42ba200e80f1\">\n#top .hr.av-18u73nj-dad6a947580930e400fc42ba200e80f1{\nmargin-top:5px;\nmargin-bottom:5px;\n}\n.hr.av-18u73nj-dad6a947580930e400fc42ba200e80f1 .hr-inner{\nwidth:100%;\n}\n<\/style>\n<div  class='hr av-18u73nj-dad6a947580930e400fc42ba200e80f1 hr-custom  avia-builder-el-2  el_after_av_heading  el_before_av_textblock  hr-left hr-icon-no'><span class='hr-inner inner-border-av-border-thin'><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<section  class='av_textblock_section av-jriy64i8-2f4600354c0449b610997916bbd9b6bc'   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" >\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-13ewzjw-68e036126b913e5028f77311dc66b825\">\n.av_font_icon.av-13ewzjw-68e036126b913e5028f77311dc66b825{\ncolor:#bfbfbf;\nborder-color:#bfbfbf;\n}\n.av_font_icon.av-13ewzjw-68e036126b913e5028f77311dc66b825 .av-icon-char{\nfont-size:60px;\nline-height:60px;\n}\n<\/style>\n<span  class='av_font_icon av-13ewzjw-68e036126b913e5028f77311dc66b825 avia_animate_when_visible av-icon-style- avia-icon-pos-left avia-icon-animate'><span class='av-icon-char' aria-hidden='true' data-av_icon='\ue8c9' data-av_iconfont='entypo-fontello' ><\/span><\/span>\n<p><strong>P. CAMBOURIAN<\/strong><\/p>\n<p>Soutenance : <strong>15 d\u00e9cembre 2022<br \/>\n<\/strong>Th\u00e8se de doctorat en Acoustique, Universit\u00e9 de Lille, ENGSYS Sciences de l\u2019ing\u00e9nierie et des syst\u00e8mes<\/p>\n<p><a href=\"https:\/\/hal.science\/tel-04080676v1\" target=\"_blank\" rel=\"noopener\">[tel-04080676]<\/a><\/p>\n<\/div><\/section>\n<section  class='av_textblock_section av-jtefqx33-628129dba2299b2ecd65ebfc92eac29d'   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><div  class='hr av-kjh3zw-4dff888f744b728a1aca9b3a0971493a hr-default  avia-builder-el-6  avia-builder-el-no-sibling'><span class='hr-inner'><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<h5>Summary:<\/h5>\n<p>L&rsquo;essentiel des travaux ant\u00e9rieurs men\u00e9s en acoustique musicale s&rsquo;est focalis\u00e9 sur l&rsquo;\u00e9tude du son \u00e9mis par les instruments. Or, le corps des instruments vibre, r\u00e9sonne et prodigue un retour vibrotactile aux musiciens, auquel ces derniers sont r\u00e9put\u00e9s sensibles. Cette th\u00e8se est une approche pluridisciplinaire de caract\u00e9risation et de perception du retour vibrotactile de la guitare \u00e9lectrique, car celle-ci permet un d\u00e9couplage partiel des \u00e9missions sonore et vibratoire. Dans la premi\u00e8re partie de cette th\u00e8se, une m\u00e9thodologie d&rsquo;analyse de verbalisations est propos\u00e9e et d\u00e9velopp\u00e9e, puis appliqu\u00e9e au discours des musiciens lors d&rsquo;exp\u00e9riences s&rsquo;inscrivant dans les principes de l&rsquo;approche \u00e9cologique et de la perception situ\u00e9e. Pour analyser la perception du retour vibrotactile, le discours sur le sens du toucher a \u00e9t\u00e9 \u00e9tudi\u00e9 \u00e0 l&rsquo;aide d&rsquo;outils linguistiques. Il a \u00e9t\u00e9 montr\u00e9 que les mots<\/p>\n<h5>Abstract:<\/h5>\n<p>Most of the previous work in musical acoustics has focused on the study of the sound emitted by instruments. However, the body of the instruments vibrates, resonates and provides a vibrotactile feedback to the musicians, to which they are known to be sensitive. This thesis is a multidisciplinary approach to the characterization and perception of the vibrotactile feedback of the electric guitar, as it allows a partial decoupling of the sound and vibration emissions. In the first part of this thesis, a methodology of analysis of verbalisations is proposed and developed, then applied to the discourse of musicians during experiments that are in line with the principles of the ecological approach and situated perception. To analyze the perception of vibrotactile feedback, the discourse on the sense of touch was studied using linguistic tools. It was shown that the words<\/p>\n<\/div><\/section>","protected":false},"excerpt":{"rendered":"","protected":false},"author":20,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[316],"tags":[],"class_list":["post-55716","post","type-post","status-publish","format-standard","hentry","category-theses-2022"],"_links":{"self":[{"href":"https:\/\/www.iemn.fr\/en\/wp-json\/wp\/v2\/posts\/55716","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.iemn.fr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.iemn.fr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.iemn.fr\/en\/wp-json\/wp\/v2\/users\/20"}],"replies":[{"embeddable":true,"href":"https:\/\/www.iemn.fr\/en\/wp-json\/wp\/v2\/comments?post=55716"}],"version-history":[{"count":0,"href":"https:\/\/www.iemn.fr\/en\/wp-json\/wp\/v2\/posts\/55716\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.iemn.fr\/en\/wp-json\/wp\/v2\/media?parent=55716"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.iemn.fr\/en\/wp-json\/wp\/v2\/categories?post=55716"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.iemn.fr\/en\/wp-json\/wp\/v2\/tags?post=55716"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}