{"id":96,"date":"2016-09-13T15:27:44","date_gmt":"2016-09-13T13:27:44","guid":{"rendered":"http:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/?p=96"},"modified":"2016-09-16T08:51:42","modified_gmt":"2016-09-16T06:51:42","slug":"quest-ce-quun-objet-sonore-oriente-musique","status":"publish","type":"post","link":"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/?p=96","title":{"rendered":"Qu&#8217;est-ce qu&#8217;un objet sonore (orient\u00e9 musique) ?"},"content":{"rendered":"<p><strong>Qu&#8217;est-ce qu&#8217;un objet sonore (orient\u00e9 musique) ? &#8211; Martial Daunis, explorateur sonore<\/strong><\/p>\n<p>L&#8217;existence d&#8217;un objet se d\u00e9finit par sa <strong>plasticit\u00e9<\/strong>, son <strong>usage<\/strong> ou sa <strong>fonction<\/strong> et sa <strong>perception<\/strong> ou les <strong>relations qu&#8217;il entretient avec son environnement<\/strong>. L&#8217;objet sonore s&#8217;inscrit en plus dans la dimension sonore au sens g\u00e9n\u00e9ral.<\/p>\n<p>Ces cat\u00e9gories sont li\u00e9es les unes aux autres et interagissent entre elles par le biais de param\u00e8tres dans chacune de ces cat\u00e9gories. Certains param\u00e8tres pourraient se retrouver dans l&#8217;une ou l&#8217;autre cat\u00e9gorie. A l&#8217;instar de <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Th%C3%A9orie_du_chaos\">la th\u00e9orie du chaos<\/a>, la modification d&#8217;un param\u00e8tre peut entrainer un changement de plasticit\u00e9, d&#8217;usage ou de perception de mani\u00e8re subtile ou dramatique, volontaire ou involontaire. Le designer a donc acc\u00e8s \u00e0 une large palette de param\u00e8tres afin de conforter, modifier, construire, d\u00e9construire &#8230; cet objet sonore dont il est question dans ce projet.<\/p>\n<p>Les exemples pr\u00e9sent\u00e9s sont non exhaustifs et purement personnels\u00a0 :<\/p>\n<p><strong>Plasticit\u00e9<\/strong> : fr\u00e9quences (basse, m\u00e9dium, aigu), textures (naturelle, synth\u00e9tique, &#8230;), couleurs (froides chaudes &#8230;), style ou genre (ambient, pop, salsa, techno, drum&#8217;n bass &#8230;), dur\u00e9e, temporalit\u00e9 (selon quelle \u00e9poque), panoramique (mono, st\u00e9r\u00e9o, spatialisation des fr\u00e9quences), volume sonore, saturation, compression, delay, reverb, support physique ou immat\u00e9riel, sampl\u00e9, ralenti, acc\u00e9l\u00e9r\u00e9, boucl\u00e9 &#8230;<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-96 gallery-columns-1 gallery-size-large'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/wp-content\/uploads\/sites\/26\/2016\/09\/81be4dddf48a764acac8bad2ef7e7adc.jpg'><img width=\"564\" height=\"432\" src=\"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/wp-content\/uploads\/sites\/26\/2016\/09\/81be4dddf48a764acac8bad2ef7e7adc.jpg\" class=\"attachment-large size-large\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-1-97\" srcset=\"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/wp-content\/uploads\/sites\/26\/2016\/09\/81be4dddf48a764acac8bad2ef7e7adc.jpg 564w, https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/wp-content\/uploads\/sites\/26\/2016\/09\/81be4dddf48a764acac8bad2ef7e7adc-300x230.jpg 300w\" sizes=\"(max-width: 564px) 100vw, 564px\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-97'>\n\t\t\t\tExemples de plasticit\u00e9 avec l&#8217;analogie du lapin (&#8216;How a bunny sounds&#8217;, Kim Krans) \n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p><strong><br \/>\nUsage<\/strong> : plaisir, d\u00e9tente, relaxation, illustration, OST, <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Muzak\">muzak<\/a>, dancefloor, musicoth\u00e9rapie, cathartique, commercial, sound design, intentions, reprise (cover), &#8230;<br \/>\n<strong>Usages sociaux<\/strong> : d\u00e9finition d&#8217;un groupe, d&#8217;une identit\u00e9, partage, rassemblement, torture, souvenirs, sensations, &#8230;<\/p>\n<p><strong>Perception<\/strong> : subjectivit\u00e9, go\u00fbts personnels, environnement d&#8217;\u00e9coute, chaine audio (source de diffusion\/enceintes, sources sonores), milieu de propagation (air, eau, autres mat\u00e9riaux), conditions d&#8217;\u00e9coutes (allong\u00e9, assis, debout, autres positions &#8230;), interf\u00e9rences sonores, ambiance lumineuse &#8230;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Qu&#8217;est-ce qu&#8217;un objet sonore (orient\u00e9 musique) ? &#8211; Martial Daunis, explorateur sonore L&#8217;existence d&#8217;un objet se d\u00e9finit par sa plasticit\u00e9, son usage ou sa fonction et sa perception ou les relations qu&#8217;il entretient avec son environnement. L&#8217;objet sonore&#8230; <a class=\"read-more\" href=\"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/?p=96\">Lire la suite&#8230;<\/a><\/p>\n","protected":false},"author":1,"featured_media":169,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[21],"tags":[],"_links":{"self":[{"href":"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/index.php?rest_route=\/wp\/v2\/posts\/96"}],"collection":[{"href":"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=96"}],"version-history":[{"count":6,"href":"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/index.php?rest_route=\/wp\/v2\/posts\/96\/revisions"}],"predecessor-version":[{"id":192,"href":"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/index.php?rest_route=\/wp\/v2\/posts\/96\/revisions\/192"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/index.php?rest_route=\/wp\/v2\/media\/169"}],"wp:attachment":[{"href":"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=96"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=96"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lyceelecorbusier.eu\/perspectivessonores\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=96"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}