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  • Research

    The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…

    • Research Topics
    • The STMS Lab
    • Research Teams
    • Sound Systems and Signals: Audio/Acoustics, InstruMents
    • Acoustic and Cognitive Spaces
    • Sound Perception and Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • Finished Projects
    • Musique/Sciences Collection
  • Creation

    IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.

    • Composers & Artists in Studio
    • Vimala Pons in studio
    • "I am in blood" for Sixteen Musicians and Live Electronics
    • Lucie Antunes in studio
    • Deena Abdelwahed in the studio
    • "Transfer" for 10 Musicians and Electronics
    • L'Annonce faite à Marie
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 23.24
    • Season 2023.24
    • Replay: 2022.23 Concerts
    • Seasons from 1996 to present
    • ManiFeste-2023 Website
    • ManiFeste festival from 2012 to 2023
    • L’Étincelle, IRCAM’s journal of creation
  • Transmission

    In support of IRCAM's research and creation missions, the educational program seeks to shed light on the current and future meaning of the interactions among the arts, sciences, and technology as well as sharing its models of knowledge, know-how, and innovations with the widest possible audience.

    • Training Courses
    • Training Courses 2023.24
    • Max, Max for Live
    • OpenMusic
    • Modalys
    • Sound spatialization
    • Designing Audio Experiences on the Web
    • Interact, Compose, Improvise with Generative Agents
    • Other training programs
    • Practical Information
    • Higher Education
    • Cursus Program on Composition and Computer Music
    • Master ATIAM
    • Sound Design Master's Program
    • Mixed-Music
    • Music Doctorate
    • AIMove Master
    • Discover Research at IRCAM
    • Cultural Outreach
    • Cultural Mediation
    • Digital Workshops
    • TACT
    • Images of a Work Collection
    • Group Tours
    • ManiFeste-2024 Festival Academy
    • 2024 ÉLAN award
  • Innovations

    At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.

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  • Laura Rachman's PhD Defense








Fri 7 December 2018,
2 p.m.
Ircam
salle Stravinsky

Defense in english.

Free entry, limited seats available.

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Research
Thesis Defense






Laura Rachman's PhD Defense

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"The “other-voice” effect: how speaker identity and language familiarity influence the way we process emotional speech"
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The human voice is a powerful tool to convey emotions. Humans hear voices on a daily basis and are able to rapidly extract relevant information to successfully interact with others. The theoretical aim of this dissertation is to investigate the role of familiarity on emotional voice processing. A set of behavioral and electrophysiological studies investigated how self- versus non self-produced voices influence the processing of emotional speech utterances. By contrasting self and other, familiarity is here assessed at a personal level. The results of a first set of studies show a dissociation of explicit and implicit processing of the self-voice. While explicit discrimination of an emotional self-voice and other-voice was somewhat impaired, implicit self-processing prompted a self-advantage in emotion recognition and speaker discrimination.

The results of a second set of studies show a prioritization for the non-self voice in the processing of emotional and low-level acoustic changes, reflected in faster electrophysiological (EEG) and behavioral responses.

In a third set of studies, the effect of voice familiarity on emotional voice perception is assessed at a larger sociocultural scale by comparing speech utterances in the native and a foreign language. Taken together, this disseration highlights some ways in which the ‘otherness’ of a voice - whether a non-self speaker or a foreign language speaker - is processed with a higher priority on the one hand, but with less acoustic precision on the other hand.

Laura Rachman will defend his doctoral  carried out  in the Perception and Sound Design Team (STMS - Ircam/CNRS/Sorbonne Université/Ministère de la Culture).

The jury will be composed:

Sonja Kotz, Department of Neuropsychology and Psychopharmacology, Maastricht University
Pascal Belin, Institut de Neurosciences de la Timone, CNRS, Aix-Marseille Université
Disa Sauter, Department of Social Psychology, Universiteit van Amsterdam
Marie Gomot, Centre de Pédopsychiatrie, INSERM, Université de Tours
Mohamed Chetouani, Institut des Systèmes Intelligents et de Robotique, Sorbonne Université
Stéphanie Dubal, Institut du Cerveau et de la Moëlle épinière, CNRS, Sorbonne Université
Jean-Julien Aucouturier, STMS - CNRS/Ircam/Sorbonne Université/Ministère de la Culture

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