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.

The musician M. Shafer introduced, in 1970, the word and the concept of soundscapes as “the tuning of the world,” driving our attention to the quality of the sounding environment, therefore comparable to music. The concept of soundscape has been developed within acousticians’ communities, and the research slowly evolved from “noise effect,” “noise control,” or “noise annoyance” to “sound quality” or “soundscape” and “soundscaping.” Also, around 70 electroacoustics music has promoted every day noises as musical sounds, and nowadays computer music blurs the boundaries between musical instruments and new technological devices and tools. We would like to present here our research conducted in perception and evaluation both in music (and more precisely on digital music) and in everyday noise and soundscapes to discuss some of the following questions: What makes a noise a musical sound? Its acoustic properties? That it is produced by a specific (musical) instrument? The time, places (streets? concert halls?) or ways one hears/listens to it (personal involvement, purpose)? Are the boundaries between music and noise the same in different communities (acousticians, musicians, instrument makers, every one in the street)? How do the concepts of music/noise evolve in time and space, and people?

No abstract

No abstract

No abstract