Lisez, parlez, chantez : la promotion de l'alphabétisation précoce dans le milieu de la santé.

Le présent document de principes aidera les dispensateurs de soins à évaluer l'alphabétisation précoce dans les familles et à leur donner des conseils, et ce, dans presque tous les contextes d'exercice. On y définit les habiletés d'alphabétisation émergente, y compris l'apprentissage précoce du langage et des récits oraux, et on y explore les bienfaits de la lecture, de la parole et de la chanson auprès des nourrissons et des tout-petits, tant pour eux que pour les adultes qui en sont responsables. La lecture partagée au coucher et d'autres habitudes liées au langage ont un effet positif sur la santé familiale, relationnelle et socioaffective. L'exposition précoce à la langue parlée à la maison peut contribuer à l'alphabétisation dans les autres langues auxquelles l'enfant pourrait être exposé. On y trouve enfin des recommandations particulières pour les cliniciens qui conseillent les familles en matière d'alphabétisation précoce.

[Effects of a standardized musical intervention on the management of pain and anxiety-state of sickle-cell adolescents]. / Effets d'une intervention musicale standardisée sur la gestion de la douleur et de l'anxiété-état des adolescents drépanocytaires.

The effect of a standardized musical intervention for adolescents with sickle cell disease was studied. Two groups were evaluated using the visual analog scale of pain and the anxiety-state inventory before and after a standardized musical intervention or breathing intervention. A significant decrease in scores was observed, most notably for the group benefiting from the standardized musical intervention. This intervention could be integrated into the overall management of adolescents with sickle cell disease.

[Music and neurodevelopment, the contribution of cognitive neurosciences]. / Musique et neurodéveloppement,l'apport des neurosciences cognitives.

Research in cognitive neurosciences has developed significantly and has enabled the mechanisms of neuroplasticity to be studied in order to understand the effect of music practice. In children, this research concerns mainly the impact of music learning in the setting of a music conservatory. Moreover, recent studies have also sought to measure the clinical benefits of music interventions on hospital wards, providing a scientific basis to these practices.

["Parent-infant music therapy is a support tool for the relationship"]. / « La médiation musicale parent-enfant est un support pour la relation ¼.

Music is a powerful support and facilitation tool favouring the relationship, which can be used with infants in hospital or in daycare centres. An interview with Laetitia Sarazin, a professional flautist and teacher at the Conservatory of Caen, who has led music therapy sessions in hospitals with newborns and premature babies, and Marie-Cécile Paris, a choreographer and contemporary dance teacher with whom she has organised body- and music-based therapy workshops for parent-infant groups and daycare centres.

[Music therapy in paediatric oncology]. / Interventions musicales en oncopédiatrie.

At Gustave Roussy Institute in Villejuif, musicians regularly work with hospitalised children. Music offers young patients and their family a moment of wellbeing. The caregivers also appreciate this tool which can help to facilitate difficult care procedures.

[Music therapy in a children's psychiatric unit]. / La musicothérapie en service de psychiatrie infanto-juvénile.

Music therapy can be used in children's psychiatry in the form of group or individual sessions. It helps young patients feel calm, and enables them to work on their relationships and emotions.

[Music and singing in neonatal and paediatric intensive care]. / Musique et chant en réanimation néonatale et pédiatrique.

A neonatal and paediatric intensive care unit studied the benefit of music therapy for children and their parents. The teams set up a project around singing thanks to the intervention of a musician. The babies, their parents and the caregivers appreciate these moments which promote the wellbeing of all involved.

[Music, a vehicle for fulfilment and social development]. / La musique, un vecteur d'épanouissement et de développement social.

The national programme El Sistema was created in Venezuela. Since 10 years, an association based on this project emerge in France. El Sistema France use music for social development and fulfilment for deprived families. Three programmes exist which have set up a multicultural choir, a symphony orchestra in schools and staged an opera.

Mrs. Robinson's Revenge: Pete Seeger, Earl Robinson, and the Medicare Protest Song.

In 1962, Pete Seeger recorded "The Ballad of Doctor Dearjohn" about Canadian Medicare and the Saskatchewan doctors' strike of the same year. How had this New Yorker, recently relieved of a jail sentence, learned of Medicare in the distant prairie province? And why was his song never released? This article traces the ballad's fortunes through the papers of composer Earl Robinson (University of Washington) and the archives of the American Medical Association. It is situated in the historiography of folk revival and the expatriate adventures of artistic Americans persecuted in the McCarthy era.

Mrs. Robinson's Revenge: Pete Seeger, Earl Robinson, and the Medicare Protest Song.

In 1962, Pete Seeger recorded "The Ballad of Doctor Dearjohn" about Canadian Medicare and the Saskatchewan doctors' strike of the same year. How had this New Yorker, recently relieved of a jail sentence, learned of Medicare in the distant prairie province? And why was his song never released? This paper traces the ballad's fortunes through the papers of composer Earl Robinson (University of Washington) and the archives of the American Medical Association. It is situated in the historiography of folk revival and the expatriate adventures of artistic Americans persecuted in the McCarthy era.

En 1962, Pete Seeger a enregistré « La ballade du docteur Dearjohn ¼ à propos de l'assurance-maladie canadienne et de la grève des médecins en Saskatchewan la même année. Comment ce New-Yorkais, récemment libéré de prison, a-t-il eu connaissance des événements survenant dans une province éloignée ? Et pourquoi sa chanson n'a-t-elle jamais été commercialisée ? Cet article retrace le parcours de la ballade à travers les archives du compositeur Earl Robinson (Université de Washington) et les archives de l'American Medical Association (Chicago). Il se situe dans l'historiographie du renouveau folk et des aventures d'artistes américains expatriés suite aux persécutions vécues à l'époque du maccarthysme.

[Skin and mucosal diseases in musicians]. / Dermatoses cutanées et muqueuses des musiciens.

Whether they are professional or amateur, musicians are exposed to a various number of complications in relation to their practice, including cutaneous ones. The latter are often a simple musical stigma and a reason for pride for the musician. If they are symptomatic and disturb the musician, they have to be treated and prevented. We reviewed here those occupational and peculiar lesions that are often not that well known to the dermatologist.

[Beneficial effect of preferred music on cognitive functions in minimally conscious state patients]. / Effets bénéfiques de la musique préférée sur les capacités cognitives des patients en état de conscience minimale.

Several studies have shown that music can boost cognitive functions in normal and brain-damaged subjects. A few studies have suggested a beneficial effect of music in patients with a disorder of consciousness but it is difficult to conclude since they did not use quantified measures and a control condition/group. The aim of the present study was to compare the effect of music to that of a continuous sound on the relational behavior of patients in a minimally conscious state (MCS). Behavioral responses of six MCS patients were evaluated using items from the Coma Recovery Scale-Revised. Weekly evaluation sessions were carried out, over four weeks, under two conditions: following the presentation of either the patient's preferred music, or following a continuous sound (control condition). Qualitative and quantitative analyses showed that twelve of the eighteen sessions (66.6%) showed a better result for the music condition than for the control condition. This new protocol suggests that preferred music has a beneficial effect on the cognitive abilities of MCS patients. The results further suggest that cerebral plasticity may be enhanced in autobiographical (emotional and familiar) contexts. These findings should now be further extended with an increased number of patients to further validate the hypothesis of the beneficial effect of music on cognitive recovery.

Losing Life's Sparkle: Experiences of Canadian Choral Musicians During the COVID-19 Pandemic.

Background. Singing in choirs, which previous research has identified as supporting wellbeing, has been restricted and altered during the COVID-19 pandemic. Purpose. The purpose of this study is to investigate and describe the experience of music-making for musicians in professional and semi-professional choirs in Canada 18-22 months into the COVID-19 pandemic. Method. Semi-structured interviews were conducted with 11 participants and analyzed using interpretive description. Findings. Four themes: (1) increased negative feelings associated with the music-making experience due to COVID-19 restrictions, (2) isolation and disconnection, (3) recognizing how music-making aids in their own mental health, the participants used music-making to help their communities cope with the pandemic, and (4) adapting in response to COVID-19 reinforced music-making's importance. Implications. Understanding how the COVID-19 pandemic has altered Canadian choral musicians' experience of music-making can help occupational therapists in supporting choral musicians return to this meaningful occupation.

Orfeu da Conceição: the political dimension of the carnival chant.

This paper explores the images related to Carnival in the texts of early Brazilian modernist writers, who wanted to minimize the feeling of inauthenticity due to the systematic emulation of European aesthetic matrices. This critique of Brazilian 'nationalist' complexes was manifested in cultural forms which were unlinked from academic approaches, but were instead expressed in the registers of the popular songbook - sung-poems in which Carnival-related images abounded. In the analysis of this set of poems, the paper outlines the emerging of a poetry of 'masking', raising the hypothesis that these poets had invented a tradition that aimed for a native originality, having the celebration of Carnival and its mythical variants as its literary motivation. During the 1930's, Carnival-related images became rare in written poetry, establishing the sung poems as their permanent ground. With Orfeu da Conceição, in 1956, Vinicius de Moraes converged these two elements, dissolving the remaining boundaries that set them apart. This paper explores the images of Carnival and the mask, and attempts to unmask the characteristics of a form of Brazilian culture, including, in particular, its racism.

Cet article étudie les images en lien avec le Carnaval dans les textes d'auteurs Brésiliens modernistes, auteurs qui ont voulu minimiser les sentiments d'inauthenticité dus à l'imitation systématique des matrices esthétiques Européennes. Cette critique des complexes Brésiliens 'nationalistes' s'est révélée dans des formes culturelles qui ne sont pas liées aux approches universitaires mais furent plutôt exprimées dans les registres de chansons populaires - les poèmes chantés dans lesquels les images en lien avec le Carnaval sont abondantes. Par l'analyse de cette série de poèmes, l'article souligne l'émergence d'une poésie du masquage, soulevant l'hypothèse que ces poètes inventèrent une tradition qui vise l'originalité indigène, et qui trouve dans la célébration du Carnaval et ses variantes mythiques une motivation littéraire. Dans les années 30, les images liées au Carnaval sont devenues rares dans la poésie écrite, ce qui instaure les poèmes chantés comme leur terrain permanent. Avec Orfeu da Conceiçao, en 1956, Vinicius de Moraes a fait converger ces deux éléments, faisant fondre les dernières barrières qui les maintenaient séparés. Cet article étudie les images du Carnaval et du masque et vise à démasquer les caractéristiques d'une forme de culture Brésilienne, en incluant tout particulièrement son racisme.

El presente trabajo explora las imágenes relacionadas al Carnaval en los textos de los escritores modernos brasileros, quienes quisieron minimizar el sentimiento de inautenticidad debido a la emulación sistemática de las matrices estéticas europeas. Esta crítica de los complejos 'nacionalistas' brasileros se manifestó a través de formas culturales, que, a diferencias de los abordajes académicos, se expresaban a través de los cancioneros populares - poemas-cantados en los que abundan imágenes vinculadas al Carnaval. A través del análisis de estos poemas, el trabajo describe la emergencia de una poesía del 'enmascaramiento', creando la hipótesis de que estos poetas han inventado una tradición que persiguió la originalidad nativa, teniendo como su motivación para la escritura la celebración del Carnaval y sus variantes míticas. Durante la década del 30, las imágenes relativas al Carnaval eran raras en la poesía escrita, estableciendo su suelo permanente en los cancioneros. Con Orfeu da Conceição, en 1956, Vinicius de Moraes hizo converger estos dos elementos, disolviendo los límites restantes que los separaban. El presente trabajo explora las imágenes de Carnaval y sus máscaras, y los intentos de desenmascarar las características de una forma cultural brasilera, incluyendo particularmente, su racismo.

Este artigo explora as imagens relacionadas ao Carnaval nos textos dos primeiros escritores modernistas brasileiros, que queriam minimizar o sentimento de inautenticidade devido à emulação sistemática das matrizes estéticas europeias. Essa crítica aos complexos "nacionalistas" brasileiros se manifestou em formas culturais que estavam desvinculadas das abordagens acadêmicas, mas foram expressas nos registros do cancioneiro popular - poemas cantados nos quais imagens relacionadas ao Carnaval abundavam. Na análise desse conjunto de poemas, o artigo descreve o surgimento de uma poesia de "mascaramento", levantando a hipótese de que esses poetas inventaram uma tradição que visava uma originalidade nativa, tendo a celebração do Carnaval e suas variantes míticas como sua motivação literária. Durante a década de 1930, imagens relacionadas ao Carnaval se tornaram raras na poesia escrita, estabelecendo os poemas cantados como seu terreno permanente. Com Orfeu da Conceição, em 1956, Vinicius de Moraes convergiu esses dois elementos, dissolvendo os limites restantes que os diferenciavam. Este artigo explora as imagens do Carnaval e da máscara e tenta desmascarar as características de uma forma de cultura brasileira, incluindo, em particular, seu racismo.

Dancing at the end of the world? Psychoanalysis, climate change and joy.

This paper attempts to join the dots between psychoanalytic and post-psychoanalytic perspectives in relation to climate change and the ecological crisis and to begin a discussion on the role of joy in sustaining ourselves in the face of the global catastrophe. There is a vital expanding psychoanalytic literature addressing itself to the environmental crisis but a striking absence on joy and what stands in its way. This paper explores what psychoanalysis has to offer in the context of planetary emergency and also asks psychoanalysis to look beyond itself and reimagine what it can be. Joy involves a simultaneous affirmation of both our uniqueness and our togetherness, not only as humans but with all forms of life and the web of life itself. If we were to allow ourselves to actually enjoy our lives, we just might fight harder against our extinction.

Cet article tente d'établir une passerelle entre les perspectives psychanalytiques et post-psychanalytiques concernant le changement climatique et la crise écologique, et de lancer une discussion sur le rôle de la joie pour nous soutenir face à la perspective d'une catastrophe globale. Pendant que des régions entières sont soit en train de brûler soit en train de s'enfoncer dans les eaux, nous nous trouvons dans une faillite psychosociale généralisée, une folie à l'intérieur de laquelle il devient de plus en plus difficile de penser, et encore plus d'agir, alors même que notre survie en dépend. La psyché a besoin de guérison à tous les niveaux. La joie comprend l'affirmation simultanée de notre singularité et de notre lien à l'autre, pas seulement en tant qu'humains mais avec toutes les formes de vie et avec le tissu même de la vie. Je soutiens que nous devons développer une approche psychanalytique plus profonde de la joie et découvrir ce qui lui fait obstacle. Si nous nous permettions de vraiment savourer notre vie, peut-être que nous lutterions plus fort contre notre extinction.

El presente trabajo intenta integrar las perspectivas psicoanalítica y pos-psicoanalítica con relación al cambio climático y a la crisis ecológica, y comenzar una discusión sobre la función del júbilo para sostenernos a nosotros mismos frente a la catástrofe global. A medida que regiones enteras del planeta arden en fuego o se hunden en el océano, nos encontramos a nosotros mismos en una desintegración psicosocial generalizada, una locura dentro de la cual es cada vez más difícil pensar, y mucho menos actuar, aun cuando nuestra supervivencia de ello dependa. La psique necesita sanarse a todos los niveles. El júbilo conlleva una afirmación simultánea tanto de nuestra singularidad como de nuestro sentimiento de unidad con otros, no solamente humanos, sino con todas las formas vivientes y con la trama de la vida misma. Planteo la necesidad de desarrollar un abordaje psicoanalítico más profundo en torno al júbilo y descubrir aquello que se interpone en el camino. Si pudiésemos permitirnos a nosotros mismos disfrutar de nuestras vidas, podríamos luchar con más fuerza contra nuestra extinción.

Perceiving Sound Objects in the Musique Concrète.

In the late 1940s and early 1950s, there emerged a radically new kind of music based on recorded environmental sounds instead of sounds of traditional Western musical instruments. Centered in Paris around the composer, music theorist, engineer, and writer Pierre Schaeffer, this became known as musique concrète because of its use of concrete recorded sound fragments, manifesting a departure from the abstract concepts and representations of Western music notation. Furthermore, the term sound object was used to denote our perceptual images of such fragments. Sound objects and their features became the focus of an extensive research effort on the perception and cognition of music in general, remarkably anticipating topics of more recent music psychology research. This sound object theory makes extensive use of metaphors, often related to motion shapes, something that can provide holistic representations of perceptually salient, but temporally distributed, features in different kinds of music.

Bidirectional Interactions With Humpback Whale Singer Using Concrete Sound Elements.

We describe an art-science project called "Feral Interactions-The Answer of the Humpback Whale" inspired by humpback whale songs and interactions between individuals based on mutual influences, learning process, or ranking in the dominance hierarchy. The aim was to build new sounds that can be used to initiate acoustic interactions with these whales, not in a one-way direction, as playbacks do, but in real interspecies exchanges. Thus, we investigated how the humpback whales generate sounds in order to better understand their abilities and limits. By carefully listening to their emitted vocalizations, we also describe their acoustic features and temporal structure, in a scientific way and also with a musical approach as it is done with musique concrète, in order to specify the types and the morphologies of whale sounds. The idea is to highlight the most precise information to generate our own sounds that will be suggested to the whales. Based on the approach developed in musique concrète, similarities with the sounds produced by bassoon were identified and then were processed to become "concrete sound elements." This analysis also brought us to design a new music interface that allows us to create adapted musical phrases in real-time. With this approach, interactions will be possible in both directions, from and to whales.

Music Lessons: Exploring the Role and Meaning of Music for Older Adults with Dementia.

An aging population and increasing rates of dementia point to the need for alternative strategies that allow individuals to age in place. This multiple case study explored, from an insider's perspective, the role and meaning of music for individuals with dementia who are aging in place. Methods were semi-structured interviews, observations, and videos. The study's central theme is connection, with three types of "connectors" - self, partner, and music - as subthemes. Connection to self involves present moment awareness, accessing memories, and self-expression. Connection to partner builds on self-connection and spending time together with music. Lastly, the connection to music builds on the previous two subthemes as well as the desire to keep things "normal". This study provides insight into the growing body of interdisciplinary literature dedicated to dementia, music, aging in place, and contemplative practices, as well as implications for aging and caring for someone with dementia.

"Música Paraense" e Terruá Pará: identidade regional, indústria cultural e psicologia das massas / "Pará Music" and Terruá Pará: regional identity, cultural industry and mass psychology / La «Musique Paraense¼ et le Terruá Pará: identité régionale, l'industrie culturelle et la psychologie des foules / "Música Paraense" y Terruá Pará: identidad regional, industria cultural y psicología de las masas

Desde a consolidação de emissoras de rádio e TV no Pará, a mídia local propaga a ideia de uma "música paraense", título utilizado com frequência em uma série de eventos recentemente produzidos dentro e fora do estado. Ao contestar essa singularização, a presente pesquisa apresenta uma análise psicossociológica dos mecanismos que operam na inter-relação entre indústria cultural e formação de massas, utilizando como objeto privilegiado de estudo o espetáculo Terruá Pará. Visando tal intento, além do recurso à revisão bibliográfica, realizou-se uma pesquisa documental sobre parte do material impresso produzido para a terceira edição do festival. Em termos conclusivos, defende-se que o Terruá Pará, embora pautado por um discurso pretensamente racional em prol da valorização da música regional, torna-se dialeticamente promotor de irracionalidades expressas na sugestão de modos de subjetivação específicos que, desconsiderando diversidades, acabam por reduzir o seu público consumidor à qualidade de multidão abstrata

Since the consolidation of radio and TV broadcasters in Pará, local media has propagated the idea of a "Pará music," moniker often used in a series of events produced in and outside the State. By contesting such singularization, this psychosociological analysis unveils the mechanisms that mediate cultural industry and mass formation by analyzing the spectacle Terruá Pará. For this purpose, a bibliographic review was conducted, as well as a documentary research concerning part of the printed material produced for the festival's third edition. In conclusion, although Terruá Pará appears based on an allegedly rational discourse to value regional music, it dialectically promotes irrationalities expressed in specific modes of subjectivation that, disregarding diversity, reduce its consuming public to the quality of abstract crowd

Depuis la consolidation des stations de radio et télévision à l'état du Pará, les médias locaux ont diffusé l'idée d'une «musique paraense¼, expression souvent utilisée dans une série d'événements récemment produits dans cet état autant que dehors. En contestant cette singularisation, cette recherche présente une analyse psychosociologique des mécanismes agissant dans l'interrelation entre l'industrie culturelle et la formation des foules, en prenant comme objet principal d'étude le spectacle Terruá Pará. Dans ce but, outre le recours à l'étude bibliographique, on a mené une recherche documentaire sur une partie du matériel imprimé produit pour la troisième édition du festival. En conclusion, on soutient que Terruá Pará, bien que guidé par un discours prétendument rationnel en faveur de la valorisation de la musique régionale, devient dialectiquement promoteur d'irrationalités exprimées par la suggestion de modes de subjectivation spécifiques qui, en ignorant les diversités, finissent par réduire son public consommateur à une foule abstraite

Desde la consolidación de las estaciones de radio y televisión en Pará, los medios locales han difundido la "musica paraense", título de uso frecuente en eventos producidos dentro y fuera del Estado. Al impugnar esta singularización, esta investigación presenta un análisis psicosociológico de los mecanismos que operan en la interrelación entre la industria cultural y la formación de masas, utilizando como objeto privilegiado de estudio el espectáculo Terruá Pará. Además del uso de la revisión bibliográfica, fue llevada a cabo una investigación documental sobre parte del material producido para la tercera edición del festival. En conclusión, se argumenta que Terruá Pará, aunque guiado por un discurso supuestamente racional a favor de la valorización de la música regional, se convierte dialécticamente en promotor de irracionalidades expresadas en la sugerencia de modos específicos de subjetivación que, sin tener en cuenta las diversidades, reducen su público consumidor a la calidad de multitud abstracta

Do riscado à assinatura. Um exemplo de solução sinthomática numa pessoa autista / From scratch to signature. An example of symptomatic solution in the cure with an autistic person / De la rayure à la signature. Un exemple de solution sinthomatique chez une personne autiste / Desde la raya hasta la firma. Un ejemplo de solución sintomática en una persona autista

A partir da apresentação do atendimento de um jovem autista no âmbito de um dispositivo que utiliza seu interesse pela música e sons em geral, os autores se esforçam para mostrar como se pode orientar a cura a partir de noções de riscado (testemunho da recusa que a pessoa autista remete ao outro), arranhão (primeira inscrição da descontinuidade operada no real) e assinatura (transformação do arranhão permitindo uma apresentação do sujeito autista no mundo do Outro).

Resumos From the presentation of the care of a young autistic patient within the framework of a device using his interest in music and sounds in general, the authors endeavor to show how one can orient the cure from notions of scratch (witness of the refusal that person with autism sends back to the other), graze (first inscription of the discontinuity operated in the chaos) and signature (transformation of the scratch allowing a presentation of the autistic subject in the world of Other)

À partir de la présentation de la prise en charge d'un jeune patient autiste dans le cadre d'un dispositif qui utilise son intérêt pour la musique et les sons en général, les auteurs s'attachent à montrer comment on peut guider la cure à partir des notions de rayure (témoignage du refus que l'autiste remet à l'autre), d'égratignure (première inscription de la discontinuité opérée dans le réel) et de signature (transformation de l'égratignure permettant une présentation du sujet autiste dans le monde de l'Autre).

A partir de la presentación de la atención a un joven autista en el marco de un dispositivo que utiliza su interés por la música y los sonidos en general, los autores pretenden mostrar cómo se puede orientar la cura desde nociones de la raya (testigo de la negativa que el autista devuelve al otro), rasguño (primera inscripción de la discontinuidad operada en lo real) y firma (transformación del rasguño que permite una presentación del sujeto autista en el mundo del Otro).