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When jazz musicians perform an improvisational piece of music their behaviors are not fully prescribed in
advance. Nonetheless their actions become so tightly coordinated and their decisions so seamlessly
intertwined that the musicians behave as a single synergistic unit rather than a collection of individuals. A
fundamental aspect of such musical improvisation is the bodily movement coordination that occurs among
the performing musicians, with the embodied interaction of musicians both supporting and constraining
musical creativity. Here we consider the ability of pairs of piano players to improvise, to spontaneously
coordinate their actions with coperformers. We demonstrate the ability of the timeevolving patterns of
intermusician movement coordination as revealed by the mathematical tools of non linear time series
analyses to provide a new understanding of what potentiates the novelty of spontaneous musical action.
Cross wavelet spectral analysis is applied to the musical movements of pairs of improvising pianists, a
method that isolates the strength and patterning of the behavioral coordination across a range of nested
timescales. Additionally, crossrecurrence quantification analysis is applied to the series of notes produced
by each musician to assess when and how often they visit the same musical states throughout the
improvisation. Revealing the sophistication of the previously unexplored dynamics of movement coordination
between improvising musicians is an important step towards understanding how creative musical
expressions emerge from the spontaneous coordination of multiple musical bodies.
When jazz musicians perform an improvisational piece of music their behaviors are not fully prescribed in
advance. Nonetheless their actions become so tightly coordinated and their decisions so seamlessly
intertwined that the musicians behave as a single synergistic unit rather than a collection of individuals. A
fundamental aspect of such musical improvisation is the bodily movement coordination that occurs among
the performing musicians, with the embodied interaction of musicians both supporting and constraining
musical creativity. Here we consider the ability of pairs of piano players to improvise, to spontaneously
coordinate their actions with coperformers. We demonstrate the ability of the timeevolving patterns of
intermusician movement coordination as revealed by the mathematical tools of non linear time series
analyses to provide a new understanding of what potentiates the novelty of spontaneous musical action.
Cross wavelet spectral analysis is applied to the musical movements of pairs of improvising pianists, a
method that isolates the strength and patterning of the behavioral coordination across a range of nested
timescales. Additionally, crossrecurrence quantification analysis is applied to the series of notes produced
by each musician to assess when and how often they visit the same musical states throughout the
improvisation. Revealing the sophistication of the previously unexplored dynamics of movement coordination
between improvising musicians is an important step towards understanding how creative musical
expressions emerge from the spontaneous coordination of multiple musical bodies.
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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We studied coordination and movement kinematics in a mirror game. 32 participants (18 f, 14 m; mean age
25.2 years, range 19–37) performed circledrawing and freely improvised hand movement mirroring tasks in
dyads. The participants were standing facetoface, right index fingers pointed at each other, fingertips
10–15 cm apart. In turn, one of the participants
was appointed the leader, or the dyad was instructed to share leadership. Hand movements were recorded
using an optical motion capture system. Joint leadership resulted in smoother performances than the
leader–follower condition; the follower participant would often hesitate or correct their movements, resulting
in oscillatory 2–3 Hz jitter. In joint leadership tasks this jitter was 23% lower than in followers (p < 0.01). This
corresponds with the “coconfident
motion” observed in joint leadership mirror task by Noy et al. (2011). In leaderfollower tasks the follower
trailed the leader by approximately 0.3 seconds. Joint leadership trials resulted in mutual adaptation, with
both participants “following” each other at similar lags. Windowed analysis revealed that the direction of the
lag varied at subsecond intervals. Hand movements were faster in circle drawing than in free improvisation,
but there were no velocity differences
between the leadership conditions. These findings imply that dyads that share leadership perform smoother
movements and exhibit stronger mutual adaptation than dyads where one participant is externally assigned
as the leader. Our study on coordination of threedimensional movements extends the scope of previous
dyadic interaction studies that used rhythmic tapping and 1D movements.
We studied coordination and movement kinematics in a mirror game. 32 participants (18 f, 14 m; mean age
25.2 years, range 19–37) performed circledrawing and freely improvised hand movement mirroring tasks in
dyads. The participants were standing facetoface, right index fingers pointed at each other, fingertips
10–15 cm apart. In turn, one of the participants
was appointed the leader, or the dyad was instructed to share leadership. Hand movements were recorded
using an optical motion capture system. Joint leadership resulted in smoother performances than the
leader–follower condition; the follower participant would often hesitate or correct their movements, resulting
in oscillatory 2–3 Hz jitter. In joint leadership tasks this jitter was 23% lower than in followers (p < 0.01). This
corresponds with the “coconfident
motion” observed in joint leadership mirror task by Noy et al. (2011). In leaderfollower tasks the follower
trailed the leader by approximately 0.3 seconds. Joint leadership trials resulted in mutual adaptation, with
both participants “following” each other at similar lags. Windowed analysis revealed that the direction of the
lag varied at subsecond intervals. Hand movements were faster in circle drawing than in free improvisation,
but there were no velocity differences
between the leadership conditions. These findings imply that dyads that share leadership perform smoother
movements and exhibit stronger mutual adaptation than dyads where one participant is externally assigned
as the leader. Our study on coordination of threedimensional movements extends the scope of previous
dyadic interaction studies that used rhythmic tapping and 1D movements.
We studied coordination and movement kinematics in a mirror game. 32 participants (18 f, 14 m; mean age
25.2 years, range 19–37) performed circledrawing and freely improvised hand movement mirroring tasks in
dyads. The participants were standing facetoface, right index fingers pointed at each other, fingertips
10–15 cm apart. In turn, one of the participants
was appointed the leader, or the dyad was instructed to share leadership. Hand movements were recorded
using an optical motion capture system. Joint leadership resulted in smoother performances than the
leader–follower condition; the follower participant would often hesitate or correct their movements, resulting
in oscillatory 2–3 Hz jitter. In joint leadership tasks this jitter was 23% lower than in followers (p < 0.01). This
corresponds with the “coconfident
motion” observed in joint leadership mirror task by Noy et al. (2011). In leaderfollower tasks the follower
trailed the leader by approximately 0.3 seconds. Joint leadership trials resulted in mutual adaptation, with
both participants “following” each other at similar lags. Windowed analysis revealed that the direction of the
lag varied at subsecond intervals. Hand movements were faster in circle drawing than in free improvisation,
but there were no velocity differences
between the leadership conditions. These findings imply that dyads that share leadership perform smoother
movements and exhibit stronger mutual adaptation than dyads where one participant is externally assigned
as the leader. Our study on coordination of threedimensional movements extends the scope of previous
dyadic interaction studies that used rhythmic tapping and 1D movements. We studied coordination and movement kinematics in a mirror game. 32 participants (18 f, 14 m; mean age
25.2 years, range 19–37) performed circledrawing and freely improvised hand movement mirroring tasks in
dyads. The participants were standing facetoface, right index fingers pointed at each other, fingertips
10–15 cm apart. In turn, one of the participants
was appointed the leader, or the dyad was instructed to share leadership. Hand movements were recorded
using an optical motion capture system. Joint leadership resulted in smoother performances than the
leader–follower condition; the follower participant would often hesitate or correct their movements, resulting
in oscillatory 2–3 Hz jitter. In joint leadership tasks this jitter was 23% lower than in followers (p < 0.01). This
corresponds with the “coconfident
motion” observed in joint leadership mirror task by Noy et al. (2011). In leaderfollower tasks the follower
trailed the leader by approximately 0.3 seconds. Joint leadership trials resulted in mutual adaptation, with
both participants “following” each other at similar lags. Windowed analysis revealed that the direction of the
lag varied at subsecond intervals. Hand movements were faster in circle drawing than in free improvisation,
but there were no velocity differences
between the leadership conditions. These findings imply that dyads that share leadership perform smoother
movements and exhibit stronger mutual adaptation than dyads where one participant is externally assigned
as the leader. Our study on coordination of threedimensional movements extends the scope of previous
dyadic interaction studies that used rhythmic tapping and 1D movements.
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Clear empirical distinctions can be drawn between joint improvisation and choreography in dance by
exploring the rhythmical coordination of dancers and audience members in a partner dance performance.
Novice dancers typically learn footwork patterns or ’basics’ that help them move in time to music together.
Experts’ familiarity with basics, as well as conventional variations and setpiece moves form a set of
compositional structures that can be linked together to fit complimentary rhythmical patterns in music on the
fly. In a ’social dance’ performance such as the Lindy hop, (an African American vernacular jazz dance from
which the data for this study is drawn), dancers link together basics with setpiece moves along with
moments of joint improvisation. These improvised movements are literally extemporaneous they move out
of the temporal regularities of mutually learned patterns and rely on
other kinds of interactional resources and methods to achieve coordination. This paper analyses rhythmical
coordination between dancers and audience members clapping along to a Lindy hop performance in a
naturalistic setting using data drawn from a Youtube
video. This empirical starting point enables a tractable analysis of the haptic, visual, and semantic structures
and processes used for coordinating extemporaneous dance movements. Audience members’ rhythmical
responses to these processes also provides insight into longstanding problems of measurement and meaning in empirical aesthetics. Music and dance psychology tend to emphasise psychophysical measures
and posthoc report as proxies for aesthetic response. This paper proposes new ways to use the observable
patterns of rhythmical
coordination to explore joint improvisation as part of an interactional sensemaking practice
Clear empirical distinctions can be drawn between joint improvisation and choreography in dance by
exploring the rhythmical coordination of dancers and audience members in a partner dance performance.
Novice dancers typically learn footwork patterns or ’basics’ that help them move in time to music together.
Experts’ familiarity with basics, as well as conventional variations and setpiece moves form a set of
compositional structures that can be linked together to fit complimentary rhythmical patterns in music on the
fly. In a ’social dance’ performance such as the Lindy hop, (an African American vernacular jazz dance from
which the data for this study is drawn), dancers link together basics with setpiece moves along with
moments of joint improvisation. These improvised movements are literally extemporaneous they move out
of the temporal regularities of mutually learned patterns and rely on
other kinds of interactional resources and methods to achieve coordination. This paper analyses rhythmical
coordination between dancers and audience members clapping along to a Lindy hop performance in a
naturalistic setting using data drawn from a Youtube
video. This empirical starting point enables a tractable analysis of the haptic, visual, and semantic structures
and processes used for coordinating extemporaneous dance movements. Audience members’ rhythmical
responses to these processes also provides insight into longstanding problems of measurement and meaning in empirical aesthetics. Music and dance psychology tend to emphasise psychophysical measures
and posthoc report as proxies for aesthetic response. This paper proposes new ways to use the observable
patterns of rhythmical
coordination to explore joint improvisation as part of an interactional sensemaking practice
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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“Improvising together” Debate
“Improvising together” Debate
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Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Research on joint improvisation has shown that expert improvisers, as well as neurotypical individuals, canjointly create novel complex motion, synchronized to less than 180ms (Noy et al., 2011; Hart et al., 2014;Golland et al., 2015; FeiningerSchaalet al., in review). Presumably, this ability relies on these individuals’motor skills and social skills – yet little is known about the preconditions and correlates of successful jointimprovisation. Here, we employ the Mirror Game paradigm (Noy et al., 2011) with a population of adults withAutism Spectrum Disorder (ASD). ASD is defined by a deficit in social and communication skills and atendency for routinized behaviors yet recent research has been pointing to a possibly more primary difficultywith sensorymotorsynchronization in ASD (Gowen & Hamilton, 2013), which may in turn impedeindividuals’ ability to synchronize with others, leading to reduced social and communicative skills (Marsh etal. 2013; de Jaegher, 2013). 40 individuals with autism, and 40 agegenderandIQmatchedTypicallyDeveloping (TD) control participants played the Mirror Game against the same expert improviser. The studyaims to determine: (a) whether individuals with ASD have a reduced capacity for sensorymotorsynchronization compared to TD participants; and (b) whether the ability of both TD and ASD participants tosynchronize their motions with another player is related to basic motor skills (i.e., motor coordination,proprioception and imitation) on the one hand, and participants’ everyday social skills (conversationalrapport, empathy and autism symptom severity) on the other.
Research on joint improvisation has shown that expert improvisers, as well as neurotypical individuals, canjointly create novel complex motion, synchronized to less than 180ms (Noy et al., 2011; Hart et al., 2014;Golland et al., 2015; FeiningerSchaalet al., in review). Presumably, this ability relies on these individuals’motor skills and social skills – yet little is known about the preconditions and correlates of successful jointimprovisation. Here, we employ the Mirror Game paradigm (Noy et al., 2011) with a population of adults withAutism Spectrum Disorder (ASD). ASD is defined by a deficit in social and communication skills and atendency for routinized behaviors yet recent research has been pointing to a possibly more primary difficultywith sensorymotorsynchronization in ASD (Gowen & Hamilton, 2013), which may in turn impedeindividuals’ ability to synchronize with others, leading to reduced social and communicative skills (Marsh etal. 2013; de Jaegher, 2013). 40 individuals with autism, and 40 agegenderandIQmatchedTypicallyDeveloping (TD) control participants played the Mirror Game against the same expert improviser. The studyaims to determine: (a) whether individuals with ASD have a reduced capacity for sensorymotorsynchronization compared to TD participants; and (b) whether the ability of both TD and ASD participants tosynchronize their motions with another player is related to basic motor skills (i.e., motor coordination,proprioception and imitation) on the one hand, and participants’ everyday social skills (conversationalrapport, empathy and autism symptom severity) on the other.
Research on joint improvisation has shown that expert improvisers, as well as neurotypical individuals, canjointly create novel complex motion, synchronized to less than 180ms (Noy et al., 2011; Hart et al., 2014;Golland et al., 2015; FeiningerSchaalet al., in review). Presumably, this ability relies on these individuals’motor skills and social skills – yet little is known about the preconditions and correlates of successful jointimprovisation. Here, we employ the Mirror Game paradigm (Noy et al., 2011) with a population of adults withAutism Spectrum Disorder (ASD). ASD is defined by a deficit in social and communication skills and atendency for routinized behaviors yet recent research has been pointing to a possibly more primary difficultywith sensorymotorsynchronization in ASD (Gowen & Hamilton, 2013), which may in turn impedeindividuals’ ability to synchronize with others, leading to reduced social and communicative skills (Marsh etal. 2013; de Jaegher, 2013). 40 individuals with autism, and 40 agegenderandIQmatchedTypicallyDeveloping (TD) control participants played the Mirror Game against the same expert improviser. The studyaims to determine: (a) whether individuals with ASD have a reduced capacity for sensorymotorsynchronization compared to TD participants; and (b) whether the ability of both TD and ASD participants tosynchronize their motions with another player is related to basic motor skills (i.e., motor coordination,proprioception and imitation) on the one hand, and participants’ everyday social skills (conversationalrapport, empathy and autism symptom severity) on the other. Research on joint improvisation has shown that expert improvisers, as well as neurotypical individuals, canjointly create novel complex motion, synchronized to less than 180ms (Noy et al., 2011; Hart et al., 2014;Golland et al., 2015; FeiningerSchaalet al., in review). Presumably, this ability relies on these individuals’motor skills and social skills – yet little is known about the preconditions and correlates of successful jointimprovisation. Here, we employ the Mirror Game paradigm (Noy et al., 2011) with a population of adults withAutism Spectrum Disorder (ASD). ASD is defined by a deficit in social and communication skills and atendency for routinized behaviors yet recent research has been pointing to a possibly more primary difficultywith sensorymotorsynchronization in ASD (Gowen & Hamilton, 2013), which may in turn impedeindividuals’ ability to synchronize with others, leading to reduced social and communicative skills (Marsh etal. 2013; de Jaegher, 2013). 40 individuals with autism, and 40 agegenderandIQmatchedTypicallyDeveloping (TD) control participants played the Mirror Game against the same expert improviser. The studyaims to determine: (a) whether individuals with ASD have a reduced capacity for sensorymotorsynchronization compared to TD participants; and (b) whether the ability of both TD and ASD participants tosynchronize their motions with another player is related to basic motor skills (i.e., motor coordination,proprioception and imitation) on the one hand, and participants’ everyday social skills (conversationalrapport, empathy and autism symptom severity) on the other.
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Improvising music toghether involves coping in realtimewith unprecedented patterns of behavior of another. The goal is to achieve and share a meaningful coperformance,and this is done by interacting.Therefore, processes underlying improvisation cannot be fully grasped by musical analysis only. Behavioralpatterns and collective dynamics that underlie joint improvisation encourage the scientific study of thecoperformanceitself. This is important to understand how improvisers can coordinate their behavior together in a meaningful fashion. However, improvising is first and foremost a practice that requires learning,experience and expertise. Objective measurements aren’t sufficient : integrating the phenomenologicalpoint of view of the improviser is also necessary. For this reason, we work as a dyad of researchers: acognitive scientist, and a professor of pedagogy who makes use of improvisation to foster learning. We thentrack interactive processes underlying joint improvisation during their very learning by novices and with theguidance of an expert. In this talk, we describe our pedagogical method of interactive improvisation (theKaddouch pedagogy) and its underlying system of thought. We present our system of qualitative analyses ofmusical interactionsand frame our observations during lessons in a dynamical, enactive framework. Then, we show how wecapture interaction processes by quantitative and dynamical analysis. More specifically, we are currentlyinterested in the coordination of tempo fluctuations during performance. On the basis of our concepts,observations and results, we discuss the role of the process of interaction as a source of coordinationbetween improvisers’ behavior.
Improvising music toghether involves coping in realtimewith unprecedented patterns of behavior of another. The goal is to achieve and share a meaningful coperformance,and this is done by interacting.Therefore, processes underlying improvisation cannot be fully grasped by musical analysis only. Behavioralpatterns and collective dynamics that underlie joint improvisation encourage the scientific study of thecoperformanceitself. This is important to understand how improvisers can coordinate their behavior together in a meaningful fashion. However, improvising is first and foremost a practice that requires learning,experience and expertise. Objective measurements aren’t sufficient : integrating the phenomenologicalpoint of view of the improviser is also necessary. For this reason, we work as a dyad of researchers: acognitive scientist, and a professor of pedagogy who makes use of improvisation to foster learning. We thentrack interactive processes underlying joint improvisation during their very learning by novices and with theguidance of an expert. In this talk, we describe our pedagogical method of interactive improvisation (theKaddouch pedagogy) and its underlying system of thought. We present our system of qualitative analyses ofmusical interactionsand frame our observations during lessons in a dynamical, enactive framework. Then, we show how wecapture interaction processes by quantitative and dynamical analysis. More specifically, we are currentlyinterested in the coordination of tempo fluctuations during performance. On the basis of our concepts,observations and results, we discuss the role of the process of interaction as a source of coordinationbetween improvisers’ behavior.
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Some types of music therapy, such as Nordoff Robbins, involve improvisation by the client and therapist andthe relationship between the participants’ music making is prioritised. Some children with a diagnosis ofautism who attend these kinds of music therapy sessions often have difficulties speaking and can bereferred for a range of reasons (including difficulties in communication). What does improvisation look like inthis context? Does it differ between sessions and if so how? Can charting what improvisation in the sessionslooks like help assess changes in the client and/or the relationship between the participants? Studies ofmusic therapy sessions often analyse short moments. This focus makes it difficult to understand the contextof results and assess what the moments are representative of. In this study of case examples we annotate accordingto an annotation protocol videosof complete music therapysessions of 4 clienttherapistpairs. Each pair has two videos: one early and one late in the series ofsessions. Characteristics annotated include: where players are facing, whether they are making sounds, andthe sounds’ pulse characteristics. A range of patterns for each of these parameters was identified fordifferent clienttherapistpairs. This exploration of the types of possible patterns and relationships in musictherapy sessions helps to characterise, at a general level, what happens in sessions; provide a context formoments that might be analysed in more detail; and identify what differs between players and their sharedcharacteristics both across pairs and between pairs of sessions.
Some types of music therapy, such as Nordoff Robbins, involve improvisation by the client and therapist andthe relationship between the participants’ music making is prioritised. Some children with a diagnosis ofautism who attend these kinds of music therapy sessions often have difficulties speaking and can bereferred for a range of reasons (including difficulties in communication). What does improvisation look like inthis context? Does it differ between sessions and if so how? Can charting what improvisation in the sessionslooks like help assess changes in the client and/or the relationship between the participants? Studies ofmusic therapy sessions often analyse short moments. This focus makes it difficult to understand the contextof results and assess what the moments are representative of. In this study of case examples we annotate accordingto an annotation protocol videosof complete music therapysessions of 4 clienttherapistpairs. Each pair has two videos: one early and one late in the series ofsessions. Characteristics annotated include: where players are facing, whether they are making sounds, andthe sounds’ pulse characteristics. A range of patterns for each of these parameters was identified fordifferent clienttherapistpairs. This exploration of the types of possible patterns and relationships in musictherapy sessions helps to characterise, at a general level, what happens in sessions; provide a context formoments that might be analysed in more detail; and identify what differs between players and their sharedcharacteristics both across pairs and between pairs of sessions.
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Cette conférence sur la vie et les moeurs de la chauve-souris a eu lieu en 2013 dans le cadre des Rendez-vous du Muséum et avec l'Université permanente de Paris
Cette conférence sur la vie et les moeurs de la chauve-souris a eu lieu en 2013 dans le cadre des Rendez-vous du Muséum et avec l'Université permanente de Paris
Cette conférence sur la vie et les moeurs de la chauve-souris a eu lieu en 2013 dans le cadre des Rendez-vous du Muséum et avec l'Université permanente de Paris Cette conférence sur la vie et les moeurs de la chauve-souris a eu lieu en 2013 dans le cadre des Rendez-vous du Muséum et avec l'Université permanente de Paris
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Joint actions require an ability to understand and predict the actions of others far enough into the future to
have time to plan and execute matching motor programs. Here I will review experiments in which we have
tracked information flow from one brain to another to show that the motor system seems to play a key role in
these functions. I will embed this experimental data in a Hebbian learning model, which posits that
predictions are the result of synaptic
plasticity during selfobservation. Jointly this talk will aim to trigger thoughts on how we can study the
involvement of the motor system in coordinating actions across individuals
Joint actions require an ability to understand and predict the actions of others far enough into the future to
have time to plan and execute matching motor programs. Here I will review experiments in which we have
tracked information flow from one brain to another to show that the motor system seems to play a key role in
these functions. I will embed this experimental data in a Hebbian learning model, which posits that
predictions are the result of synaptic
plasticity during selfobservation. Jointly this talk will aim to trigger thoughts on how we can study the
involvement of the motor system in coordinating actions across individuals
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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Language in immigration contexts
Evénement organisé avec le soutien de / Workshop supported by
UMR 7023 SFL/Université Paris 8-CNRS, MSH PN
GDRI SLAT (Second Language Acquisition and Teaching)
Language in immigration contexts
Evénement organisé avec le soutien de / Workshop supported by
UMR 7023 SFL/Université Paris 8-CNRS, MSH PN
GDRI SLAT (Second Language Acquisition and Teaching)
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Ressource documentaire
Ressource pédagogique
Ressource documentaire Ressource pédagogique
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