Abstract
The visual translation of musical sounds has raised numerous questions in the domain of art education, even though it is widely acknowledged that the invisibility of sound makes objective translation through imaging impossible. This article presents results of observations made during primary school children’s first encounter with digital sound images. Two areas of reflection were given priority : the apprehension of the semantic aspect of the image as compared to the sound, and the location of time markers that are shown by two wave-editor applications. The analysis demonstrates the strong polysemy of digital sound imaging as well as ambiguities in the comprehension of relationships between music and time.
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