Motor learning can be described as “a set of processes associated with practice or experience leading to relatively permanent changes in the capability for producing skilled action”. Motor learning is a complex process and to date there is still a lack of knowledge on how the sensory motor system reorganizes in response to movement training. The rationale for doing motor rehabilitation is that the motor system is plastic following stroke and can be influenced by motor training. Improving the outcome of movement therapy after stroke is thus a major societal goal that received a lot of interest in the last decade from many researchers in the medical and engineering fields.Īfter the acute phase, stroke patients require continuous medical care and rehabilitation treatment, the latter being usually delivered as both individual and group therapy.
These impressive numbers are increasing due to aging and lifestyle in developed countries. In the EU, there are 200 to 300 stroke cases per 100,000 every year, and about 30% survive with major motor deficits. Stroke is the leading cause of movement disability in the USA and Europe. Finally, several scenarios are proposed in which the use of auditory feedback may contribute to overcome some of the main limitations of current rehabilitation systems, in terms of user engagement, development of acute-phase and home rehabilitation devices, learning of more complex motor tasks, and improving activities of daily living. In particular, a comparative quantitative analysis over a large corpus of the recent literature suggests that the potential of auditory feedback in rehabilitation systems is currently and largely underexploited. Current uses of auditory feedback in the context of technology-assisted rehabilitation are then After a brief introduction on rehabilitation robotics, the main concepts of auditory feedback are presented, together with relevant approaches, techniques, and technologies available in this domain. More information is available on the opera house's official website.The goal of this paper is to address a topic that is rarely investigated in the literature of technology-assisted motor rehabilitation, that is, the integration of auditory feedback in the rehabilitation device. Was it not a stroke of genius on his part to demonstrate with the character of “La Folie”, that none but himself, an artist and theorist, could have “achieved such a masterpiece of harmony”? This classic production from the Paris Opera repertoire by Marc Minkowski and Laurent Pelly returns to the stage with an entirely new cast. The composer was, nevertheless, quick to respond to the lethal salvos of his most fervent detractors. Was he mocking the French court, which saw itself as a new Olympus, or perhaps making fun of tragédie lyrique, in which his musical audacity divided audiences into “Lully traditionalists” and “Rameau Modernists”? Then again, perhaps he was simply mocking himself: so unconcerned was he by his own glory, according to his first biographer, Guy de Chabanon, that it “sometimes even seemed to bother him”. In this work, composed for the marriage of the Dauphin Louis, son of Louis XV, to the Infanta Maria Teresa of Spain–, reputedly a woman of little beauty, –Rameau is clearly enjoying himself. The ambiguity continues with the opera’s title role –a “Nymph” reigning over “a watery empire” or “a ludicrous Naiad”, a role sung by a counter-tenor –a vocal range often associated with fresh, young heroes in leading roles. What is Platée? The first ambiguity concerns its genre: it is sometimes considered a one-of-a-kind bouffon ballet, and sometimes given the more neutral designation of a comedie-ballet.
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