In the context of the observation that sound sequences elicit subjective and variable impressions of psychic and psychomotor tensions and relaxations, an
attempt is made to determine the extent to which the motor component may be involved in the organization of the dynamics of expression and communication in
sound systems, particularly in musical systems.
On the assumption that the perception of acoustic structures may require the accompaniment of interiorized motor actions associated with such structures, sensorimotor associations are examined in relation with sound phenomena within the vocal function, the handling of sound-producing objects and other sensorimotor experiences.
Corroborating relationships can be established between acoustic forms and motor, psychic tensions, whatever the area encompassed. Various threads and levels of integration may be brought out: "elementary" dimensions (pitch in accordance with "tonie", sound level, velocity, articulation, timbre), "complex" dimensions of melody, emotional expression, interpersonal behaviour, action, instrumental practice.
These mechanisms are seen to take part in the working out of "dynamic profiles" of tension/relaxation and in their "production" within the subjective universe.