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Introduction: Can the choice to start with either harmony or drums affect a music production and, in such case, how? How could one analyze this? This thesis intends to try to answer just that by investigating the differences that arise when I start a music production with either harmony or drums. To analyze the differences, I created my own model for analysis that I call the Miki model.  Aim: The aim of this thesis is to investigate if and in such case what differences arise in harmony, rhythm and arrangement in a song depending on whether I start the music production with harmony or drums. The aim is also to help understand this possible correlation by attempting to create a new model for analysis that can both be tested and further developed to analyze the impact of a certain approach at the beginning of a music production. Methodology: For this project, I made an EP consisting of four songs. Two of the songs started off with harmony production while I began the other two with drum production. In order to analyze the results, I created a model for quantitative analysis by setting up five different aspects that I consider to be important when measuring the impact of starting with harmony or drums when creating a music production: number of chords and colored chords, number of drum elements, if the number of drum elements was altered during the song, and if the number of chords was altered during the song.  Results: The Miki model was applied to each song on the EP. In this way I was able to examine the differences that had arisen in the harmony, the rhythm, and the arrangement in each song. The results showed an increased number of chords in the songs where the production was started with harmony. It also showed that the number of drum elements was increased when the production was started with drums. The number of colored chords was not significantly different, and the arrangement was not noticeably affected either.  Reflection: Even though the results showed an increased number of chords when starting with harmony and an increased number of drum elements when starting with drums, it was hard to draw the conclusion that the result depended on the respective approach. It was rather more likely because of the desire to make the first element in the production interesting enough to stand by its own, which made it take a lot of room in the sonic space. That in turn left less room for other elements.

Si lors de l'introduction des éoliennes dans le paysage de Midi Pyrénées, les acteurs des politiques destinées à développer les énergies renouvelables étaient plutôt novices quant à leur mise en oeuvre, cela a bien changé à l'heure du photovoltaïque. Les conflits et difficultés qu'ils ont expérimentés dans la réalisation de projets d'éoliennes (contestation), de bois énergie (prégnance des industriels du bois), ou de photovoltaïque (préservation des terres agricoles), leur ont permit de se forger une expérience qui les a peu a peu mené à une autre perception des enjeux inhérents. Les coalitions menées au départ de ces politiques entre les experts techniques et les acteurs publics se délient peu à peu et de fait traduisent l'inscription de ces derniers sur le chemin de l'autonomie. Divisée entre différents type de savoirs, les ressources qui permettent cette progressive indépendance des acteurs publics face à ceux émanant des sphères scientifiques et techniques, ne sont pour autant pas réductibles à cette même dimension technique. En effet, la connaissance des référentiels locaux mais aussi celle relative à l'ingénierie des projets font peu à peu concurrence aux savoirs techniques. Une évolution qui modifie finalement le système institutionnel dans lequel émerge les énergies renouvelables. La dynamique, mais aussi les éléments qui composent ce dernier, changent au fil de l'expérimentation des acteurs, ce qui se traduit finalement par l'émergence d'une nouvelle réalité. C'est la mise en perspective de ce processus sur l'ensemble des départements de Midi Pyrénées et concernant les trois types d'énergies renouvelables qui feront l'objet de notre attention dans cette thèse. Nous constaterons via les différences existantes entre les territoires considérés et les similarités prenant forme parmi les trois secteurs étudiés, que les politiques publiques, si elles sont le résultat d'interactions entre des acteurs, des ressources, des règles et des discours, résultent également des caractéristiques du territoire dans lesquels elles s'inscrivent ainsi que de l'action d'acteurs intermédiaires. / Even though energy policymakers were novices when wind power was introduced in the Midi Pyrenees region, the situation had changed when the photovoltaic was implemented. The new challenges policymakers experimented about the wind power and their opponents, the wood energy and the primacy of the wood's industrials, the photovoltaic and the preservation of the agricultural lands, fostered their learning and gradually lead them to change their perception of inherent issues. The coalitions forged between technical experts and policymakers unbind along the progressive empowerment of the formers. Shared between different forms of knowledge, however, the resources needed to implement renewable energies projects cannot be reduced to the technical dimension. Local knowledge and engineering knowledge increasingly compete with expert knowledge. This evolution corresponds to a policy arrangement change. Since the dynamic but also the elements that compose this political system change, a new reality gradually emerges. This whole process will be the main concern of this thesis. We will finally notice that there are some differences between the implementation of these renewable energies among the territories but also among the three forms of renewable energies we analyze. This means that although renewable energy policy are based on interactions between actors' resources, discourse and rules, they also emerge from the action of intermediates actors, and from the characteristic of each territories in which they are implemented.

Klavierbearbeitungen waren für die Aufführungs- sowie Hörgewohnheiten des nichtprofessionellen Musikers des neunzehnten Jahrhunderts entscheidend. Nicht nur deckten sie den dringenden Bedarf an einer kosteneffektiven musikalischen Verbreitungstechnologie sondern ihre immense Popularität verursachte eine mit großen Umfang kommerzielle musikalische Verlagsindustrie. Diese Dissertation stellt zum ersten Mal die viele Seiten des Klavierarrangements wieder her, indem es als musikalisches Schaffen, als Konsumware und als Objekt vieler kritischen Diskurse analysiert wird. Es wird gezeigt, dass Arrangement---als musikalisches Schaffen---eine Methodensammlung statt einer in sich geschlossenen Technik ist. Walter Benjamins Übersetzungstheorie wird mit einer Analyse der ersten, in dem Robertsbridge Codex aus 1360 sich befindenden, Klavierbearbeitung verbunden, um vorzuschlagen, dass Arrangements als eine Auferstehung ihrer Originale gesehen werden sollen. Die wirtschaftliche Wichtigkeit der Klavierbearbeitung wird durch einer vom Computer errechneten statistischen Analyse dargestellt, indem es gezeigt wird, dass Arrangementmethoden in 30 Prozent der in deutschsprachigen Ländern zwischen 1829 und 1900 publizierten Klaviermusik vorkommt. Die kritischen Diskurse mit denen den Wert eines Arrangements geschätzt wurde werden auch rekonstruiert: Musikalische Lexika werden benutzt, um eine Begriffsgeschichte mehrerer Schlüsselbegriffe zu schreiben. Letztlich werden die Ähnlichkeiten des Hörgewohnheiten der Hörer des neunzehnten und des einundzwanzigsten Jahrhunderts betont, damit neue Forschungsperspektiven eröffnet werden können. / Keyboard arrangement was central to both the performing and the listening habits of the nineteenth-century non-professional musician. Not only did it respond to the desperate need for a cheap technology of musical circulation, but its immense popularity helped create a commercial musical publishing industry of an unprecedented scale. This thesis reconstructs for the first time the many faces of the keyboard arrangement by analysing it simultaneously as a musical work, an economic commodity and the object of a number of critical discourses. As a musical work, arrangement is shown to be a collection of practices, rather than, and as has been previously assumed, a self-contained product. Walter Benjamin''s theory of translation is combined with an analysis of the first extant keyboard arrangement in the Robertsbridge Codex of 1360 to construct a model which suggests that arrangements should be understood as resurrections of the material of their originals. The economic significance of keyboard arrangement is demonstrated through a computer-aided statistical analysis which shows that on average practices of arrangement appeared in 30 percent of the keyboard music published in German-speaking countries from 1829 to 1900. Significant attention is given to an attempt to reconstruct the critical discourses by which arrangements were assessed: in particular, musical dictionaries are used to produce a Begriffsgeschichte of several key terms relating to the production of arrangements. Finally, throughout the thesis, emphasis is placed on the extent to which the kinds of listening experience that arrangement engendered show similarities with those offered by popular musical styles of today, thereby opening up new avenues for research.

Cette thèse est le point d’intersection entre deux facettes de l’étude des arrangements de droites : la combinatoire et la topologie. Dans une première partie nous avons étudié l’inclusion de la variété bord dans le complémentaire d’un arrangement. Nous avons ainsi généralisé le résultat d’E. Hironaka au cas de tous les arrangements complexes. Pour contourner les problèmes provenant des arrangements non réels, nous avons étudié le diagramme de câblage, dit wiring diagram, qui code la monodromie de tresses sous forme de tresse singulière. Pour pouvoir l'utiliser, nous avons implémenté un programme sur Sage permettant de calculer ce diagramme en fonction des équations de l’arrangement. Cela nous a permis de d’obtenir deux descriptions explicites de l’application induite par l’inclusion de la variété bord dans le complémentaire sur les groupes fondamentaux. Nous obtenons ainsi deux nouvelles présentations du groupe fondamental du complémentaire d’un arrangement. L’une d’entre elle généralise le théorème de R. Randell au cas des arrangements complexes. Pour continuer ces travaux, nous avons étudié l’application induite par l’inclusion sur le premier groupe d’homologie. Nous obtenons deux descriptions simples de cette application. En s’inspirant des travaux de J.I. Cogolludo, nous décrivons une décomposition canonique du premier groupe d’homologie de la variété bord comme produit de la 1-homologie et de la 2-cohomologie du complémentaire, ainsi qu'un isomorphisme entre la 2-cohomologie du complémentaire et la 1-homologie du graphe d’incidence. Dans la seconde partie de notre travail nous nous sommes intéressés à l’étude des caractères du groupe fondamental du complémentaire. Nous partons des résultats obtenus par E. Artal sur le calcul de la profondeur d’un caractère. Cette profondeur peut être décomposée en un terme projectif et un terme quasi-projectif. Un algorithme pour calculer la partie projective a été donné par A. Libgober. Les travaux de E. Artal concernent la partie quasi-projective. Il a obtenu une méthode pour la calculer en fonction de l’image de certains cycles particuliers du complémentaire par le caractère. En utilisant les résultats obtenus dans la première partie, nous avons obtenu un algorithme complet permettant le calcul de la profondeur quasi-projective d’un caractère. A travers l’étude de cet algorithme, nous avons obtenu une condition combinatoire pour admettre une profondeur quasi-projective potentiellement non combinatoire. Nous avons ainsi défini la notion de caractère inner-cyclic . Cette notion nous a permis de formuler des conditions fortes sur la combinatoire pour qu’un arrangement n’ait que des caractères de profondeur quasi-projective nulle. Enfin pour diminuer le nombre d’exemples à considérer nous avons introduit la notion de combinatoire première. Si une combinatoire ne l’est pas, alors les variétés caractéristiques de ses réalisations sont définies par celles d’un arrangement avec moins de droites. En parallèle à cette étude, nous avons observé que la composition de l’application induite par l’inclusion sur le premier groupe d’homologie avec un caractère nous fournit un invariant topologique de l'arrangement obtenu en désingularisant les points multiples (blow-up). De plus, nous montrons que cet invariant n’est pas de nature combinatoire. Il nous a ainsi permis de découvrir deux nouvelles nc-paires de Zariski. / This thesis is the intersection point between the two facets of the study of line arrangements: combinatorics and topology. In the first part, we study the inclusion of the boundary manifold in the complement of an arrangement. We generalize the results of E. Hironaka to the case of any complex line arrangement. To get around the problems due to the case of non complexified real arrangement, we study the braided wiring diagram. We develop a Sage program to compute it from the equation of the complex line arrangement. This diagram allows to give two explicit descriptions of the map induced by the inclusion on the fundamental groups. From theses descriptions, we obtain two new presentations of the fundamental group of the complement. One of them is a generalization of the R. Randell Theorem to any complex line arrangement. In the next step of this work, we study the map induced by the inclusion on the first homology group. Then we obtain two simple descriptions of this map. Inspired by ideas of J.I. Cogolludo, we give a canonical description of the homology of the boundary manifold as the product of the 1-homology with the 2-cohomology of the complement. Finally, we obtain an isomorphism between the 2-cohomology of the complement with the 1-homology of the incidence graph of the arrangement. In the second part, we are interested by the study of character on the group of the complement. We start from the results of E. Artal on the computation of the depth of a character. This depth can be decomposed into a projective term and a quasi-projective term, vanishing for characters that ramify along all the lines. An algorithm to compute the projective part is given by A. Libgober. E. Artal focuses on the quasi-projective part and gives a method to compute it from the image by the character of certain cycles of the complement. We use our results on the inclusion map of the boundary manifold to determine these cycles explicitly. Combined with the work of E. Artal we obtain an algorithm to compute the quasi-projective depth of any character. From the study of this algorithm, we obtain a strong combinatorial condition on characters to admit a quasi-projective depth potentially not determined by the combinatorics. With this property, we define the inner-cyclic characters. From their study, we observe a strong condition on the combinatorics of an arrangement to have only characters with null quasi-projective depth. Related to this, in order to reduce the number of computations, we introduce the notion of prime combinatorics. If a combinatorics is not prime, then the characteristics varieties of its realizations are completely determined by realization of a prime combinatorics with less line. In parallel, we observe that the composition of the map induced by the inclusion with specific characters provide topological invariants of the blow-up of arrangements. We show that the invariant captures more than combinatorial information. Thereby, we detect two new examples of nc-Zariski pairs.

Prenant comme objet d’étude le grand orchestre de jazz, notre thèse vise non seulement à l’appréhension des configurations instrumentales larges dans le jazz français (1945-2010) mais aussi à l’analyse des démarches adoptées par les musiciens hexagonaux vis à vis d’un organe du jazz a priori figé par la tradition, le big band. Après avoir établi les principaux modèles du big band américain et présenté ses évolutions, ont été mises en évidence les voies esthétiques tracées par les musiciens français au lendemain de la Libération. Alors que certains orchestres choisissent de s’exprimer à travers la formation consacrée durant la Swing Era (Claude Bolling, Jean-Claude Naude ou Jacques Denjean), d’autres ensembles prennent progressivement leurs distances par rapport aux modèles américains (Christian Chevallier). Enfin, certains musiciens adoptent encore plus clairement une attitude de rupture avec le format instrumental de référence (Jef Gilson ou André Hodeir). L’analyse musicologique a alors souhaité évaluer, d’une part, les gestes musicaux fondés sur la copie des grands maîtres et, d’autres part, les procédés permettant de s’affranchir d’un processus d’imitation normé pour fonder une voie plus personnelle. Plaçant au coeur de la réflexion, les concepts de solistes et d’arrangement ainsi que la dialectique filiation – invention, l’étude fait alors le point sur la transfiguration d’un organe du jazz jusqu’alors considéré comme normé. Perçus comme désuets dans les années 1970, les grands orchestres opèrent un formidable retour dans la France du début des années 1980. Cependant, cette renaissance semble s’accompagner de l’apparition de « grands orchestres » plus réduits. Au terme de la mise en évidence historique de ce phénomène, le travail a donc impliqué la recherche des causes ayant conduit à l’émergence de ces formats. Dans ce contexte, ont été questionnés les aspects socioéconomiques, les politiques d’aide à la création et la prééminence de la notion de projet, les progrès technologiques ainsi que les choix esthétiques. Enfin, alors que les notions d’individualité et de liberté semblent au fondement de l’émergence de ces nouveaux formats orchestraux, ont été l’analysées les stratégies développées par les musiciens afin de concilier une approche qui prenne mieux en compte les individualités créatrices sans pour autant renier la dimension collective de la pratique du jazz en grand orchestre. Puisant dans le répertoire des ensembles contemporains (Circum Orchestra, Diagonal, Pink Machine, MegaOctet, Radiation 10, le Sens de la Marche, Tous Dehors ou encore X’tet), l’étude a consisté à révéler les processus dynamiques régissant la pratique des grands orchestres de jazz français contemporains. / Taking big jazz orchestras as my study subject, this thesis looks not only at the apprehension of the wide instrumental configurations in French jazz (1945-2010) but also the analysis of the approach adopted by French musicians as regards the big band, a formation basically frozen in tradition. After having established the principal models of the American big bands and seen their evolution, the aesthetic paths made by the French musicians after the Liberation have been put in evidence. Whilst certain orchestras chose to express themselves in a formation considered sacred during the Swing era (Claude Bolling, Jean-Claude Naude or Jacques Denjean), other groups, one by one, distanced themselves from the American models (Christian Chevallier). Finally, the attitude of certain musicians clearly adopted a break from the basic instrumental format (Jef Gilson or André Hodeir). The musicological analysis has therefore wished to evaluate on the one hand the musical movement based on copying the grand masters, and, on the other hand, the procedures which allowed to break through the imitation process to create a more personal path. Placed at the heart of the thought was the concept of soloists and arrangements, as well as the filiation dialectic – invention, the study made the point on the transfiguration of the sound which had been considered the norm up until then. Seen as outdated in the 1970s, the big orchestras made a wonderful comeback in France at the beginning of the 1980s. Nevertheless, this 're-birth' seems to have been accompanied by the appearance of somewhat smaller 'big orchestras'. With historic evidence of this phenomenon, the work has involved research into the causes which led to the creation of these formats. Socio- economic aspects have been questioned in this context, as well as the politics of helping creativity, the mastery of the notion of a project and the technological progress as well as aesthetic choices. Finally, when notions of individuality and freedom seem to be the root of the birth of these new orchestral formations, the strategies developed by the musicians have been analysed to reconcile an approach which better takes into account the creative individualities whilst not denying the collective aspect of playing jazz in a big orchestra. Digging into the repertories of today's groups, (Circum Orchestra, Diagonal, Pink Machine, MegaOctet, Radiation 10, le Sens de la Marche, Tous Dehors or X’tet) the study has consisted of revealing the dynamic processes governing the activity of today's big French jazz orchestras.

Eighteenth-century London was a hotbed for instrumental arrangements, and many of these works were derived from the operas of George Frideric Handel (1685-1759). Thirty-one of his operas, in whole or in part, were arranged for recorder or flute, and there were over seventy keyboard transcriptions of the overtures to these operas. While the transcriptions of Handel overtures have been thoroughly examined, opera aria transcriptions have never received an appropriate level of study and analysis. The Ladys Banquet or The Lady’s Entertainment provides an excellent starting point. Not only does it include numerous opera aria arrangements, but its volumes were re-issued several times, suggesting a wide circulation. Its study raises a number of issues, including publication and authorship of Handel transcriptions, gendered music of the eighteenth century and analysis of opera transcriptions. The Ladys Banquet or The Lady’s Entertainment is a collection of six volumes of keyboard music published by John Walsh in the first half of the eighteenth century. The first two books were issued in 1704 and 1706 respectively, and included many undemanding pieces by fashionable composers such as Jeremiah Clarke (c.1674-1707) and Henry Purcell (1659-1695). The Third and Fourth Books followed in circa 1715 and 1716 and contain predominantly dance tunes and popular songs revised for the keyboard. When, in the early 1730s, the Fifth and Sixth Books appeared, the original four volumes were revised, and included wholly different material than the first editions. The publications of John Walsh are notoriously confusing owing to their lack of publication dates, repeated use of title pages, and misleading advertisements. The Ladys Banquet, as a whole, is especially bewildering because of the reissues of the collection and the changing repertoire. My research focuses on the Fifth Book of The Ladys Banquet, first printed around 1734, due to its abundance of opera aria transcriptions and consistency of content within editions. This document compiles relevant background information and offers a lucid guide to The Ladys Banquet. It provides historical context, examination and discussion of the contents of each volume, with specific details about the music in the Fifth Book, as well as analysis of the Handel aria transcriptions.

Eighteenth-century London was a hotbed for instrumental arrangements, and many of these works were derived from the operas of George Frideric Handel (1685-1759). Thirty-one of his operas, in whole or in part, were arranged for recorder or flute, and there were over seventy keyboard transcriptions of the overtures to these operas. While the transcriptions of Handel overtures have been thoroughly examined, opera aria transcriptions have never received an appropriate level of study and analysis. The Ladys Banquet or The Lady’s Entertainment provides an excellent starting point. Not only does it include numerous opera aria arrangements, but its volumes were re-issued several times, suggesting a wide circulation. Its study raises a number of issues, including publication and authorship of Handel transcriptions, gendered music of the eighteenth century and analysis of opera transcriptions. The Ladys Banquet or The Lady’s Entertainment is a collection of six volumes of keyboard music published by John Walsh in the first half of the eighteenth century. The first two books were issued in 1704 and 1706 respectively, and included many undemanding pieces by fashionable composers such as Jeremiah Clarke (c.1674-1707) and Henry Purcell (1659-1695). The Third and Fourth Books followed in circa 1715 and 1716 and contain predominantly dance tunes and popular songs revised for the keyboard. When, in the early 1730s, the Fifth and Sixth Books appeared, the original four volumes were revised, and included wholly different material than the first editions. The publications of John Walsh are notoriously confusing owing to their lack of publication dates, repeated use of title pages, and misleading advertisements. The Ladys Banquet, as a whole, is especially bewildering because of the reissues of the collection and the changing repertoire. My research focuses on the Fifth Book of The Ladys Banquet, first printed around 1734, due to its abundance of opera aria transcriptions and consistency of content within editions. This document compiles relevant background information and offers a lucid guide to The Ladys Banquet. It provides historical context, examination and discussion of the contents of each volume, with specific details about the music in the Fifth Book, as well as analysis of the Handel aria transcriptions.

Mit der Wiederentdeckung der Musik Johann Sebastian Bachs im 19. Jahrhundert kamen Klaviertranskriptionen von dessen Kompositionen, insbesondere seiner Orgelwerke, in Mode. Dementsprechend stammen aus dieser Zeit die wohl bekanntesten Beiträge zum Genre (z.B. von Busoni, Reger, Liszt, Stradal), aber auch im 20. Jahrhundert, zu Zeiten der historischen Aufführungspraxis, nähern sich Komponistinnen und Pianistinnen bis heute den Werken Bachs durch Klaviertranskriptionen an (z.B. Kempff, Kurtág, Kabalewsky, Bartók). Das Spektrum der Klaviertranskriptionen reicht von einer reinen Übertragung des Notentextes auf die spieltechnischen Möglichkeiten des Konzertflügels, über Bearbeitungen, die versuchen den Orgelklang so authentisch wie möglich auf dem Klavier zu imitieren, bis hin zur freien ›Nachdichtung‹. Die vorliegenden Analysen untersuchen, inwiefern die Bearbeiter die Werke Bachs an ihre eigenen, dem Zeitgeist entsprechenden Klangvorstellungen anpassten und wie weit die Bearbeitungen somit als Zeugnisse der Interpretations- und Rezeptionsgeschichte, aber auch der individuellen Klangvorstellung der Komponisten angesehen werden können. / With the rediscovery of Johann Sebastian Bach’s music in the nineteenth century, piano transcriptions of his compositions, especially his organ works, became fashionable. Accordingly, the most well-known contributions to the genre originate from this period (e.g., Busoni, Reger, Liszt, Stradal). But also in the twentieth century, in times of historical performance practice, composers and pianists continued to approach Bach’s works through piano transcriptions (e.g., Kempff, Kurtág, Kabalewsky, Bartók). The spectrum of piano transcriptions ranges all the way from a mere transfer of the organ score onto the concert piano’s technical possibilities to arrangements that attempt to imitate the organ sound as authentically as possible on the piano to free adaption. The following analyses examine to what extent the arrangers adapted Bach’s works to their own concept of sound corresponding to the zeitgeist and to what extent the arrangements can thus be regarded as testimonies to the history of interpretation and reception as well as the composers’ individual sound conceptions.