It is not uncommon to read claims of music’s ability to affect our sense of time and its rate of passage. Indeed, such effects are often considered among the most distinctive and prized aspects of musical aesthetics. Yet when it comes to the similarly abstract notion of space and its manipulation by musical structures, theorists are generally silent. My dissertation addresses this gap in the literature and shows how music’s spatial effects arise through an affective engagement with musical works. In this study, I examine an eclectic selection of compositions to determine how the spaces we inhabit are transformed by the music we hear within them. Drawing on Maurice Merleau-Ponty’s theory of embodied perception, as well as research on acoustics, sound studies, and media theory, I deploy an affective model of spatial perception—a model that links the sense of space with the moment-to-moment needs and desires of the perceiver— to explain how these musical modulations of space occur. My claim is that the manner in which the music solicits our engagement affects how we respond, which in turn affects what we perceive. I begin by discussing the development of recording technology and how fixed media works deemed “spatial music” reinforce a particular conception of space as an empty container in which sound sources are arrayed in specific locations relative to a fixed listening position. After showing how innovative studio techniques have been used to unsettle this conventional spatial configuration, I then discuss examples of Renaissance vocal music, instrumental chamber music, and 20th century electronic music in order to develop a richer understanding of the range of spatial interactions that musical textures and timbres can provide. In my final chapter, I draw upon these varieties of affective engagement to construct a hermeneutic analysis of the spatial experience afforded by Steve Reich’s Electric Counterpoint, thereby modeling a phenomenological method for grounding interpretation in embodied, rather than strictly discursive, practices. By soliciting movement through the call for bodily action, music allows us an opportunity to fit together one world of possibilities with another, thereby providing an occasion for grasping new meanings presented through the work. The spatial aspect of music, therefore, does not consist in merely recognizing an environmental setting populated by individual sound sources. Through the embodied practices of music perception and the malleability of space they reveal, we are afforded an opportunity to reshape our understanding of the world around us.

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La première partie de cette thèse est une étude expérimentale de l'adsorption de complexes polyélectrolytes/tensioactifs de charge opposée à l'interface eau-air à l'aide la tensiométrie, l'ellipsométrie et l'observation de drainage de films de savon. Ces complexes peuvent former des globules hydrophobes s'adsorbant en des couches épaisses et hétérogènes, aux temps de réarrangement très longs. La structure et l'épaisseur des couches dépend fortement du ratio des concentrations tensioactif/polyélectrolyte et de l'hydrophobie du tensioactif, qui permettent de modifier l'affinité des complexes pour la surface. De plus, la masse moléculaire du polyélectrolyte contrôle la taille des complexes formés. La deuxième partie traite de la rhéologie de surface en cisaillement et en dilatation de ces couches de complexes. Les mesures montrent la formation de gels physiques mous de surface. Enfin, nous présentons les détails de la construction d'un viscosimètre magnétique de surface.

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There are certain recordings by important artists such as Lionel Hampton, Miles Davis, John Coltrane, Pedro Iturralde, Chick Corea, and Paco de Lucía, among others, that have been associated with the label flamenco jazz. This label is entering jazz discourse, and it needs to be better understood in order to clarify its history, its identity, and its impact on recent developments in flamenco that are labeled nuevo flamenco. There is a lack of agreement in the existent literature on flamenco jazz on the evaluation of these recordings and these artists' achievements and contributions to this field. These writings encompass authors from different backgrounds: journalists, critics, and musicologists, who have approached their analysis of the recordings from different perspectives. The differences in professional backgrounds, approaches, and purpose of the writings of these authors has resulted in controversy about this label. Therefore, the flamenco jazz scholarly conversation needs more objective writings from an analytical point of view. This historiographical study presents a more comprehensive evaluation of flamenco jazz by discussing selected recordings using analytical tools from jazz studies. These analytical arguments clarify the aesthetics of flamenco jazz and the artistic processes that these artists went through when combining musical elements from flamenco and jazz, which in some cases are described as creative misreading. In this century of cultural globalization, where jazz has become a diverse expression of world music because of its capacity to absorb traits from other musical practices, this study can be a resource for international jazz musicians who are seeking to combine jazz with their musical cultural heritage.

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Fruit de négociations longues et ardues, la Convention des Nations Unies sur le droit de la mer signée en 1982 est sans doute l’un des traités multilatéraux les plus réussis sur le plan international. Pierre angulaire de la Convention, l’attribution du statut de « patrimoine commun de l’humanité » aux fonds marins et leur sous-sol situés au-delà des limites de la juridiction nationale ainsi qu’à leurs ressources a constitué une innovation majeure dans le domaine du droit international. Le succès de la Convention tient notamment au fait qu’elle a établi un cadre institutionnel sans précédent chargé de la mise en œuvre de la Convention et incarné par trois institutions : l’Autorité internationale des fonds marins, la Commission des limites du plateau continental et le Tribunal international du droit de la mer. Dotées de statuts juridiques divers et de compétences différentes, ces institutions fonctionnent depuis l’entrée en vigueur de la Convention en 1994. Vingt-et-un ans après sa fondation, il convient d’examiner ce cadre institutionnel dans son ensemble et d’évaluer sa mise en œuvre pour mieux comprendre le rôle complémentaire des institutions. Cette étude porte un regard critique sur la genèse, la nature, le fonctionnement et la pratique des institutions, et s’attache à les considérer dans leur interaction et leur interdépendance. Identifier les insuffisances institutionnelles et interinstitutionnelles, ainsi que les défis auxquels les institutions sont confrontées est un préalable indispensable à la recherche de solutions efficaces et viables pour surmonter les difficultés rencontrées, à la mise en œuvre harmonieuse de la Convention et à la concrétisation du concept fondamental de patrimoine commun de l’humanité. Dans cette perspective, l’importance du Tribunal dans son rôle de garant de l’intégrité de la Convention et le pouvoir créateur du juge international face aux lacunes conventionnelles méritent une attention toute particulière. / The result of protracted and arduous negotiations, the United Nations Convention on the Law of the Seasigned in 1982 is undoubtedly one of the most successful multilateral treaties at the international level. The principle of the common heritage of mankind, represented by the seabed, ocean floor and subsoil and their resources beyond the limits of national jurisdiction, is the cornerstone of the Convention and constituted a major innovation in international law. The success of the Convention lies, in particular, in the establishment of an unprecedented institutional framework, which is incarnated by three institutions: the International Seabed Authority, the Commission on the Limits of the Continental Shelf and the International Tribunal for the Law of the Sea. These institutions of diverse legal status are vested with different functions and have been in operation since the entry into force of the Convention in 1994. Twentyone years following its establishment, it is necessary to review this institutional framework as a whole and to assess its implementation in order to better understand the complementary role of the institutions. This study critically examines the genesis, the nature, the functioning and the practice of the institutions throughtheir interaction and their interdependence. Identifying institutional and inter-institutional weaknesses, and the challenges that the institutions face is an indispensable prerequisite for ensuring effective and viablesolutions, the harmonious implementation of the Convention and for giving substance to the principle ofthe common heritage of mankind. In this context, the role of the Tribunal as the guarantor of the integrityof the Convention and the creative power of the international judge merit special attention.