Aggressive scaling of CMOS circuits in recent times has lead to dramatic increase in leakage currents. Previously, sub-threshold leakage current was the only leakage current taken into account in power estimation. But now gate leakage and reverse biased junction band-to-band-tunneling leakage currents have also become significant. Together all the three types of leakages namely sub-threshold leakage, gate leakage and reverse bias junction band-to-band tunneling leakage currents contribute to more than 25% of power consumption in the current generation of leading edge designs. Different sources of leakage can affect each other by interacting through resultant intermediate node voltages. This is called loading effect and it leads to further increase in leakage current. On the other hand, sub-threshold leakage current decreases as more number of transistors is stacked in series. This is called stack effect. Previous works have been done that analyze each type of leakage current and its effect in detail but independent of each other. In this work, a pattern dependent steady state leakage estimation technique was developed that incorporates loading effect and accounts for all three major leakage components, namely the gate leakage, band to band tunneling leakage and sub-threshold leakage. It also considers transistor stack effect when estimating sub-threshold leakage. As a result, a coherent leakage current estimator tool was developed. The estimation technique was implemented on 65nm and 45nm CMOS circuits and was shown to attain a speed up of more than 10,000X compared to HSPICE. This work also extends the leakage current estimation technique in Field Programmable Gate Arrays (FPGAs). A different version of the leakage estimator tool was developed and incorporated into the Versatile Place & Route CAD tool to enable leakage estimation of design after placement and routing. Leakage current is highly dependent on the steady state terminal voltage of the transistor, which depends on the logic state of the CMOS circuit as determined by the input pattern. Consequently, there exists a pattern that will produce the highest leakage current. This work considers all leakage sources together and tries to find an input pattern(s) that will maximize the composite leakage current made up of all three components. This work also analyzes leakage power in presence of dynamic power in a unique way. Current method of estimating total power is to sum dynamic power which is ½&#;CLVDD2f and sub-threshold leakage power. The dynamic power in this case is probabilistic and pattern independent. On the other hand sub-threshold leakage is pattern dependent. This makes the current method very inaccurate for calculating total power. In this work, it is shown that leakage current can vary by more than 8% in time in presence of switching current.

La version intégrale de ce mémoire [ou de cette thèse] est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU) / Instants et espaces investis par la musique, les sessions sont actuellement en Irlande un marqueur d’expression culturelle. En surface, celles-ci peuvent être définies en tant que regroupement prévu ou spontané de plusieurs musiciens dans le but de faire de la musique et de passer un agréable moment en communauté. Toutefois, un travail d'enquête réparti sur sept années de recherches dans le nord-ouest irlandais a révélé qu'en profondeur, les sessions représentent un phénomène socioculturel complexe, phénomène social autant que musical, fait musical autant que social, édifice symbolique mixte tissé d'interactions dont la combinatoire à chaque fois renouvelée implique un jeu de relations entre le facteur individuel et les stratégies collectives qui, radicalement, affectent l’ensemble de la structure de l’événement. Comprendre le fonctionnement d'une session revient alors à poser un certain nombre de questions ayant pour finalité de révéler la manière dont les deux pôles du social et du musical se trouvent, en même temps que distincts, inextricablement liés. Les sessions musicales se révèlent ainsi sources d'un certain nombre de problèmes, lesquels, a priori motivés par une connaissance spécifique à notre objet d'étude, conduisent à dépasser le domaine exclusif de l'Irlande pour venir affronter les questionnements plus larges que pose l'ethnomusicologie contemporaine. La présente thèse s'organise en cinq chapitres. Un premier est consacré à une description générale des sessions. L'attention est portée sur les liens dynamiques opérant entre ce qui relève du musical et ce qui procède d'un ordre plus spécifiquement social. Les questions alors soulevées engagent un second chapitre, dont l'organisation est bipartite. Y sont alors exposés, dans un premier temps, les grands axes problématiques sur lesquels cette thèse repose, et dans un second, les réponses méthodologiques impliquées par cette même problématique. Un troisième chapitre consiste à mettre en place l'ensemble des outils nécessaires à la conduite des analyses, à travers une réflexion portant sur les propriétés systématiques de l'ensemble des paramètres sociaux et musicaux caractéristiques de ce que sera notre corpus. L'étape suivante, quatrième chapitre de la thèse, se fonde sur les analyses comparatives d'un corpus de 26 pièces musicales, collectées dans le cadre de 7 situations de sessions distinctes. À travers un cinquième chapitre, le travail se termine enfin par une synthèse fondée sur l'intégralité des résultats analytiques obtenus dans le chapitre précédent. / As periods of time and spatial entities invested by music, sessions in Ireland nowadays are a marker of cultural expression. Superficially, those can be defined as a gathering, planned or spontaneous, of several musicians with the prospect to produce music and to share a nice moment together. Yet, a survey pursued over a seven-year research work in north-western Ireland revealed that, in depth, sessions represent complex socio-cultural events, social as much as musical, musical as well as social happening, symbolic entity enriched by interactions whose permanently renewed combination reflects the interplay between individual factors and group strategies, that, radically, affect the whole structure of the event. To understand how a session functions then requires raising a number of questions whose end is to elucidate how the two poles, social and musical, happen to be inextricably linked, though distinct at the same time. Musical sessions thus become a source of problems which, a priori connected to the amount of knowledge specific of our topic, lead to overcome the exclusive domain of Ireland up to facing the broader issues of contemporary ethnomusicology. The present thesis includes five chapters. The first one is a general description of sessions. Attention is paid to the dynamic links operating between what belongs to music and what proceeds from a line more specifically social. Questions then raised trigger a second chapter, whose content is bipartite. First are exposed the major problems on which the thesis rests, and secondly the methodological answers related to the given problematic. A third chapter consists of setting the spectrum of methods required to conduct analyses, through a reflexion bearing on the system properties of the whole range of social and musical parameters that characterize this work. Next step, the fourth chapter is based on the comparative analysis of 26 musical pieces that were collected in the context of seven different situations in distinct sessions. In the fifth chapter, the thesis ends with a synthesis of all analytical results as gathered in the previous chapters.