The trumpet ensemble has increasingly become a popular chamber ensemble inside music programs at the secondary and collegiate level. Chamber music ensembles are frequently guided by both democratic processes and ensemble coaches with limited chamber music experience. As trumpet ensembles grow in popularity, pedagogical resources are needed to guide rehearsals. This project serves as a guide for educators and performers to focus on fundamental issues related to trumpet ensembles as well as strategies for ensemble rehearsal.

This thesis describes two novel Bayesian methods: the Iterative Ensemble Square Filter (IEnSRF) and the Warp Ensemble Square Root Filter (WEnSRF) for solving the barcode detection problem, the deconvolution problem in well testing and the history matching problem of facies patterns. For the barcode detection problem, at the expanse of overestimating the posterior uncertainty, the IEnSRF efficiently achieves successful detections with very challenging real barcode images which the other considered methods and commercial software fail to detect. It also performs reliable detection on low-resolution images under poor ambient light conditions. For the deconvolution problem in well testing, the IEnSRF is capable of quantifying estimation uncertainty, incorporating the cumulative production data and estimating the initial pressure, which were thought to be unachievable in the existing well testing literature. The estimation results for the considered real benchmark data using the IEnSRF significantly outperform the existing methods in the commercial software. The WEnSRF is utilised for solving the history matching problem of facies patterns. Through the warping transformation, the WEnSRF performs adjustment on the reservoir features directly and is thus superior in estimating the large-scale complicated facies patterns. It is able to provide accurate estimates of the reservoir properties robustly and efficiently with reasonably reliable prior reservoir structural information.

Im Jahr 2011 hat die UB Leipzig mit großzügiger Unterstützung durch die Alfried Krupp von Bohlen und Halbach-Stiftung begonnen, Sommerkurse zur Handschriftenkultur anzubieten. Kernpunkt dieser Fortbildungsinitiative für den wissenschaftlichen Nachwuchs war die Erkenntnis, dass sich die Universitäten in den letzten beiden Jahrzehnten stark aus der Vermittlung von Kompetenzen zurückgezogen haben, die für die Arbeit mit den handschriftlichen Quellen grundlegend und unerlässlich sind.

La version intégrale de ce[te] mémoire [thèse] est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU). / Résumé Ce document présente une collection d’œuvres composées sur une période de deux ans. Le premier chapitre comprend les sommaires des premières pièces de cet période, écrites pour des instruments solistes ou des petits ensembles. Le second chapitre consiste en une analyse approfondie de « Three Constructions in Heavy Metal », une pièce pour un ensemble de musique de chambre à six interprètes et un chef. Les pièces sont présentées chronologiquement afin d’illustrer l’évolution du processus de composition, ainsi que d’exposer plusieurs éléments recyclés dans de nouveaux contextes. Puisque toutes les pièces sont écrites pour des petits ensembles, l’accent est mis sur la maximalisation du potentiel sonore disponible. Ceci se passe tout d’abord au niveau instrumental, mais la présente analyse démontrera aussi sa pertinence au niveau des matériaux musicaux; en effet, presque tout le matériel dans « Three Constructions in Heavy Metal » peut être retracé, d’une quelconque façon, dans les pièces présentées dans le premier chapitre. Mots-clés : Musique, composition, dualité, chambre, texture, ensemble, instrumental / Abstract The following document presents a collection of pieces all composed during a two- year period. The first chapter consists of overviews of the earliest pieces, written for solo instruments or small ensembles, while the second chapter is an in-depth analysis of the most recent work, “Three Constructions in Heavy Metal” (a chamber piece for six performers and conductor). The pieces are presented in a chronological order to illustrate the evolution of the compositional process as well as the way certain ideas are recycled and reused in new contexts in different pieces. As all the pieces are written for small ensembles, there is an emphasis on maximizing the sonic potential available. This takes places at the instrumental level and, as analysis will show, at the level of the musical materials; nearly all the material in “Three Constructions in Heavy Metal” can be traced in some way to the pieces presented in the first chapter. Keywords: Music, composition, duality, chamber, texture, ensemble, instrumental

Cette thèse est consacrée à l'étude d'existence de solutions pour certains problèmes d'évolution. Il s'agit de processus de rafle perturbés associés d'une part à des ensembles prox-réguliers et d'autre part à des ensembles sous-lisses. Les ensembles sont supposés évoluer de façon lipschitzienne ou absolument continue. / This dissertation is devoted to the study of the existence of solutions for some evolution problems. The study is concerned with perturbed sweeping processes associated on the one hand with prox-regular sets and the other hand with subsmooth sets. It is assumed that the sets move either in a Lipschitz way or in an absolutely continuous way.

La réalisation d’une mémoire quantique pour la lumière met en jeu les aspects les plus fondamentaux de l’interaction matière-rayonnement. Pour capturer l’information quantique portée par la lumière, le matériau doit être capable de se maintenir dans un état de superposition quantique. Le temps de stockage est limité par la durée de vie de cet état, caractérisée par le temps de cohérence. Les premières expériences ont été réalisées dans des vapeurs atomiques froides, bien connues. Plus récemment, les ions de terres rares en matrice cristalline (REIC) ont attiré l’attention par leurs long temps de cohérence, associés à de larges bandes passantes d’interaction. Pour exploiter ces bonnes propriétés, des protocoles spécifiques ont été proposés. Nous nous sommes tournés vers un dérivé prometteur de l’écho de photon, le Peigne Atomique de Fréquences (AFC, proposé en 2008), fondé sur la transmission du champ incident à travers un profil d’absorption spectralement périodique. Les premiers chapitres de ce manuscrit présentent ce protocole et les travaux effectués durant cette thèse pour en améliorer l’efficacité (i.e. la probabilité de capter et de restituer l’information incidente), en augmenter la bande passante et la capacité de multiplexage et en mesurer le bruit. Les chapitres suivants présentent un nouveau protocole, proposé dans notre groupe durant cette thèse, et baptisé ROSE (Revival Of Silenced Echo). Ce protocole, très proche de l’écho de photon, a été démontré et caractérisé expérimentalement. Il semble très prometteur en termes d’efficacité, de bande passante et de bruit. / The development of a quantum memory for light involves the most fundamental aspects of the light-matter interaction. To store the quantum information carried by light, the material has to be able to stay in a state of quantum superposition. The storage time is limited by the lifetime of this state, characterized by the coherence time. The first experiments involved the well-known cold atomic vapors. More recently, Rare Earth Ions doped Crystals (REIC) have drawn attention because of their remarkably long coherence time, combined with a large interaction bandwidth. Specific protocols have been proposed to take the most out of these properties. We have opted for a promising spin-off of the well-known photon echo, named the Atomic Frequency Comb (AFC, proposed in 2008), based on the transmission of the incoming field through a spectrally periodic absorption profile. The first chapters of this manuscript present this protocol and our works aimed at improving its efficiency (the probability for capturing and retrieving the incoming information), increasing its bandwidth and its multiplexing capacity and measuring its noise. The following chapters present a new protocol, proposed in our group during this thesis, and called Revival Of Silenced Echo (ROSE). This protocol, similar to the photon echo, have been demonstrated and characterized experimentally. It seems really promising in terms of efficiency, bandwidth and noise.

[pt] Os métodos baseados no filtro de Kalman têm tido sucesso notável na indústria do petróleo nos últimos anos, especialmente, para resolver problemas reais de ajuste de histórico. No entanto, como a formulação desses métodos é baseada em hipóteses de gaussianidade e linearidade, seu desempenho é severamente degradado quando a geologia a priori é descrita em termos de distribuições complexas (e.g. modelos de fácies). A tendência atual em soluções para o problema de ajuste de histórico é levar em consideração modelos de reservatórios mais realistas com geologia complexa. Assim, a modelagem de fácies geológicas desempenha um papel importante na caracterização de reservatórios, como forma de reproduzir padrões importantes de heterogeneidade e facilitar a modelagem das propriedades petrofísicas das rochas do reservatório. Esta tese introduz uma nova metodologia para realizar o ajuste de histórico de modelos geológicos complexos. A metodologia consiste na integração de métodos baseados no filtro de Kalman em particular o método conhecido na literatura como Ensemble Smoother with Multiple Data Assimilation (ES-MDA), com uma parametrização das fácies geológicas por meio de técnicas baseadas em aprendizado profundo (Deep Learning) em arquiteturas do tipo autoencoder. Um autoencoder sempre consiste em duas partes, o codificador (modelo de reconhecimento) e o decodificador (modelo gerador). O procedimento começa com o treinamento de um conjunto de realizações de fácies por meio de algoritmos de aprendizado profundo, através do qual são identificadas as principais características das imagens de fácies geológicas, permitindo criar novas realizações com as mesmas características da base de treinamento com uma reduzida parametrização dos modelos de fácies na saída do codificador. Essa parametrização é regularizada no codificador para fornecer uma distribuição gaussiana na saída, a qual é utilizada para atualizar os modelos de fácies de acordo com os dados observados do reservatório, através do método ES-MDA. Ao final, os modelos atualizados são reconstruídos através do aprendizado profundo (decodificador), com o objetivo de obter modelos finais que apresentem características similares às da base de treinamento. Os resultados, em três casos de estudo com 2 e 3 fácies, mostram que a parametrização de modelos de fácies baseada no aprendizado profundo consegue reconstruir os modelos de fácies com um erro inferior a 0,3 por cento. A metodologia proposta gera modelos geológicos ajustados que conservam a descrição geológica a priori do reservatório (fácies com canais curvilíneos), além de ser consistente com o ajuste dos dados observados do reservatório. / [en] Kalman filter-based methods have had remarkable success in the oil industry in recent years, especially to solve several real-life history matching problems. However, as the formulation of these methods is based on the assumptions of gaussianity and linearity, their performance is severely degraded when a priori geology is described in terms of complex distributions (e.g., facies models). The current trend in solutions for the history matching problem is to take into account more realistic reservoir models, with complex geology. Thus the geological facies modeling plays an important role in the characterization of reservoirs as a way of reproducing important patterns of heterogeneity and to facilitate the modeling of the reservoir rocks petrophysical properties. This thesis introduces a new methodology to perform the history matching of complex geological models. This methodology consists of the integration of Kalman filter-based methods, particularly the method known in the literature as Ensemble Smoother with Multiple Data Assimilation (ES-MDA), with a parameterization of the geological facies through techniques based on deep learning in autoencoder type architectures. An autoencoder always consists of two parts, the encoder (recognition model) and the decoder (generator model). The procedure begins with the training of a set of facies realizations via deep generative models, through which the main characteristics of geological facies images are identified, allowing for the creation of new realizations with the same characteristics of the training base, with a low dimention parametrization of the facies models at the output of the encoder. This parameterization is regularized at the encoder to provide Gaussian distribution models in the output, which is then used to update the models according to the observed data of the reservoir through the ES-MDA method. In the end, the updated models are reconstructed through deep learning (decoder), with the objective of obtaining final models that present characteristics similar to those of the training base. The results, in three case studies with 2 and 3 facies, show that the parameterization of facies models based on deep learning can reconstruct facies models with an error lower than 0.3 percent. The proposed methodology generates final geological models that preserve the a priori geological description of the reservoir (facies with curvilinear channels), besides being consistent with the adjustment of the observed data of the reservoir.

Tese de mestrado. Multimédia (Música Interactiva e Design de Som). Faculdade de Engenharia. Universidade do Porto. 2012

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This document contains scores for the works performed at a recital of compositions by Kirsten Carlson at 8:00 p.m. April 21, 1995 at the University of British Columbia Recital Hall. Model-Deviation is written for solo flute and was composed in 1992. Those That Follow is written for two flutes and was composed in 1993. The Distance is written for soprano voice, spoken voice, violin and cello and was composed in 1993. The text is by Kirsten Carlson. For will is written for flute and trumpet and was originally composed in 1994 and revised in 1995. This is a photograph of me is written for soprano, clarinet, bassoon and violin. It was composed in 1995 with text by Margaret Atwood. The Swimmer is written for two soprano voices, flute, clarinet, two violins, viola, and cello. It was composed during 1994-95 with text by the composer. We Are Still One is written for 10 flutes and was composed in 1994.