Freiburg i. B., R.- u. staatswiss. Diss. v. 7. Dez. 1928.

Depuis la fin des années 90 s'est développé un ensemble de pratiques artistiques qui prennent le logiciel comme base critique de travail. Diverses expositions, manifestations, sites Internet et textes ont été consacrés à ces productions regroupées sous l'intitulé « Software Art ». L'un des principaux intérêts de ce « mouvement» artistique est de redonner une actualité à une problématique connue depuis les années 60, celle de la programmation informatique en art, corrélée à divers questionnements touchant à la culture numérique, à l'approche esthétique du code et au positionnement de ce type de production par rapport à l'histoire de l'art. À l'aide d'un parcours chronologique des événements, publications et œuvres liées au Software Art, cette thèse propose une étude analytique et critique afin de comprendre en quoi ce « mouvement» se singularise au sein d'un phénomène plus ample, observé depuis une décennie, lié au regain d'intérêt pour la programmation en art, notamment à travers l'utilisation d'un langage tel que Processing. Cette recherche n'a pas pour objectif de construire un appareil théorique utile au Software Art mais tente de comprendre ce qui s'est joué durant ses années de visibilité, de 2001 à 2006 environ, tant au niveau de la constitution d'un champ critique spécifique que de la mise en place de stratégies artistiques et institutionnelles afin d'assurer les conditions de sa diffusion. / The years since the late 90s have se en the emergence of a range of artistic practices using software as a critical base material. A number of exhibitions, events, websites and writings have been dedicated to their productions, coming under the designation of "Software Art". One of the main interests of this artistic "movement" lies in its bringing up to date the issue of computer programming in art, one that has been acknowledged since the 60s and is correlated with various questionings addressing digital culture, the aesthetic approach to code and the position of such productions with regard to art history. From a chronological presentation of the events, publications and artworks in relation to Software Art, this thesis puts forward an analytical and critical study, with a view to explaining in what ways this "movement" singles itself out from a broader phenomenon - as has been witnessed for a decade - of renewed interest in computer programming in art, notably through the use of a programming language such as Processing. The intent of this investigation is not to build a theoretical apparatus of any use to Software Art, but rather to understand the stakes at hand at the time of its visibility - from 2001 to 2006 approximately -, both with respect to the establishment of a specific critical field and the implementation of artistic and institutional strategies in order to provide the conditions tor its diffusion.

Alexander Scriabin (1872-1915) stands as one of the most unconventional twentieth-century Russian composers, particularly with respect to his piano works. The overwhelming majority of Scriabin's compositions—sixty-seven of his seventy-four published works—were written for solo piano. His etudes from 1905 forward are revolutionary, especially compared with his earlier Chopinesque style. Among Scriabin’s twenty-six etudes, his Op.49, No. 1 (1905), Op.56, No. 4 (1908) and the last three etudes of Op.65 (1912) date from his last period of composition. In the Op.49 etude, Scriabin started to abandon traditional tonality. He omitted the key signature altogether in the Op.56 etude. The final three etudes of Op.65 feature constant dissonances on ninths, sevenths and fifths. Alexander Scriabin’s last five etudes represent the culmination of his compositional development and innovations at the piano. Several factors coalesce in these etudes, including unusual harmony, bichords, non-tonal hierarchy, and structural symmetry. Most of these factors derive in some fashion from Scriabin’s increasing reliance upon the so-called “mystic chord” in his late works. This study will illustrate how Scriabin explored new sonorous and aesthetic ideas in his late etudes by means of these innovations.

No description available.

Bacteria have exhibited a remarkable capacity to become resistant to commonly used antibacterial compounds obliging the researchers to find new target to kill them. Peptidoglycan, a polymer which is completely specific to the bacterial world and the enzymes, is an ideal target. Peptidoglycan is formed by linear glycan chains composed of alternating N-acetylmuramic acid (MurNAc) and N-acetylglucosamine (GlcNAc) residues cross-linked by short peptides. Among the multitude of enzymes of degradation of the peptidoglycane, the N-acetylmuramyl-L-alanine amidase have the capacity to break the bond between the peptide and the lactyl grouping of MurNAc wearing this peptide. The subject of this work was to study AmiD, a N-acetylmuramyl-L-alanine amidase from E.coli. For that purpose, two carbohydrates 1,6-anhMurNAc with a protective group at the fourth position have been synthesised on gram scale in seven steps. After that, we have realized a structural study at the level of the peptide chain by miming the structure of the peptidoglycane. First, different amide compounds have been prepared. In a second time, we have synthesised carbohydrate compounds with one, two and three amino acids in the peptide chain. Finally, two carbohydrates with a triazole in the peptide chain have been prepared by click chemistry from a synthesised azoture precursor. All compounds have been synthesised with a chromatic group at the end of the peptide chain in order to facilitated the HPLC detection of the residue after hydrolysis by AmiD. Substrates studies, inhibition studies and kinetic studies have been realised with these carbohydrates. This work present also the first results of the synthesis of 1,6-anhydro-4-fluoroMurNAc, a possible inhibitor of bacterial growth. If the peptide chain contains a minimum of dipeptide residue (L-Ala--D-Glu), our results pointed that AmiD is able to cleave the amide bond between the lactyl group of the MurNAc and the -amino group of L-Ala. In the presence of a tripeptide chain (L-Ala--D-Glu-L-Lys) higher hydrolysis rates have been observed. Furthermore, the m-A2pm found in the natural substrate of AmiD can be replaced by L-Lys which facilitates the synthesis of the MurNAc derivatives.

This document demonstrates that study and performance of newly-composed versions of four etudes from Ludwig Milde's Concert Etudes, Op. 26 (publ. post. 1935) can prepare advanced bassoon students for performance of not only the etudes themselves (which includes advanced techniques such as rapid single tonguing, double tonguing, difficult slurring, tapering, an execution of complicated scales and arpeggios in the context of a musical passage, half-hole, vibrato, flicking, and control of long notes in extreme registers), but also can be used to address both performing and technical issues not covered in Milde's study, such as the problems posed by ensemble playing, tone-color, and rhythm.The project analyzes a selection of four etudes from the Concert Etudes, Op. 26 in terms of harmony and form, explores the technical difficulties found in each one of them and their possible approaches, and provides arrangements for two bassoons, bassoon and piano, and bassoon quartet, giving the student a new palette of options for the study of the Concert Etudes, Op. 26 and new devices for the improvement of various techniques.

The etudes of Chopin are masterworks of the piano literature and are designed to go beyond mere technical exercises; moreover, each etude represents not only a technical study but also has a distinct musical character. Alarmingly, the current trend seems to be to assign the Chopin etudes at an increasingly young age to students who are not yet equipped either technically or musically to handle them. As Chopin’s pupil, Carl Mikuli, commented in the preface to his Chopin edition, the etudes were meant for “more advanced students.” If Chopin had intended his etudes for students at an intermediate level, he would have assigned them to most of his students; however, only a limited number of students had his permission to work on their master’s etudes. As a teacher, I have always felt the need to devise a systematic teaching plan to guide students to handle the challenges of these pieces both physically and musically. This study examines the repertoire which might help prepare a student to learn the etudes without overstraining his/her muscular and mental ability. Rooted in Chopin’s teaching and his recommendation of the pieces to learn before tackling the etudes themselves, this pedagogical study guide intends to help students and teachers to work progressively towards the study of these works. While pinpointing some exercises and simple pieces to assign to a student in preparation for studying the individual etudes, helpful works of later composers are also liberally incorporated, as well as some suggestions for practicing the etudes themselves. Finally, I shall provide my own “re-ordering” of the etudes, with a progressive degree of difficulty, as an additional aid to a young pianist who may eventually want to learn the entire opus 10 and opus 25.

No description available.

The focus of this project is the performance of Sergei Rachmaninoff's Etudes-Tableaux Op. 39. The purpose is to provide interested performers with a clear understanding of the inner workings of these compositions and to address many problems of interpretation and technical challenges of the Etudes-Tableaux Op. 39. The author's goal is to offer creative interpretive explanations and technical solutions to the existing pianistic problems and to aid a performer in his/her approach to learning in order to create a credible and skillful performance. The study makes use of the multi-faceted opportunities that are appropriate to the lecture-recital format. In addition to the research presented in the script, the author incorporated a Power Point™ slide presentation (copies included with this document), audio excerpts from CD performances, live demonstrations on the piano, and a live performance of selected Etudes-Tableaux Op. 39 (all included on the DVD which supplements this document). The script includes a brief biographical sketch of Rachmaninoff, followed by the two research topics of performance practice, interpretive aspects and technical challenges. The Power Point™ presentation serves to enhance the content and to facilitate the explanations of some of the topics of the lecture. This is especially relevant when incorporating excerpts from music scores and examples of paintings. The CD audio excerpts and live demonstrations are intended to illustrate the details of the compositional and stylistic features and performance practice. Finally, the live performance of the Etudes-Tableaux Op. 39, and its audio/video documentation on DVD, confirms the study's research findings.

The majority of standard solo repertoire that violists perform was written in the twentieth century, but the pedagogical materials violists study are largely transcriptions of violin etudes, studies, and scales, which were all written in the nineteenth century or earlier. Music written in the twentieth century uses a language and techniques that are quite different from those found in older, tonal music. Because of this, violists are often unprepared for the challenges of their standard solo repertoire, and the pedagogical materials they study do not fulfill their purpose: to educate students in the skills necessary for successful musical performance. The first part of this document is historical, attempting to explain how the viola has arrived in the early twenty-first century without its own unique body of pedagogical materials suited its repertoire. The second part of this document is practical: it proposes a pedagogy for the viola that will help to better prepare students to play our standard repertoire. This part of the document uses an extensive number of musical examples from the standard twentieth-century repertoire to illustrate how the various etudes, studies, exercises, and scales presented can be used to help students in tackling the challenges of twentieth-century music more successfully.