Les politiques de protection de la nature s’appuient, pour l’essentiel, sur la protection d’« aires naturelles » qui apparaissent, en France, dès le début du 20ème siècle. Celles-ci peuvent être regroupées en trois catégories en fonction des types de mesures appliqués : les aires naturelles sous protection réglementaire, sous protection conventionnelle (voie contractuelle) et, enfin, sous protection foncière. Cette dernière mesure s’entend comme un processus formalisé par un transfert, dans un objectif de protection, d’un bien-foncier privé au profit d’un acquéreur public ou privé investi d’une mission reconnue d’utilité publique, c'est-à-dire une Maitrise Foncière à Finalité Écologique (MAFFE). Si ce mode d’action « exorbitant » émerge dans les années 1960 en phase avec l’approche prédominante, « fixiste », de la protection des milieux naturels, son recours persiste aujourd’hui. Est ainsi questionné son adaptabilité à la fois aux conditions actuelles de mise en oeuvre qui s’appuient sur des logiques de contractualisation et de négociation et aux objectifs des politiques de la nature qui s’inscrivent dorénavant dans une perspective de gestion des espaces en tenant compte des dynamiques naturelles. L’analyse, tant des processus de territorialisation de la MAFFE que des perceptions et représentations de l’ensemble des acteurs impliqués par sa mise en oeuvre sur deux terrains d’étude, nous aura permis de souligner la pluralité, d’une part, de ses processus de mise en oeuvre et, d’autre part, des finalités qui lui sont attribuées. Est ainsi mis en évidence la plasticité de la MAFFE à l’interface entre instruments de type réglementaire et instruments de type conventionnel concordant avec les divers effets attendus de sa mise en oeuvre : contrôle des usages, conciliation des intérêts environnementaux, économiques et sociaux des espaces naturels, et, enfin coordination de l’action publique. Aussi, la MAFFE ne constitue pas un instrument univoque mais davantage un instrument multifonctionnel et modulable en fonction des contextes locaux. Face à l’évolution des référentiels des politiques de protection de la nature, nous montrons ainsi que la plasticité tant perçue qu’effective de la MAFFE constitue un gage d’adaptabilité et donc potentiellement d’efficacité pour la préservation de la biodiversité. / Nature conservation policies relies traditionally upon the protection of “natural areas” that appear in France in the early 20th century. These protected areas can be classified into three main categories according to the measures implemented: regulation, incentive measure and property control one. This latter measure is defined as a formal process of purchase of lands, in order to create protected areas, by public authorities and also by private actors who carry out a public service mission. If this "exorbitant" measure emerged in the 1960s in line with the predominant "preservationist" approach of nature protection, it is still in use today. Thus, we question its adaptability first of all to the current policy implementation conditions based upon mediation and negotiation processes and secondly to new objectives of nature conservation which take into account the concept of “natural dynamics” for planning activities. We have conducted an analysis of the processes of implementation in two cases of study, focusing on the perceptions and representations of all actors involved in these implementation processes of this instrument. This analysis has enabled us to emphasize the plurality of, firstly, these processes of implementation and, secondly, its assigned purposes. Thus, we demonstrate the plasticity of this instrument at the interface between regulatory and incentive tools that fits with the various types of expected effects of its implementation: to control users’ behaviours of natural areas, to reach a trade-off between environmental interests and economic and social interests of natural areas, and, finally, to coordinate public intervention. Therefore, this instrument constitutes rather a multifunctional tool, adaptable to local contexts. Facing the continual renewal of nature conservation policies implementation conditions and objectives, we conclude that the plasticity of the tool, as perceived and effective, provides a guarantee of adaptability and potentially efficient protection of biodiversity.

Desde a adoção das normas internacionais de relatórios financeiros (IFRS) no Brasil, em 2010, a discussão sobre a classificação de instrumentos financeiros entre instrumentos de dívida ou de patrimônio tem se intensificado. Quando a Lei 11.638/07 foi emitida, alterando a Lei das Sociedades por Ações de 1976, teve o condão de introduzir o padrão contábil internacional na contabilidade brasileira. Entretanto, muitos dos instrumentos e aspectos da legislação societária brasileira não foram alterados ou reavaliados à luz desse novo padrão. De um momento para o outro, empresas se viram obrigadas a classificar como dívida, valores antes classificados com patrimônio líquido, como foram os diversos casos de ações resgatáveis. A própria classificação das ações ordinárias e preferenciais como instrumentos de patrimônio líquido foi colocada em dúvida devido à previsão do chamado dividendo mínimo obrigatório. Nesse ínterim, companhias abertas brasileiras emitiram certos instrumentos financeiros, analisaram e os classificaram como instrumentos de patrimônio líquido. Entretanto, tiveram tal classificação questionada pela CVM e foram requeridas a refazer suas demonstrações financeiras. Mesmo internacionalmente essa classificação não é, muitas vezes, óbvia. As últimas discussões no âmbito internacional relacionados com a classificação de instrumentos financeiros como de dívida ou de patrimônio se concentraram em duas abordagens: a \"abordagem restrita do patrimônio líquido\" (Narrow Equity Approach) e a \"abordagem estrita do passivo\" (Strict Obligation Approach). Este trabalho tem como objetivo avaliar a classificação dos instrumentos financeiros patrimoniais previstos na legislação societária brasileira à luz das normas internacionais de relatórios financeiros. Primeiramente entendendo e avaliando os casos de determinação da CVM de refazimento das demonstrações financeiras de companhias em virtude de classificação considerada inadequada de certos instrumentos financeiros como de patrimônio líquido. Em seguida, avaliando a natureza dos instrumentos patrimoniais previstos na legislação societária brasileira, especialmente as ações com dividendos prioritários, e o impacto dessa prioridade nas demonstrações financeiras das companhias. Com base nos resultados do estudo, concluiu-se que os casos de refazimento estavam relacionados a uma tentativa de classificar instrumentos típicos de dívida como patrimoniais, a partir da alteração de certos termos, mas sem atender a todos os requisitos da norma contábil. Adicionalmente, para as companhias com ações preferenciais com dividendos prioritários, observamos que os instrumentos atendiam a classificação de patrimônio líquido e que a prioridade no recebimento trouxe benefícios de fato para os seus detentores. / Since the adoption of the International Financial Reporting Standards in Brazil, in 2010, the discussion on the classification of financial instruments between debt or equity instruments has intensified. When the law 11,638/07 was issued, changing the Brazilian Corporate Law of 1976, had the effect of introducing international accounting standards in the Brazilian accounting environment. However, many of the instruments and aspects of Brazilian corporate legislation have not changed or reassessed in the light of this new standard. From one moment to the next, companies were required to reclassify amounts from equity to debt, as were the various cases of redeemable shares. Even the classification of ordinary and preferred shares as equity instruments was questioned due to the statutory minimum mandatory dividend. In the meantime, Brazilian listed companies have issued certain financial instruments, analyzed and classified them as equity instruments. However, they had such a classification questioned by the Brazilian Securities and Exchange Comission (CVM) and were required to restate their financial statements. Even internationally, this classification is not often obvious. The latest discussions in the international forum related to the classification of financial instruments as debt or equity focused on two approaches: the Narrow Equity Approach and the Strict Obligation Approach. This study aims to evaluate the classification of equity financial instruments as per the Brazilian corporate legislation in light of the International Financial Reporting Standards. Firstly, understanding and evaluating the cases of restatement of the financial statements of companies as determined by CVM due to misclassification of certain financial instruments as equity. Then, assessing the nature of equity instruments as per the Brazilian corporate legislation, especially the shares with priority dividends, and the impact of this priority in the financial statements of the company. Based on the results of the study, it was concluded that the restatements were related to the attempt of classifying typical debt instruments as equity, by amending certain of their terms, but not meeting all the requirements of the relevant accounting standard. Additionally, for companies with preferred shares with priority dividends, we observed that the instruments were classified as equity and that the priority has effectively brought benefits to these shareholders.

Orientador: Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T02:19:38Z (GMT). No. of bitstreams: 1 Casacio_LucasBaptista_M.pdf: 3498473 bytes, checksum: 7dbc8fc9abefe20372f0fe6b14e2e6e3 (MD5) Previous issue date: 2012 / Resumo: A presente dissertação de mestrado tem como objetivo investigar a peculiar interpretação musical do baterista Helcio Milito, importante referência da música popular do Brasil e considerado um dos precursores da música instrumental no país, intencionando definir traços característicos de interpretação que determinem seu idiomatismo musical. A metodologia desse trabalho é constituída de transcrições e análises de performances pertencentes a dois períodos característicos da carreira do artista: 1. O período compreendido entre 1962 a 1964, no qual se inclui os três primeiros LPs do Tamba Trio; 2. O período compreendido entre 1971 a 1990, período em que Milito volta ao Brasil e passa a integrar novamente o Tamba Trio. Esse segundo período também é caracterizado pela gravação de seu primeiro álbum autoral. As análises das performances do músico permitiram a identificação de recorrentes características interpretativas que possibilitaram traçar uma definição acerca do idiomatismo de Milito / Abstract: This master dissertation has as a goal to investigate the peculiar musical interpretation of the drummer Helcio Milito, one of the important musicians of the Brazilian popular music and considered one of the pioneers of the instrumental music in Brazil, aiming to define specific traces of interpretation which can determine his musical idiom. The methodology of this work is based on transcriptions and analyses of performances from two distinctive periods of the Milito's career: 1. The period from 1962 to 1964, where is included the first three LPs of the Tamba Trio; 2. The period from 1971 to 1990, in which Milito was back to Brazil and was incorporated again at Tamba Trio. This second period is also characterized by the recording of his first album as a leader. The analyses of the performances allow the identification of the recurrence interpretative characteristics which make possible to identify the unique musical idiom of the Milito / Mestrado / Praticas Interpretativas / Mestre em Música

L'étude mécanique des instruments de musique met en oeuvre l'étude des musiciens, des instruments et de l'interaction complexe qui existe entre eux. L'analyse du geste musical nécessite de nombreuses mesures sur des musiciens pour en extraire les paramètres pertinents qui permettent de construire un modèle d'interaction musicien / instrument. Dans le cas des instruments à corde pincées, il s'agit de déterminer les conditions initiales imposées à la corde par le mécanisme de pincement contrôlé par le musicien (plectre, doigt). Comment obtenir tous ces paramètres sans perturber le jeu du musicien ? Comment vérifier qu'ils sont les seuls à déterminer la vibration future de la corde et lui donner sa signature acoustique ? Une plateforme expérimentale robotisée a été mise en place pour répondre à ces questions. Elle permet de reproduire le geste des musiciens, en particulier des harpistes et des clavecinistes. Il faut préciser ici que la notion de geste musical s'entend au sens large : le robot peut soit reproduire complètement la trajectoire suivie par le doigt du musicien, soit imposer les conditions initiales résultant de cette trajectoire, indépendamment du chemin suivi. Le premier cas est adapté à la résolution de problème de dynamique inverse pour accéder aux efforts articulaires mis en jeu par le musicien pendant l'accomplissement d'un extrait musical. La second cas sera privilégié pour imposer des conditions initiales à l'instrument, par l'intermédiaire de trajectoires d'études conçues spécifiquement par l'expérimentateur. La reproduction des trajectoires avec le robot nécessite de rejeter les perturbations introduites par le contact avec l'instrument. La conception d'un capteur d'effort intégré au robot a permis de satisfaire partiellement cette exigence. Après le détail de la conception de la plateforme robotisée, de sa validation comme un outil d'étude juste et répétable, un exemple d'utilisation est présenté dans le cadre d'une étude sur l'harmonisation des becs de clavecin. L'harmonisation est un processus complexe de réglage de l'instrument, réalisé par le luthier. Un modèle prenant en compte le toucher pendant l'interaction plectre / corde, et intégrant la géométrie du plectre résultant de l'harmonisation, ainsi que des expériences effectuées sur un clavecin, montrent que la forme du plectre affecte non seulement les conditions initiales de vibration des cordes de l'instrument mais aussi le ressenti du claveciniste. / The study of musical instruments involves the study of musicians, instruments and of the complex interaction that exists between them. The analysis of musical gestures requires numerous measurements on musicians to extract the relevant parameters in order to model their interaction. In the case of plucked string instruments, the goal is to determine the initial conditions imposed on the string by the plucking mechanism (plectrum, finger). How does one get all these parameters without disrupting the musician in playing conditions ? How can one know that the parameters are the best ones to describe the initial conditions of the string vibrations and its acoustic signature ? An experimental platform has been designed to answer these questions. It can reproduce the gesture of a musician, in particular of a harpist or a harpsichordist. It should be pointed out that the concept of a musical gesture is defined here in a broad sense : the robot can reproduce either the path followed by the musician's fingers, or the initial conditions resulting from this trajectory. The first method is particularly suited for the resolution of an inverse dynamic problem. One can then calculate the forces developed by the musician's muscles during the execution of a musical piece, for example. The second method is better suited for imposing specific initial conditions on the instrument through trajectories designed by the experimenter. The correct reproduction of the trajectories needs to reject disturbances due to the contact between the robot and the instrument. The design of a force sensor, integrated into the robot end effector, is a first step toward satisfying this requirement. After the design of the robotic platform, its precision and repeatability is investigated. The force sensor is then integrated on the robot end effector, and an example of its use is presented. The experiment is focused on the harmonization of the harpsichord plectra. Harmonization is a complex process of adjustments achieved by the luthier on the instrument. A model of the plectrum / string interaction, taking into account the geometry of the plectrum, as well as experiments performed on a real harpsichord, show that harmonization have an impact on the string initial conditions of vibration.

Au début du 21ème siècle, l'innovation dans le domaine des instruments de musique se fait surtout par le biais de la synthèse sonore, via des synthétiseurs et des ordinateurs. Cependant, si ces instruments permettent une création presque infinie de sons nouveaux, l'interaction entre le musicien et son instrument est bien plus pauvre qu'avec un instrument mécanique, ce qui provoque une perte d'expressivité musicale et réduit l'utilité d'une grande maîtrise du geste instrumental. Dans le but d'innover tout en conservant ce geste musical, cette thèse propose d'appliquer le contrôle actif aux instruments à vent, en particulier, sur le trombone muni d'une sourdine active et sur la clarinette basse. Son objectif est de modifier les caractéristiques des résonances des instruments à vent afin d'en modifier le son produit (hauteur, timbre) et la jouabilité. Les effets des modifications apportées aux instruments, lors de l'utilisation de deux méthodes de contrôle actif, sont observés sur l'impédance d'entrée des instruments, sur leur fonction de transfert et sur le son rayonné. Un contrôle actif par feedback simple n'utilisant que des gains et des déphasages est appliqué à la sourdine. Cela permet de modifier la fréquence et l'amortissement de sa résonance, avec pour conséquence de modifier l'impédance d'entrée du trombone, et pour l'instrumentiste de faire varier sa jouabilité. Si ce premier contrôle est simple, il ne permet pas de contrôler efficacement un système à plusieurs degrés de liberté. Le deuxième contrôle implémenté est le contrôle actif modal. Il permet, à partir d'un modèle du système à contrôler, de modifier de manière ciblée les paramètres modaux de ses résonances (amortissement et fréquence). Il est appliqué en simulation à un modèle de clarinette puis validé expérimentalement sur une "clarinette basse simplifiée". Il permet d'importantes modifications des résonances, entrainant des changements notables dans le son et l'impédance d'entrée. / The main focus of innovation in musical instrument making in the early 21st century has been sound synthesis using computers or stand-alone electronic synthesisers. However, while these tools enable the creation of a near-infinite range of new sounds, the interaction between the musician and their instrument is much weaker than with a conventional acoustical instrument. This results in a loss of musical expression and reduces the use of musical gesture. With the aim of innovating while keeping the influence of musical gesture, this thesis proposes to apply active control to musical wind instruments. In particular, active control is applied to a trombone equipped with a specially designed mute and to a bass clarinet. The aim of this work is to modify each instrument's resonance characteristics in order to change its radiated sound (pitch, timbre) and playability. The effects of two control methods on the input impedance, transfer function and radiated sound of the instruments are studied. First, a feedback control involving gains and phase shifting is applied to the trombone mute. It allows significant modification of both the frequency and the damping factor of the mute's resonance. The effects of the mute on the trombone's input impedance and playability are studied. This control is simple, but it is not efficient with more complex systems. Second, a modal control is implemented. Using a model of the system, modal active control allows the modal parameters (frequency, damping) of the system's resonances to be modified in a targeted manner. It is first applied to a modelled clarinet, then experimentally validated with a "simplified bass clarinet". Significant independent modifications of the resonances are obtained, as well as noticeable alterations of the sound and input impedance of the instrument.

'T Uitnemend Kabinet is a two-volume collection of two and three-part instrumental music from Germany, France, Italy, and Holland, published by Paulus Matthysz in Amsterdam (1646 and 1649). Volume I consists of 54 folios in the treble part book, and 19 in the bass part book; Volume II has 37 folios in the treble part book and 21 in the bass part book. he main part of this edition consists of a transcription of the 103 pieces of Volume II, which is accompanied with a brief commentary on the composers represented, the styles and forms of the music, and evidences of significant developments in early seventeenth-century instrumental music.

The subject of diploma relates with a proposal of communication strategy plan of company ModusLink Czech Republic Ltd. who is concerned with providing of supply chains and services which are working on principal of supplier’s relations. The analysis of internal and external environment of the company will lead to new suggested communication strategy. This new communication strategy could be helpful in effective winning of new customers in the market.

The fashion industry is not only known for its creativity and innovation, but also for its contribution to environmental pollution, climate change as well as for social imbalances and poverty. Ecological and societal standards have so far only played a minor role in this industry for production and distribution as well as for consumers for their consumption and disposal behaviour. However, in order to achieve the UN Sustainable Development Goals and prevent the maximum damage caused by pollution and exploitation, it is necessary to act more rapidly and consistently. Governmental control instruments can help to address those responsible, to regulate the market and to encourage improvements towards a more sustainable economy. The aim of this work is to develop a feasible governmental control instrument for the textile sector in order to provide possible solutions for some of the existing problems. Three different cases of already implemented policies in the food sector will be analysed and evaluated in order to detect the best-case policy with regard to sustainability as a basis for a derivation. The findings of the derived outcome will then be examined by experts in order to validate it. Finally, a recommendation summarises the findings of the literature review, the transfer of knowledge as well as the expert assessments. The result of this research paper is a control instrument derived from the food industry, which was evaluated with the help of expert interviews and has the potential to make the textile market more sustainable in the long term.

Contemporary professional violinists face constant exposure to multicultural compositions. For best results, they should be able to understand, capture, and express the subtleties of different styles. The violin and its repertoire spread to China through European missionaries during the late seventeenth century and continued to be developed by Chinese scientists and musicians who studied abroad. During the twentieth and twenty-first centuries, Chinese composers wrote many violin pieces inspired by the unique sounds of Chinese instruments. Additionally, Chinese music scholars wrote numerous essays to discuss the new Chinese style. However, much of this research has been focused on the composers and the structures of the compositions rather than on the details of violin techniques necessary to play the repertoire. The techniques in Chinese violin compositions are unique and are influenced by the traditional instruments including string, wind, and percussion instruments. Furthermore, the style of such compositions is affected by the elements of Chinese culture, such as the language, the elite society and its poetic tradition, and historical legends and events. This dissertation provides examples of Chinese violin repertoire which demonstrate the principles of three main violin techniques in the Chinese style: slides, chords, and pizzicati. In order to help professional violinists better perform Chinese violin compositions, the dissertation also includes a number of exercises covering each technique above.

Dans de nombreux états providences, les systèmes de santé subissent de nos jours d’importantes transformations en réponse aux pressions budgétaires et caractérisées par le rôle croissant du marché et des mesures de rationalisation. C’est dans ce contexte que la France et l’Allemagne ont mis en place des programmes de Disease Management (DM) dans le but de fournir des soins plus structurés et de paiement à la performance (P4P) pour inciter financièrement les fournisseurs à répondre à certains objectifs.Ces réformes, qui reflètent le rôle croissant de l’État dans les deux systèmes d’assurance maladie, se sont inspirées des modèles anglo-saxons mais se concrétisent de manière distincte en fonction des caractéristiques des systèmes des deux pays. En Allemagne, DM et P4P se sont basés sur la concurrence croissante entre les caisses d’assurance maladies et entre les hôpitaux tandis qu’en France, ces réformes ont reflété un changement du rôle de l’assurance maladie « de payeur à acteur ».Le positionnement de la profession médicale vis-à-vis de ces nouveaux instruments de gouvernance, qui sont de nature hiérarchique et qui imposent une logique comptable, est une question clef en France et en Allemagne. Dans les deux pays, les processus de négociations ont été lié à un écart grandissant entre les représentants des médecins et leurs membres, et ce malgré les différences dans la manière dont les médecins sont traditionnellement intégrés dans la régulation des systèmes de santé respectifs. / Health systems in many welfare states are undergoing important transformations, triggered by increasing budgetary pressures and characterized by the growing role of market and rationalization measures. In this context, France and Germany have introduced disease management (DM) programs to deliver more structured patient care and pay-for-performance (P4P) measures to provide financial incentives for providers meeting certain objectives.These reforms, which reflect the increasing role of the State in both statutory health insurance systems, were inspired by Anglo-Saxon models but translated in distinct ways, owing to differences in the two countries’ systems. In Germany, DM and P4P were based on increasing competition between sickness funds and between hospitals, while in France these reforms reflected a shift by its central insurance system “from payer to player”.The positioning of the medical profession vis-a-vis these new instruments of governance, which are hierarchical in nature and impose stronger public accountability, was a key issue in both France and Germany. The negotiation processes were accompanied by a growing disconnect between physician representatives and their memberships in both countries, despite significant differences in the way physicians are traditionally integrated into health system regulation.