Claude Debussy's Prelude a l’apres-midi d’un faune [Prelude to the Afternoon of a Faun] opens with an unaccompanied flute solo that famously tests breath control, tone production, and capacity for musical expression. All aspiring flutists must master this solo, because it is frequently requested on orchestral and collegiate auditions. To aid flutists in their preparation, many notable pedagogues and performers have provided written and verbal commentary with suggestions for crafting a successful performance; however, it is unclear whether or not actual performances reflect these teachings. In other words, do the pedagogues practice what they preach? This study uses audio analysis to objectively analyze quantifiable aspects of ninety years of recordings of Prelude a l’apres-midi d’un faune and compares the results to current pedagogy. This study’s findings fall into four categories: (1) breath placement, (2) tempo and rubato, (3) vibrato, and (4) general expression. Because of the influence and historical significance of American flutist William Kincaid, a giant of twentieth-century performance and pedagogy, special consideration is given to specific recordings and teaching of Kincaid. The analysis that follows demonstrates disparity between performance practice and pedagogy and will allow flute students and teachers to make better-informed decisions interpreting Prelude a l’apres-midi d’un faune.

Cette étude pose la question des liens entre le réseau hydrographique, les voies de communication et l'occupation humaine en Languedoc occidental, en Roussillon et en Ampourdan entre le IXe et le début du IIe s. av. n. è. L'examen de la répartition des habitats montre que le peuplement a connu de multiples fluctuations. Plusieurs séquences nuancées et des ruptures contredisent tout schéma d'évolution qui serait à la fois linéaire et progressif. En outre, on distingue de nettes disparités de part et d'autre des Pyrénées. Les discordances socio-économiques et historiques entre ces deux mondes laissent envisager des dynamiques singulières et soulignent les spécificités régionales dans cet espace. Des constantes sont également révélatrices de véritables stratégies d'occupation dans lesquelles la relation toujours forte entre l'homme et le cours d'eau est de loin le paramètre qui prédomine. Mais la difficulté est grande d'évaluer la relation spatiale entre les sites et les cours d'eau. Toutefois, on s'aperçoit que la situation des habitats est pour une part induite par la hiérarchie fluviale et l'analyse mesurée de la répartition des sites dans les bassins révèle un système d'occupation dont la variabilité s'appuie sur la diversité de la composante hydrographique. Dans le fonctionnement des voies de communication et des trafics, on note aussi le rôle tout particulier de l'environnement des sites, puissamment articulés aux vallées et aux lieux de passage, ce qui souligne des préoccupations en prise directe sur l'organisation du commerce. Ainsi, de l'Hérault au Ter, le cours d'eau apparaît comme un élément majeur d'organisation de l'espace habité et parcouru.

In this thesis, the author explored an alternative way of composing contemporary western art music, being inspired by thoughts regarding post-genre. The composition method incorporated the use of the Digital Audio Workstation (DAW) software Cubase. Musical gestures were recorded with two musicians which where used as samples in the DAW to compose the piece Lines. The role of the score was shifted by moving it’s realisation to after the aural result was completed. The process was inspiring and was perceived to work well for a textural piece of music. Using a DAW when composing contemporary western art music is something that could be explored by classically trained composers in favour of working solely in a notation software. The result was the digitally made recording of Lines and two scores; one aimed to reproduce the recorded version (where only violin and violoncello where used) and another where adjustments where made, mainly in the instrumentation, to facilitate live performances by string orchestras.

Made available in DSpace on 2014-12-17T15:08:31Z (GMT). No. of bitstreams: 1 EmilyGA_DISSERT.pdf: 932042 bytes, checksum: 4cceaff56bf4285a2f15dd929e443a8c (MD5) Previous issue date: 2011-09-19 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This piece focuses on the issue of media in the contemporary context, taking for its object the sociocultural phenomenon of mediatization‟, understood as the dilution of media culture in the everyday life, according to the perspective from Fausto Neto (2008) e Sodr? (2002). This phenomenon is viewed from the angle of reception, that is, one that considers the individuals as pro-actives in this dynamic. The media culture is perceived as a fundamental element in the process of social structuring, and also is taken as a symbolic arm of great importance for the elaboration of the notion of reality as it interferes with the flow of information. Thus, we emphasize the process of symbolic consumption that we do with media content (Canclini, 1999), through a dynamic of appropriation and reframing, given from the interweaving of the meanings proposed with extra-media elements, recaptured from the perspective of mediations, by Barbero (2006), which concerns the articulation of the contents we appropriate from media with interactions from other social practices. We also consider the dimension of memory according to Sarlo (2007) and Halbwachs (2004) in order to, through speeches made in its scope, reach empirically the phenomenon of mediatization‟, and overlapping it, the media consumption on a specific theme, "science". Nevertheless, in terms of field work, we use the technique of in-depth interviews, so that the speech of our interviewers was our corpus. Through their narratives, speeches considered by us as memory-related, we visualize the dynamics of media consumption on given topic. At the level of conclusions, we realize that mediatization‟ as a phenomenon occurred, but its flows and orders showed discontinuities and pluralities not initially conceived; regarding the consumption of science through media, we see hybrid perceptions by our respondents, that is, one that include both elements aligned with the positivist conception of science - which we consider to be the view of science proposed by the media and elements that would contradict this view / Este trabalho foca-se na quest?o da m?dia no contexto da contemporaneidade, tomando como objeto o fen?meno sociocultural da midiatiza??o, entendida aqui como a dilui??o das m?dias no cotidiano do indiv?duo, segundo a perspectiva de Fausto Neto (2008) e Sodr? (2002). Este fen?meno ? visualizado a partir da recep??o, isto ?, dos sujeitos receptores. A cultura midi?tica ? vista como um elemento integrante do processo de estrutura??o social, al?m de ser considerada como um bra?o simb?lico de grande relev?ncia para a elabora??o da no??o de realidade ? medida que interfere na ordena??o dos fluxos da informa??o. Desse modo, destacamos o processo de consumo simb?lico que realizamos com o conte?do midi?tico (Cancl?ni, 1999), mediante uma din?mica de apropria??o e ressignifica??o, proveniente do entrela?amento dos significados propostos pela m?dia com elementos de ordem extra-midi?tica, recuperados sob a perspectiva das media??es de Barbero (2006), a qual diz respeito ? articula??o das apreens?es feitas a partir da m?dia com intera??es advindas de outras pr?ticas sociais. Consideramos ainda a dimens?o da mem?ria segundo Sarlo (2007) e Halbwachs (2004) para, por meio de discursos produzidos em seu ?mbito, alcan?armos empiricamente o fen?meno da midiatiza??o, e, imbricado a ele, o consumo midi?tico relativo a um recorte espec?fico, ci?ncia . Assim, em termos de trabalho de campo, usamos a t?cnica das entrevistas em profundidade, de maneira que a fala de nossos entrevistados constituiu nosso corpus. Por meio de suas narrativas, consideradas por n?s como discursos de mem?ria, percebemos as din?micas do consumo midi?tico no recorte do tema em quest?o. Em n?vel de conclus?es, percebemos que a midiatiza??o enquanto fen?meno se verificou, mas seus fluxos e ordenamentos revelaram descontinuidades e pluralidades inicialmente n?o previstas; quanto ao consumo midi?tico sobre ci?ncia, visualizamos percep??es h?bridas por parte de nossos entrevistados, isto ?, percep??es que comportavam tanto elementos alinhados ? concep??o positivista da ci?ncia a qual consideramos ser a vis?o de ci?ncia proposta pela m?dia quanto elementos que se contrapunham a essa ?tica

La production de textiles fut initiée par les protestants Henri IV et Sully, épaulés en cela par Barthélemy de Laffemas. Dans la seconde partie du XVIIe siècle, ils constituèrent une telle source de revenus pour la couronne qu’ils devinrent, entre les mains de Louis XIV et de Colbert, une affaire d’État. De nombreuses manufactures et compagnies commerciales furent alors créées sur décision royale. La fabrication et la distribution furent dès lors légalement corsetées. Dans le Midi-toulousain, les plus riches marchands finançaient la culture de matières premières ou la façon de broderies, de dentelles et d’étoffes. L’essentiel de l’activité de Toulouse s’articula cependant autour du négoce, même si certains tissages effectués in situ furent suffisamment estimés des habitants pour marquer leur temps. Les textes d’archives dévoilent certains usages élaborés autour des textiles, comme la charge de dorer et nipper la future épousée ou encore les pratiques de deuil. Ils décrivent, à travers les décors intérieurs, comment les notions de mode, de luxe et d’opulence s’étaient imposées d’une façon si particulière dans la ville. / Textile production began with the protestant king Henri IV, helped by Sully and Barhélemy de Laffemas. In the second half of the seventh century, they constituted a so much source of income for the crown, that Louis XIV and Colbert made of it a real business of state. Many manufactories and commercial companies were created by royal decision and legally assisted. In south of France, the most famous and rich traders financed the production of laces, embroideries, and various stuffes. The most important part of Toulouse activity was trade, even if many weaving realized in the town, were enough estimated by the population to have had a strong influence. Archives records reveal customs worked out textiles, like the development of the bundles or the way to be in mourning. They show interiors design and the manner whereby notion of luxury, fashion, and wealth light up in the city.

Au Sud-est du Massif Central, le Languedoc oriental englobe les trois départements français de l’Ardèche, du Gard et de l’Hérault. Avec près de 1600 dolmens répertoriés, en majorité localisés sur les petits causses calcaires, ce territoire recèle la seconde concentration mégalithique du pays, derrière la région des Grands Causses. L’étude des dolmens y est ancienne, puisque les premières hypothèses relatives à leur fonction remontent au début du 19e siècle. Dans le Midi de la France, elles ont abouti au classement des tombes en trois grands groupes typologiques. Aux prémices de notre réflexion, figurent un certain nombre d’interrogations relatives à la pertinence de cette typologie et à l’état des connaissances. La problématique centrale de notre travail a donc été, d’une part de mettre en évidence un savoir-faire mégalithique et d’autre part de tenter de résoudre les questions de chronologie relative et d’appartenance culturelle des tombes languedociennes. Dans cette optique, nous avons exploré les monuments au travers de trois axes principaux. Le premier a pris la forme d’une analyse morphologique et comparative des dolmens, débarrassée du présupposé typologique. Le second nous a conduits à porter l’interrogation dans le domaine des techniques, permettant ainsi de retracer une chaîne opératoire mégalithique. Le troisième point de vue est celui des implications symboliques, liées notamment au choix de l’orientation de la tombe. / To the southeast of the Massif Central, East Languedoc encompasses the three French departments of Ardèche, Gard and Hérault. With nearly 1,600 listed dolmens, mostly located on small limestone plateaus, the area contains the second megalithic concentration in the country, behind the Grands Causses region. The study of dolmens is ancient, since first hypotheses concerning their function back to the early 19th century. In the south of France, they have led to the classification of graves in three typological groups (Arnal 1963; Chevalier 1984). It appears, from recent publications, an embarrassment to adhere fully to the three main types, without questioning them. Therefore, the first fruits of our reflection included a number of questions regarding the adequacy of the current type and the state of knowledge in the west of the Rhone. The central issue of our work has been on the one hand to demonstrate expertise megalithic and secondly to try to resolve issues of chronology and cultural affiliation of Languedoc graves. In this context, we explored the monuments through three main axes. The first took the form of morphological and comparative analysis of dolmens, freed of typological presupposition. The second led us to bring the interrogation in the field of techniques. The recognition of the choices made by the builders can trace megalithic operating chain and identify possible differences in cultural. The third view is the symbolic implications of the choice of the orientation of the grave. The reasons which led to favor a particular orientation seem indeed related to worship or environmental factors, or a combination of these factors.

The aim of this thesis is to compare possibilities of the pitch extraction methods in the monophonic melody. There is presented the overview of the methods based on the speech pitch extraction techniques in the thesis. These methods uses frequency, time and „cepstral“ domain. They are compared in the term of success of the detection of various test signals. The part of the thesis specification is the implementation of these methods in Matlab. There are described basics of sound features at the beginning of this work. The overview of the musical tuning systems is mentioned and there is described a problem of the determination of the pitch from the detected frequency. There is considered an issue of MIDI protocol in the next part of the work. There are described the brief history and the essential structure of MIDI protocol. The last task of the work was the creation of the program in C language. The purpose of the program is to analyze the monophonic melody in audio signal form and assign note numbers to the detected sounds according to MIDI specification. After that the numbers are written into the standard MIDI file (SMF). There was implemented a correlation pitch detection algorithm in this program. It had the best results as compared to the others. There was used the fast correlation based on Fast Fourier transformation to accelerate computing of the correlation. The program was created in the form of MEX function, which provides various possibilities to be used in Matlab. There was also attached the description of the FFTW library, which was used to compute FFT.

This paper deals with development and construction of an electronic drum module. The purpose of the device is to capture signals from an electronic drumkit and to produce sound accordingly. Firstly, a protoype with no sound output is constructed to demonstrate an ability to capture input signals. Based on its function, parameters for a final device are determined. Then, electronic component selection and design of printed circuit boards is described with an aim to maximalize polyphony and minimize latency of the sound generator. After that, firmware with software mixing algorithm is designed. Lastly, testing and measurement of real device parameters is performed.

This paper presents the possibility to transfer Musical Instrument Digital Interface messages overBluetooth Low Energy. The main problem was to transmit the messages between two computers inless than 10 milliseconds. Anything above 10 milliseconds could be noticed as a delay by the personplaying or listening to the music. A prototype was written which could transfer Musical InstrumentDigital Interface messages over Bluetooth Low Energy between two Linux-computers together with atesting framework which was used to make measurements. The prototype was written in the languageC++ with the BlueZ library. The time it took for one packet to travel back and forth from the computerswas clocked to get an estimation of the time it took for a packet to travel from one computer to theother. The measured results showed that it was possible to reach the desired time of 10 milliseconds.The results can also be used when considering development of other kind of equipment and/or applicationsthat implements the use of Bluetooth Low Energy. / Denna rapport presenterar möjligheterna att överföra Musical Instrument Digital Interfacemeddelanden över Bluetooth Low Energy. Huvudproblemet var att överföra meddelandena mellantvå datorer under en tid av 10 millisekunder. Allt över 10 milliskunder skulle kunna uppfattas somen fördröjning av den som spelade eller lystnade på musiken. En prototyp skapades som kundeöverföra denna typ meddelanden över Bluetooth Low Energy mellan två Linux-datorer tillsammansmed ett test-ramverk som kunde utföra prestandamätningar. Prototypen skrevs i språket C++tillsammans med biblioteket BlueZ. Den tid det tog för ett paket att färdas fram och tillbaka mellande båda datorerna klockades för att få en uppskattning på hur lång tid det tog för ett paket att färdasfrån en dator till en annan. De uppmätta resultaten visar att det är möjligt att uppnå deneftersträvade tiden på 10 millisekunder. Resultatet kan också användas då det övervägs att utvecklaett annat typ av program eller applikation som ska nyttja Bluetooth Low Energy.

Die vorliegende Arbeit befasst sich mit der Akzentuierung im français du Midi, einer diatopischen Varietät des Französischen, die in ihrer Entstehung nicht unerheblich vom Okzitanischen beeinflusst wurde. Trotz der kaum zu überblickenden Literatur zur Prosodie des Französischen schien eine solche Untersuchung überfällig, zumal die Forschung fast ausschließlich die Standardsprache bzw. außerhalb Frankreichs gesprochene Varietäten fokussiert. Die kontrastiv angelegte Analyse zweier PFC-(Teil-)Korpora aus vorgelesenen und spontansprachlichen Äußerungen lässt auch Rückschlüsse auf die Besonderheiten des viel diskutierten Akzentsystems des Standardfranzösischen zu, das innerhalb der Romania eine außergewöhnliche Stellung einnimmt, da es als einzige die Entwicklung zum (finalen) Phrasenakzent durchgemacht hat. Die Prosodie des français du Midi zeichnet sich gegenüber dem Standard in erster Linie durch die große Zahl der Schwa-Silben aus. Die Unterschiede in der Silbenstruktur wirken sich auf Phrasenausdehnung und Akzentuierung aus: Da die finale Schwa-Silbe von der Akzentuierung ausgeschlossen ist und das français du Midi zahlreiche Schwa-Silben im Phrasenauslaut kennt, sind Paroxytona vermehrt anzutreffen. Auch lässt sich bezüglich der Sekundärakzente ein quantitativer Unterschied ausmachen: Die größere Ausdehnung der Phrase im Midi bedingt einen erhöhten Bedarf an rhythmusbildenden Nebenakzenten zur Aufrechterhaltung regelmäßiger Fußstrukturen. Letztere tragen ebenso zu einer Perzeptionsoptimierung bei wie Gegengewichte, die in der Regel von initialen Phrasenakzenten gebildet werden. Die OT-Modellierung der Untersuchungsergebnisse zeigt, dass der auf Reynolds & Nagy (1994, 1996) zurückgehende floating constraint-Ansatz geeignet ist, die in den Korpora zu beobachtende Variation adäquat darzustellen.