The aim of this work is to design an architecture of the embedded device that will be used for controlling DAW software in recording studio. First of all, attention is given to a brief summary of the necessary knowledge which is needed to design such kind of device. Af- ter that follows short survey of the existing solutions and description of protocols which can be used for communication with the recording software. Then, subsequent part of the thesis builds upon these foundations and further elaborates the device architecture by me- ans of decomposing it into several modules. In fact, two hardware modules are designed and manufactured, when each of them is conceived on a separate PCB with its own microcon- troller. Then the control firmware has been implemented for each of the modules. At the end of the work an aluminium enclosure, which holds both modules, is designed. The result of this work is a functional prototype of the assembled controller which can be used for the purpose of controlling DAW software.

The first part of this Master’s Thesis deals with the theory of digital signal processing and describes the JUCE library. In this part some basic operations are explained with digital audio signals, such as polarity inversion, delay and linear interpolation of signal samples. The creation of new audio applications using the JUCE library in the C++ programming language is explained too. The next parts of this thesis describe the implemented audio application that allows the user to provide the described basic operations with digital audio signals in real time. For multiple channel audio signals the channels can be processed independently.

This thesis deals with the design and implementation of system for recording and repeating of events for audio systems. The introductory part is devoted to the study of sound systems, their user interfaces and communication protocols that are used by audio systems. Hereafter the description of essential features of Mac OS X, as well as the characteristic of its user interface and principles of development on this platform, are given. The core of the thesis consists of the design of system for recording and repeating of events and the concept of events which specifies the reprezentation of events in the system and their subsequent processing. In~the end of the thesis is presented the implementation of the designed system for Mac OS X with respect to possible extensions of the system and its features.

The main goal of this thesis is the analysis, design and implementation of a new system, which would be able to generate music in real-time, based on terrain data or any raster image. The thesis deals with history of development of various attempts to formalize musical composition and presents contemporary approaches to its algorithmic creation. Technique of constraint programming is explored as well, because it is suitable also for automatic composition, and it is a part of implemented solution. Application components (interface, generator, music core and sound unit) and their interactions are examined in more detail. All approaches used for generating music are described in depth and, moreover, they are supported by many pictures and practical examples. Musical outputs are tested and results of these tests outline strengths, weaknesses and also inner possibilities of the designed system. Conclusion summarises author's contribution to the field of computer generated music and reveals possible prospects for application usage and its extensions.

The Master's Thesis discusses the possibilities of automatic melody harmonization. System use dictionary method for harmonization, this was inspired with comprimation algorithm LZW. System's output file is in MusicXML format.

Cette thèse traite de la présence des textes religieux dans l'œuvre d'Albert Camus. Il s'agit de mettre en évidence l'intertextualité qui apparaît, sous différentes formes, dans les ouvrages romanesques et philosophiques de l'auteur. La thèse s'organise en deux axes parallèles et complémentaires, le premier est la mise en relief de la présence directe et effective de l'intertexte biblique dans les textes de Camus, qui s'effectue par l'emprunt directe au registre religieux ; le deuxième est la présence de l'intertexte religieux par le biais d'autres écrivains-philosophes, antérieurs ou contemporains de l'auteur (Saint Augustin, Pascale, Kierkegaard, Dostoïevski, Nietzsche, et Heidegger). Ainsi, l'intertextualité apparaît dans l'œuvre de Camus sous des formes explicites (déclarées) ou implicites (latentes ou suggérées.) La thèse se focalise, à chaque étape, sur les techniques intertextuelles utilisées, sur le rôle joué par l'intertexte dans l'analyse du texte camusien, et son action sur le lecteur sensibilisé à la perception de l'œuvre. En conclusion, l'implication systématique de l'œuvre de Camus dans un enjeu intertextuel progressif, depuis la forme simple du commentaire jusqu'aux formes plus élaborées d'une intertextualité devenue trame de l'œuvre. / This thesis deals with the occurrence of the religious texts in the works of Albert Camus. The point is to find out the different aspects of intertextuality embodied in the novels and the philosophical essays of the author. The thesis is organized around two axis. The first one has to do with the biblical intertext that is found in the texts of Camus. In fact, this process is done by the direct borrowing from the religious register. The second axis deals with the occurrence of the religious intertext linked to some previous and contemporary authors-philosophers : Saint Augustin, Pascal, Kierkegaard, Dostoïevski, Nietzsche or Heidegger. As a matter of fact, the intertextuality appears in the works of Camus in an explicit way or an implicit one. The thesis focuses, at each step, on the intertextual techniques that are used by Camus, on the role played by the intertext in the analysis of the camusian text, on the effect of the intertext on the reader and who is aware of the perception of the work. To conclude, this work shows the systematic implication of Camus’s masterpieces in a progressive intertextual process. It starts by the use of a simple form of commentary to a most complex form of intertextuality which becomes the framework of Albert Camus’s works.

Les édifices médiévaux du Midi rhodanien apparaissent souvent comme dépourvus de charpente ou simplement couverts de structures en bois sans grand intérêt technique. Cette idée s’appuie sur un constat indubitable : le paysage architectural de la région est essentiellement minéral. Très tôt, l’art du maçon a été favorisé par un sous-sol inépuisable en pierre à bâtir et des forêts relativement limitées dans la production de bois d’œuvre de qualité. Longtemps passés sous silence, les ouvrages charpentés existent et dénotent une singularité méconnue. L’objectif de ce travail est donc de mettre en lumière les charpentes de toit et de plancher réalisées dans ce territoire peu propice à leur réalisation. Il vise à apporter des éléments nouveaux permettant de nuancer l’idée d’une architecture sans bois. Il cherche à mettre en évidence une autre manière de concevoir les charpentes, sans doute moins monumentales que celles des régions riches en forêts mais tout aussi innovantes. La démonstration s’appuie sur des vestiges appartenant principalement aux XIVe et XVe siècles, dont la réalisation indique l’existence d’un secteur du bâtiment particulièrement actif et révélant des savoir-faire particuliers. Les charpentiers ont ainsi su pallier certaines difficultés d’approvisionnement en mettant en œuvre des formes et des techniques originales. / Most of the medievial buildings on the south side of the Rhone Valley turn out to be without roof frameworks or simply covered by wooden structures showing little technical interest. This idea is supported by an unmistakable observation: the architectural landscape of the region is mostly mineral. From early times, masonry work developed thanks to an unlimited building-stone reserve in the subsoil, and furthermore forests produced little high-quality lumber. Even though they have long been ignored, timber roof structures exist and (they) bring out remarkable singularities. The purpose of this study is to bring to light roof frameworks and floor frameworks which were built in an area little suited to their construction. It aims to bring new evidence that allows to moderate the notion of a wooden- free architecture. The study seeks to point out another way of designing of roof frames, undoubtedly less monumental than the ones built in areas with extensive forests, and yet equally innovative. The theory is based on remains dating back from the 14th to 15th centuries, the study of which proves the existence of a particularly active building sector, and reveals specific skills. Carpenters thus managed to overcome wood supply difficulties by implementing original shapes and techniques.

This study employed the theoretical framework of Albert Bandura???s social cognitive theory, to investigate how differing levels of self-efficacy impact on both the type and degree of self-regulatory behaviour employed by the students when composing music in a high school music program. The literature review revealed an abundance of related research suggesting a strong relationship between self-efficacy and self-regulated behaviour in the ???core??? academic domains of education. In contrast, there was no specific research found that had examined self-efficacy and self-regulation in the context of students composing music. An independent school in Sydney served as the research site, with sixty-eight students of varied year levels and musical experience participating in the study. Students used stand alone computers, the software ???Cubase??? and MIDI keyboards as they completed a task that involved creating an original piece of music in a genre of their own choice, over a series of four composition sessions. A mixed methodology was employed to determine if the influence of the students??? self-efficacy beliefs upon their self-regulation in a creative activity were consistent with existing research. Data were collected using a mixture of weekly measures and self-report scales, combined with a variety of questionnaires, logs, tally sheets and interviews. Eight variables, including the self-regulatory sub-processes of goal setting-strategic planning, intrinsic motivation, goal orientation, task expectation, time on task, task completion, monitoring were analysed together with an additional variable, defined as creative ability, to determine if evidence could be found of a relationship between self-efficacy and these specific behaviours while composing. The results suggest that the pre-task (Week 1) measure of self-efficacy was closely associated with the students??? use of the eight self-regulatory dimensions as well as their perceived level of creative ability. Weekly self-efficacy measures also suggested that students??? employ self-regulated sub-processes proportionally to their respective levels of self-efficacy. Importantly, the more efficacious students employed a wider and more sophisticated repertoire of self-regulated behaviour when composing in contrast to the less efficacious students. Self-efficacy was also identified as a key factor amongst students who were initially identified as being naive self-regulators, but who through the duration of the task, modified their behaviour to become more skilful self-regulators. Throughout the study, the consistent level of interaction between self-efficacy and the use of self-regulated behaviours were aligned with findings in the core ???academic??? disciplines of education.

Cette étude intéresse la région du Haut-Chablais/Faucigny, à l ' arrière du massif allochtone des Préalpes du Chablais . A. TROIS ENSEMBLES D'ORIGINES PALEOGEOGRAPHIQUES DIFFERENTES SONT DISTINGUES. 1°- un ensemble delphino-helvétique Issu d 'un bassin sédimentaire en position externe, à sédimentation relativement calme, cet ensemble comprend des terrains allant du Trias à l'Oligocène moyen - supérieur. Ses séries terminales, à partir de l'Urgonien , sont seules évoquées ici : elles sont remarquables en particulier par leurs séries gréseuses de l'Oligocène inférieur (grès du Val d'Illiez et de Taveyannaz) et par l 'existence d'un olistostrome sommital à matériel ultra qui a livré une nannoflore de l' Oligocène moyen. Cet ensemble comprend en fait trois unités structurales superposées - l'unité des Dents du Midi, à grès du Val d ' Illiez (prolongation de la nappe de Morcles), reposant sur l'autochtone des Aiguilles Rouges (et sur sa "Molasse rouge" oligocène) ; - l'unité de Sixt-Haut Giffre, à grès de Taveyannaz (parallèlisable avec la nappe des Diablerets, en particulier du point de vue de ses séries cénozoïques) ; - à ces deux unités vient se superposer l'"olistostrome décollé" ,représentant la partie sommitale de la série delphino- helvétique interne arrachée et entraînée par l'avancée de nappes supérieures (nappe de la Brèche ... ). 2°- la nappe de la Brèche Dotée d'une puissante série sédimentaire riche en niveaux bréchiques et détritiques, allant du Norien au Priabonien , cette nappe présente des affinités sédimentaires avec les domaines subbriançonnais et briançonnais comme avec le domaine piémontais. Son domaine paléogéographique originel est sans doute une zone charnière sur la marge européenne de la Téthys : on le qualifie généralement de "Prépiémontais". 3°- la nappe des Gets Cette dernière unité, considérée comme la plus élevée des Préalpes, appartient à l'ensemble des "Préalpes supérieures". Elle n'a pas de série sédimentaire à proprement parler : c 'est un olistostrome comprenant des lambeaux de séries très internes (liguro- piémontaises : nappes de la Simme et des Dranses... , ligures de type "Apennin septentrional", lombarde ... ) ainsi que des débris de série ophiolitique (gabbros, pillow-lavas, brèches diabasiques hématitiques... ) et de roches cristallines acides (granite ... ). La matrice de cet olistostrome n'a pu être datée avec certitude: tout au plus peut - on remarquer qu'elle doit être post-campanienne (une nannoflore campanienne y a été trouvée) . La structuration de cet olistostrome peut être placée : - soit au cours du Crétacé supérieur: il s'agit alors d'une structuration in situ, dans le domaine liguro-piémontais ; - soit plus tardivement: un âge priabonien étant avancé. Il s'agit alors de la formation d'un olistostrome accompagnant la marche des nappes internes. B. DU POINT DE VUE STRUCTURAL, La reglon a été affectée par plusieurs phases tectoniques se superposant dans Le temps : 1°- au Priabonien-Ologocène inférieur, une phase à mécanisme gravitaire est responsable de la mise en place de la nappe des Gêts sur l'unité de la Brèche encore en position prépiémontaise . 2°- A l'Oligocène supérieur, une phase tangentielle majeure au cours de laquelle s'est structuré le domaine delphino- helvétique et mis en place l'essentiel des Préalpes. En fait, deux mécanismes se succèdent durant cette phase : - le premier s 'effectue de manière souple, par voie humide, l 'avancée des nappes s'accompagnant de la formation d'un olistostrome Oligocène moyen à supérieur ; - le second s' effectue à sec, l'avancée final des unités charriées du Chablais se faisant par cisaillements plats sur coussins de cargneules. 3° -Au Mio-Pliocène, une phase tardive de "wrench-faulting" lors de laquelle des accidents décrochants à composante globale sénestre hachent la région. Ceux- ci se relaient par l'intermédiaire de petits chevauchements qui débitent le massif en écailles . 4° -Au Plio-Quaternaire, une phase finale de bombements transverses à large rayon de courbure détermine de larges synclinaux (tel la cuvette des Gêts) et anticlinaux de nappes largement entaillés par l'érosion (cluse des Gêts) et anticlinaux de nappes largement entaillés par l'érosion (cluse du Rhône valaisan).

This study employed the theoretical framework of Albert Bandura???s social cognitive theory, to investigate how differing levels of self-efficacy impact on both the type and degree of self-regulatory behaviour employed by the students when composing music in a high school music program. The literature review revealed an abundance of related research suggesting a strong relationship between self-efficacy and self-regulated behaviour in the ???core??? academic domains of education. In contrast, there was no specific research found that had examined self-efficacy and self-regulation in the context of students composing music. An independent school in Sydney served as the research site, with sixty-eight students of varied year levels and musical experience participating in the study. Students used stand alone computers, the software ???Cubase??? and MIDI keyboards as they completed a task that involved creating an original piece of music in a genre of their own choice, over a series of four composition sessions. A mixed methodology was employed to determine if the influence of the students??? self-efficacy beliefs upon their self-regulation in a creative activity were consistent with existing research. Data were collected using a mixture of weekly measures and self-report scales, combined with a variety of questionnaires, logs, tally sheets and interviews. Eight variables, including the self-regulatory sub-processes of goal setting-strategic planning, intrinsic motivation, goal orientation, task expectation, time on task, task completion, monitoring were analysed together with an additional variable, defined as creative ability, to determine if evidence could be found of a relationship between self-efficacy and these specific behaviours while composing. The results suggest that the pre-task (Week 1) measure of self-efficacy was closely associated with the students??? use of the eight self-regulatory dimensions as well as their perceived level of creative ability. Weekly self-efficacy measures also suggested that students??? employ self-regulated sub-processes proportionally to their respective levels of self-efficacy. Importantly, the more efficacious students employed a wider and more sophisticated repertoire of self-regulated behaviour when composing in contrast to the less efficacious students. Self-efficacy was also identified as a key factor amongst students who were initially identified as being naive self-regulators, but who through the duration of the task, modified their behaviour to become more skilful self-regulators. Throughout the study, the consistent level of interaction between self-efficacy and the use of self-regulated behaviours were aligned with findings in the core ???academic??? disciplines of education.