The thesis for the Master of Music degree in Composition consists of live performances of original works composed during graduate study. The student is expected to have written and performed approximately forty-five minutes of music for various media. My compositions were performed on January 27 (Autumn Fantasia) and February 20 (Five Elements) of 2006, and March 12 (Bounce!), 30 (The Little Fairy), April 3 (String Quartet No.1), August 15 (Ballads of Four Seasons) and November 19 (Three Pieces for Solo Violin) of 2007. Briefly, each work was written in different compositional approach such as the timbres, specific colors, textures, themes and rhythmic practices. Autumn Fantasia and The Little Fairy explore the transformations and developments of thematic material. Bounce! is a piece in the procedure of tempo modulations and polyrhythmic practices. The textural experiment is the "source" for String Quartet No. 1. In both Ballads of Four Seasons and Five Elements, I employed the oriental tone color (pentatonic scales) in one particular line combining with western-based (chromaticism) sonority and sounding in other parts. Finally, to accumulate every compositional skills and techniques, Three Pieces for Solo Violin is a work binding each practices altogether.

The thesis for the Master of Music degree in Composition consists of live performances of original works composed during graduate study. The student is expected to have written and performed approximately forty-five minutes of music for various media. My compositions were performed on January 27 (Autumn Fantasia) and February 20 (Five Elements) of 2006, and March 12 (Bounce!), 30 (The Little Fairy), April 3 (String Quartet No.1), August 15 (Ballads of Four Seasons) and November 19 (Three Pieces for Solo Violin) of 2007. Briefly, each work was written in different compositional approach such as the timbres, specific colors, textures, themes and rhythmic practices. Autumn Fantasia and The Little Fairy explore the transformations and developments of thematic material. Bounce! is a piece in the procedure of tempo modulations and polyrhythmic practices. The textural experiment is the "source" for String Quartet No. 1. In both Ballads of Four Seasons and Five Elements, I employed the oriental tone color (pentatonic scales) in one particular line combining with western-based (chromaticism) sonority and sounding in other parts. Finally, to accumulate every compositional skills and techniques, Three Pieces for Solo Violin is a work binding each practices altogether.

The thesis for the Master of Music degree in Composition consists of live performances of original works composed during graduate study. The student is expected to have written and performed approximately forty-five minutes of music for various media. My compositions were performed on January 27 (Autumn Fantasia) and February 20 (Five Elements) of 2006, and March 12 (Bounce!), 30 (The Little Fairy), April 3 (String Quartet No.1), August 15 (Ballads of Four Seasons) and November 19 (Three Pieces for Solo Violin) of 2007. Briefly, each work was written in different compositional approach such as the timbres, specific colors, textures, themes and rhythmic practices. Autumn Fantasia and The Little Fairy explore the transformations and developments of thematic material. Bounce! is a piece in the procedure of tempo modulations and polyrhythmic practices. The textural experiment is the "source" for String Quartet No. 1. In both Ballads of Four Seasons and Five Elements, I employed the oriental tone color (pentatonic scales) in one particular line combining with western-based (chromaticism) sonority and sounding in other parts. Finally, to accumulate every compositional skills and techniques, Three Pieces for Solo Violin is a work binding each practices altogether. / Arts, Faculty of / Music, School of / Graduate

Ce rapport de thèse présente de nouvelles méthodes d'émission et de réception basées sur les modulations codées à bits entrelacés et optimisées pour les canaux à antennes multiples. Le premier objectif de cette thèse est par conséquent d'atteindre des performances proches de la capacité au sens de Shannon pour les canaux ergodiques. Nous cherchons ensuite à obtenir des taux d'erreur proches de la capacité de coupure du canal à antennes multiples subissant des évanouissements par blocs. Un traitement itératif de détection et de décodage conjoints est effectué dans l'objectif d'atteindre les performances d'un récepteur à maximum de vraisemblance. Les critères de conception de chaque organe de la modulation codée sont déduits des expressions des performances calculées sous la contrainte d'optimalité de l'entrelaceur. Nous présentons dans un premier temps des optimisations de l'étiquetage binaire et introduisons la notion d'étiquetage multidimensionnel. Sur les canaux à antennes multiples ergodiques, des performances proches de la capacité de Shannon sont aussi bien atteintes en utilisant des turbo-codes que des étiquetages optimisés couplés à des codes correcteurs élémentaires. Dans le cas des canaux à antennes multiples et évanouissements par blocs, la modulation codée à bits entrelacés est un code spatio-temporel. Nous montrons que l'entrelaceur de canal est la pièce maîtresse du système, dictant sa loi quant à l'ordre de diversité observé au récepteur. Nous introduisons des précodeurs linéaires à l'émission, dérivons un critère d'optimalité pour leur conception, et présentons une classe de précodeurs quasi optimaux. Le facteur d'étalement spatio-temporel minimal garantissant une diversité maximale est déduit de la borne de Singleton appliquée au code euclidien global. Nous montrons que les diversités maximales et gains de codage quasi optimaux sont atteints pour chaque configuration de canal et pour un code correcteur donné. Des performances proches de la capacité de coupure du canal sont obtenues grâce à l'utilisation de turbo-codes. Finalement, nous présentons un détecteur à entrées souples et à sorties souples quasi optimal et à complexité réduite pour les modulations à hautes efficacités spectrales transmises sur des canaux à antennes multiples.

L’OFDM est une technique de modulation multiporteuses largement utilisée dans des applications de communications filaires et sans-fils comme le DVB-T/T2, le Wifi, et la 4G, grâce à sa robustesse contre les canaux sélectifs en fréquence en comparaison avec la modulation monoporteuse. Cependant, le signal OFDM souffre de grandes variations d’amplitude. Les fluctuations de l’enveloppe du signal OFDM génèrent des distorsions non-linéaires quand on introduit le signal dans un équipement non-linéaire comme l’amplificateur de puissance. Réduire les variations du signal améliore le rendement de l’amplificateur, réduit la consommation énergétique et diminue les émissions de CO2 des transmissions numériques.Le PAPR (rapport de la puissance crête sur la puissance moyenne) est une variable aléatoire qui a été introduite pour mesurer les variations du signal. Il existe plusieurs systèmes multiporteuses basés sur différentes bases de modulation et filtres de mise en forme. Nous prouvons d’abord dans ces travaux que le PAPR dépend de cette structure de modulation. Ensuite, nous étudions le comportement du PAPR vis-à-vis des formes d’ondes utilisées dans la modulation. Le problème de réduction du PAPR est ainsi formulé en un problème d’optimisation. Par ailleurs, une condition nécessaire pour construire des formes d’ondes avec un meilleur PAPR que l’OFDM est développée. Cette condition est notamment satisfaite par des bases en ondelettes. Enfin, une nouvelle forme d’onde en paquets d’ondelettes adaptative est proposée, permettant des gains significatifs en PAPR, tout en maintenant les avantages des modulations multiporteuses. / OFDM is a multicarrier modulation system widely used in wireline and wireless applications such as DVB-T/T2, Wifi, and 4G, due to its resilience against frequency selective channels compared with the single carrier modulation systems. However, the OFDM signal suffers from large amplitude variations. The fluctuations of the OFDM envelope generate non-linear distortions when we introduce the signal into a non-linear device like the power amplifier. Reducing the variations of the signal improves the power amplifier efficiency, reduces the energy consumption and decreases CO2 emissions.The peak-to-average power ratio (PAPR) has been introduced as a random variable that measures the power variations of the signal. There exist several multicarrier modulation systems based on different modulation basis and shaping filters. We first prove in this work that the PAPR depends on this modulation structure. Moreover, the behaviour of the PAPR regarding to the modulation waveforms is analysed and the PAPR reduction problem is formulated as an optimization problem. Furthermore, a necessary condition for designing waveforms with better PAPR than OFDM is developed. This necessary condition is particularly satisfied by wavelet basis. Finally, a new adaptive wavelet packet waveform is proposed, allowing significant gain in terms of PAPR, while keeping the advantages of multicarrier modulations.

Este trabalho se propõe estudar as peças Prologue (1976), Périodes (1974), Partiels (1975) e Modulations (1977), do compositor francês Gérard Grisey (1946-1998). As peças são integrantes do ciclo Les Espaces acoustiques, obra fundamental para a compreensão do que se convencionou chamar espectralismo francês. Além de sua importância como ponto de referência em sua época, o ciclo é também significativo do ponto de vista do desenvolvimento da linguagem do compositor, porque, composto ao longo de onze anos (1974-1985), apresenta momentos diversos do estabelecimento de sua linguagem. O trabalho de análise foi construído, principalmente, com base nos escritos teóricos do compositor, reunidos postumamente em um volume intitulado Écrits, publicado em 2008. Em nossa análise, buscamos encontrar nas peças a aplicação prática das principais preocupações apontadas por Grisey em seus textos. Além dos textos de Grisey, as análises são apoiadas também por outros autores que se dedicaram à sua música, como Jerôme Baillet, Philippe Leroux e François Féron. As análises são precedidas por um primeiro capítulo, que trata das maiores influências recebidas pelo compositor das mãos de seus mestres, no Conservatório de Paris, na Villa Médicis e em Darmstadt. São apontados pontos de conexão com a obra de Olivier Messiaen, Karlheinz Stockhausen, Gyorgy Ligeti, Iannis Xenakis e Giacinto Scelsi. Nas conclusões, buscamos esboçar um sumário das ideias compiladas por Grisey em relação a passagens específicas das peças analisadas no trabalho. Incluímos um anexo, contendo traduções das bulas e instruções para performance das peças estudadas. O trabalho se justifica por contribuir para a compreensão e divulgação de uma música que começa a ser mais amplamente explorada no Brasil, tanto do ponto de vista da performance, como em seus aspectos teóricos. / This work studies the pieces Prologue (1976), Périodes (1974), Partiels (1975) and Modulations (1977), by the French composer Gérard Grisey (1946-1998). The pieces are part of the cycle Les Espaces acoustiques, a milestone work for the comprehension of the so-called French spectralism. Besides its importances as a reference in its time, the cycle is also meaningful from the point of view of the composer\'s technique, because, once it took eleven years to be completed (1974-1985), it presents different aspects of Grisey\'s music. The analyses are based in the composer\'s writings, posthumously gathered in an edition called Écrits, published in 2008. In our analyses we try to find in the music the application of the major concerns stated by Grisey in his writings. Besides his texts, the analyses also benefits from texts of other authors, like Jerôme Baillet, Philippe Leroux and Françóis Féron. The first chapter deals with the major influences received by the composer through the hands of his masters, in the Paris Conservatoire, at Villa Médicis and at the Darmstadt summer courses. References are made to connections between the work of Grisey and those of Olivier Messiaen, Karlheinz Stockhausen, Gyorgy Ligeti, Iannis Xenakis and Giacinto Scelsi. As conclusions, we present a summary of the ideas stated by Grisey in relation to particular extracts studied in the thesis. We also include an annex with the Portuguese translation of the performance notes and instructions contained in the scores. This work is relevant because it consists in a contribution for the comprehension and disclosing of a kind of music that begins to be widely studied in Brazil, both in its theoretical aspects as from the performance point of view.

Este trabalho se propõe estudar as peças Prologue (1976), Périodes (1974), Partiels (1975) e Modulations (1977), do compositor francês Gérard Grisey (1946-1998). As peças são integrantes do ciclo Les Espaces acoustiques, obra fundamental para a compreensão do que se convencionou chamar espectralismo francês. Além de sua importância como ponto de referência em sua época, o ciclo é também significativo do ponto de vista do desenvolvimento da linguagem do compositor, porque, composto ao longo de onze anos (1974-1985), apresenta momentos diversos do estabelecimento de sua linguagem. O trabalho de análise foi construído, principalmente, com base nos escritos teóricos do compositor, reunidos postumamente em um volume intitulado Écrits, publicado em 2008. Em nossa análise, buscamos encontrar nas peças a aplicação prática das principais preocupações apontadas por Grisey em seus textos. Além dos textos de Grisey, as análises são apoiadas também por outros autores que se dedicaram à sua música, como Jerôme Baillet, Philippe Leroux e François Féron. As análises são precedidas por um primeiro capítulo, que trata das maiores influências recebidas pelo compositor das mãos de seus mestres, no Conservatório de Paris, na Villa Médicis e em Darmstadt. São apontados pontos de conexão com a obra de Olivier Messiaen, Karlheinz Stockhausen, Gyorgy Ligeti, Iannis Xenakis e Giacinto Scelsi. Nas conclusões, buscamos esboçar um sumário das ideias compiladas por Grisey em relação a passagens específicas das peças analisadas no trabalho. Incluímos um anexo, contendo traduções das bulas e instruções para performance das peças estudadas. O trabalho se justifica por contribuir para a compreensão e divulgação de uma música que começa a ser mais amplamente explorada no Brasil, tanto do ponto de vista da performance, como em seus aspectos teóricos. / This work studies the pieces Prologue (1976), Périodes (1974), Partiels (1975) and Modulations (1977), by the French composer Gérard Grisey (1946-1998). The pieces are part of the cycle Les Espaces acoustiques, a milestone work for the comprehension of the so-called French spectralism. Besides its importances as a reference in its time, the cycle is also meaningful from the point of view of the composer\'s technique, because, once it took eleven years to be completed (1974-1985), it presents different aspects of Grisey\'s music. The analyses are based in the composer\'s writings, posthumously gathered in an edition called Écrits, published in 2008. In our analyses we try to find in the music the application of the major concerns stated by Grisey in his writings. Besides his texts, the analyses also benefits from texts of other authors, like Jerôme Baillet, Philippe Leroux and Françóis Féron. The first chapter deals with the major influences received by the composer through the hands of his masters, in the Paris Conservatoire, at Villa Médicis and at the Darmstadt summer courses. References are made to connections between the work of Grisey and those of Olivier Messiaen, Karlheinz Stockhausen, Gyorgy Ligeti, Iannis Xenakis and Giacinto Scelsi. As conclusions, we present a summary of the ideas stated by Grisey in relation to particular extracts studied in the thesis. We also include an annex with the Portuguese translation of the performance notes and instructions contained in the scores. This work is relevant because it consists in a contribution for the comprehension and disclosing of a kind of music that begins to be widely studied in Brazil, both in its theoretical aspects as from the performance point of view.

The purpose of this study was to investigate the frequency modulations and the intensity modulations of the hand vibrato and the jaw vibrato as they relate to performance on selected brass instruments. Ten trumpet players and ten trombone players were recorded performing a musical exercise which was written in three different registers. Five performers in each group used a hand vibrato and five used a jaw vibrato.

L’OFDM est une technique de modulation multiporteuses largement utilisée dans des applications de communications filaires et sans-fils comme le DVB-T/T2, le Wifi, et la 4G, grâce à sa robustesse contre les canaux sélectifs en fréquence en comparaison avec la modulation monoporteuse. Cependant, le signal OFDM souffre de grandes variations d’amplitude. Les fluctuations de l’enveloppe du signal OFDM génèrent des distorsions non-linéaires quand on introduit le signal dans un équipement non-linéaire comme l’amplificateur de puissance. Réduire les variations du signal améliore le rendement de l’amplificateur, réduit la consommation énergétique et diminue les émissions de CO2 des transmissions numériques.Le PAPR (rapport de la puissance crête sur la puissance moyenne) est une variable aléatoire qui a été introduite pour mesurer les variations du signal. Il existe plusieurs systèmes multiporteuses basés sur différentes bases de modulation et filtres de mise en forme. Nous prouvons d’abord dans ces travaux que le PAPR dépend de cette structure de modulation. Ensuite, nous étudions le comportement du PAPR vis-à-vis des formes d’ondes utilisées dans la modulation. Le problème de réduction du PAPR est ainsi formulé en un problème d’optimisation. Par ailleurs, une condition nécessaire pour construire des formes d’ondes avec un meilleur PAPR que l’OFDM est développée. Cette condition est notamment satisfaite par des bases en ondelettes. Enfin, une nouvelle forme d’onde en paquets d’ondelettes adaptative est proposée, permettant des gains significatifs en PAPR, tout en maintenant les avantages des modulations multiporteuses. / OFDM is a multicarrier modulation system widely used in wireline and wireless applications such as DVB-T/T2, Wifi, and 4G, due to its resilience against frequency selective channels compared with the single carrier modulation systems. However, the OFDM signal suffers from large amplitude variations. The fluctuations of the OFDM envelope generate non-linear distortions when we introduce the signal into a non-linear device like the power amplifier. Reducing the variations of the signal improves the power amplifier efficiency, reduces the energy consumption and decreases CO2 emissions.The peak-to-average power ratio (PAPR) has been introduced as a random variable that measures the power variations of the signal. There exist several multicarrier modulation systems based on different modulation basis and shaping filters. We first prove in this work that the PAPR depends on this modulation structure. Moreover, the behaviour of the PAPR regarding to the modulation waveforms is analysed and the PAPR reduction problem is formulated as an optimization problem. Furthermore, a necessary condition for designing waveforms with better PAPR than OFDM is developed. This necessary condition is particularly satisfied by wavelet basis. Finally, a new adaptive wavelet packet waveform is proposed, allowing significant gain in terms of PAPR, while keeping the advantages of multicarrier modulations.

Le travail réalisé dans cette thèse a consisté en deux parties principales; la première partie a été centrée sur l’isolement de métabolites marins bioactifs, en mettant l'accent sur l'utilisation de techniques intégrés et modernes pour l'exploration chimique de deux éponges marines sélectionnées pour leurs activités cytotoxiques et antiinfectieuses. L’inhibition du Quorum Sensing pour explorer les activités antibiofilms a été utilisée. L’étude chimique de la première éponge Monanchora sp., a permis l'isolement et l'identification de vingt-huit composés guanidiniques et polycycliques, dont onze nouveaux. De la deuxième éponge Suberea ianthelliformi, nous avons pu isolé et identifié douze métabolites de type bropmotyrosines incluant huit alcaloïdes nouveaux dont les tétrabromotyrosines de la famille psammaplysenes. Les composés isolés ont été évalués pour leurs activités biologiques, en particulier pour les activités ciblées, cytotoxicité et inhibition de quorum sensing (QSI). De nombreux composés se sont avérés cytotoxiques sur plusieurs lignées cellulaires cancéreuses à des concentrations allant du micro au nanomolaire, en particulier les produits pentacycliques de la famille des crambescidines 800 et 814 alcaloïdes (CI50 = 4.5 nM). Ces résultats sont présentés à la fin du manuscrit. La deuxième partie concerne la synthèse bioinspirée du fragment guanidinique et tricyclique central des crambescidines et batzelladines. La synthèse totale de deux analogues tricycliques de merobatzelladine B a été ainsi réalisée. La stratégie de synthèse est essentiellement basée sur une réaction bioinspirée et inspiré de la stratégie de Robinson lors de la synthèse de la tropénone. / The work achieved in this thesis consisted two main parts; the first part was centered to the l marine natural product program, with emphasis on using modern and integrated techniecs for the chemical exploration of two promising marine sponges for the discovery of new marine secondary metaboilites along with their biological evalutions as anticancers, antibiotics, antifouling and antibiofilms. The chemical exploration of the first marine sponge Monanchora sp., afforded the isolation and identification of twenty-eight compounds, included eleven new compounds. The second marine sponge Suberea ianthelliformis, we were able to isolate and identify twelve marine metabolites included four known compounds and eight new tetrabromo tyrosine alkaloids related to psammaplysenes family. The isolated compounds were evaluated for their biological activities, in particular for cytotoxicity, quorum sensing inhibition (QSI) and antibiofilms. Almost of the isolated compounds exhibited interesting high cytotoxic activity against several cancer cell lines ranging from micro to nanomolar scale, in particular the isolated pentacyclic crambescidin 800 and 814 guanidine alkaloids showed strong cytotoxicity with IC50 = 4.5 nM. The second part was concerning with the bioinspired synthesis of the central tricyclic guanidinic fragments of the polycyclic marine alkaloids, batzelladines/crambescidins, in addition to the total synthesis of two stereoisomeric analogues of merobatzelladine B tricyclic alkaloid. Successfully, we had achieved a four steps short stratgy to access the tricyclic guanidinic portion of the batzelladine alkaloids, based on a bioinspired Robinson multicomponant reaction.