Written notation has a long history in many musical traditions and has been particularly important in the composition and performance of Western art music. This study adopted the conceptual view that a musical score consists of two coordinated but separate communication channels: the musical text and a collection of composer-selected performance marks that serve as an interpretive gloss on that text. Structurally, these channels are defined by largely disjoint vocabularies of symbols and words. While the sound structures represented by musical texts are well studied in music theory and analysis, the stylistic patterns of performance marks and how they acquire contextual meaning in performance is an area with fewer theoretical foundations. This quantitative research explored the possibility that composers exhibit recurring patterns in their use of performance marks. Seventeen solo piano sonatas written between 1798 and 1913 by five major composers were analyzed from modern editions by tokenizing and tabulating the types and usage frequencies of their individual performance marks without regard to the associated musical texts. Using analytic methods common in information science, the results demonstrated persistent statistical similarities among the works of each composer and differences among the work groups of different composers. Although based on a small sample, the results still offered statistical support for the existence of recurring stylistic patterns in composers' use of performance marks across their works.

L’objet de cette thèse consiste à élaborer un cadre conceptuel et statistique destiné à une meilleure compréhension du processus de la notation souveraine. La thèse propose une démarche à plusieurs niveaux dans la perspective (i) de dévoiler les limites de l’expertise des agences de rating à travers les divergences et les erreurs de notation (ii) de conduire une reconstitution classique des notations souveraines et (iii) de revisiter le processus de notation à travers une reconstitution dynamique des notes. Les résultats de la reconstitution classique révèlent que les notations des PED reflètent leurs conjonctures socioéconomiques et financières, alors que celles des PD sont considérablement influencées par l’intervention subjective des analystes. Les études menées dans une perspective dynamique reposent sur la construction et la modélisation des parcours de notation. Une première étude conduite par la méthode MDS, a permis de dégager la typologie des parcours de notation, en distinguant les pays les plus stables des pays les plus vulnérables face aux récentes crises. Une deuxième étude consiste à modéliser les parcours de notation dans le cadre des processus de points marqués (modèle ACD et Probit ordonné). Les résultats mettent en avant une accélération des épisodes d’abaissement des notes en période de crises. L’introduction du facteur de l’hétérogénéité non observable dans le modèle a permis de rendre compte des contextes socioéconomiques de notation et de confectionner un indice composite avancé. Les parcours de notation reflètent l’évolution à long terme des pays, ils transmettent ainsi un contenu informationnel plus large et plus important que celui d’une notation. / The object of this study is to propose a conceptual and statistical framework to better understand the sovereign rating process. This thesis suggests a multi-levels-approach in the perspective (i) of unveiling the limits of expertise of the credit rating agencies due to the noticed differences and to the rating errors. It will also (ii) conduct a classic reconstitution of the sovereign ratings and (iii) will revisit the rating process according to a dynamic reconstitution of the scores. The results of the classic reconstitution revealed that the ratings of the developing countries showed their economic and financial situation whereas it showed the subjective intervention of the experts when it came to developed countries. Studies conducted in a dynamic perspective are based on the construction and the modeling of the rating migration. A first study driven by the MDS method, has allowed to discover the type of ratings used. The four types of identified systems allow distinguishing the most stable countries from the most vulnerable. A second study has consisted on modeling the rating systems in a context of the scores made through ACD model and an ordered Probit model. The results highlight an acceleration of the lowering score for the episodes especially in times of crisis. The lack of heterogeneity in the model raised awareness regarding the ratings of socioeconomic situations and created an advanced composite index. The rating migration reflect the long-term evolution of a country, they also transmit a more important and a larger informational content than a simple rating.

La thèse définit ce qui pourrait être une saisie du mouvement et interroge la possibilité d'écrire et de lire la danse. La belle danse, dont l'origine, la contextualisation, et la définition en tant que style sont présentés dans le premier chapitre est prise comme cas d'école. Le second chapitre est rédigé dans la perspective du scripteur et il présente une analyse de la notation Beauchamps-Feuillet. Le troisième chapitre, qui adopte le point de vue du lecteur, définit les règles implicites de la belle danse, déductible de l'analyse des sources, et propose une analyse de la "Türkish Dance" (c.1725), due au chorégraphe Antony L'Abbé et au notateur François le Roussau. La thèse se réfère aux recherches de Guillemette Bolens pour la compréhension de l'usage de l'empathie kinesthésique pour l'écriture et la lecture, comme à des recherches cognitivistes récentes (Alva Noë). Elle se réfère aux recherches d'Etienne Darbellay et à leur cadre théorique, par exemple la théorie de la métaphore (Jakoff & Johnson; Zbikowski pour son usage en musicologie) et la compréhension des processus mémoriels (Croisile). Elle prend en compte certaines études, cruciales pour la compréhension de la belle danse, de son écriture et de sa lecture (Francine Lancelot et Marina Nordera par exemple). / This thesis defines if dance could be grasps, and how. Belle danse is taken as a "cas d'école" for unswering this question. Belle danse's origin, contextualisation and definition are given in the first chapter. The second chapter embraces the scriptwriter perspective to analyse Beauchamps-Feuillet notation. The third chapter adopts the reader's perspective (if "reading" can mean "decode", " analyse", "interpret" and "perform".) This chapter explicits some of belle danse's rules that are implicitly explained in the sources. It analyses the "Türkish Dance" (c. 1725). This score —and this dance— has been choreographed by Antony L'Abbé, and notated by François le Roussau. This thesis is written in reference to Guillemette Bolens researches that takes in acount the use of kinesthesis for writing and reading actions. It points to Etienne Darbellay's research based both on "théorie de la métaphore" (Lakoff and Johnson) and memory's process understanding (Croisile), and to crucial researches on belle danse writing and reading, particularly those of Marina Nordera.

<p>Composing music is something a lot of people have wished they could be able to do. Unfortunately, to be able to compose music, people often need several years of training and study to acquire the necessary knowledge: first to learn how to use the traditional musical representation and then to learn the rules for composing different kinds of music. </p><p>This thesis describes research to develop and evaluate a representation and system for musical composition. The system provides users with a simple and specific language to create and interact with the artificial world; and by creating animals and giving them behaviors, users are composing music. The user study conducted at the end of this project showed that this program ("CompositionALife") could make it easier for people without previous knowledge in music and/or composition to compose interesting music.</p>

Performance analysis is an objective method of gathering the data of performance, and generally transforms these observations into numerical data. Performance indicators, as well as a selection or elements of sucessful outcome, have often been used in order to feedback augmented information in performance analysis systems, but they have rarely been considered within the classification of performance analysis systems based on timing of analysis and feedback. The main aim of this study is to investigate performance indicators used within real-time and lapsed time systems so that the definitions of the performance indicators, the effectiveness of the performance indicators, their reliability and validity within real time analysis systems can be analyzed.

Aims and objectives: The research aims and objectives of this thesis were: (i) to review literature pertaining to different dermal exposure assessment methods; (ii) to assess dermal exposure of refinery workers to nickel and/or cobalt by making use of skin wipes as a removal method; (iii) to assess concurrently the skin condition of the above mentioned workers by measuring skin hydration, transepidermal water loss (TEWL) and skin surface pH, and (iv) to compare South African skin notations and sensitisation notations with those of other developed countries. Methods: Refinery workers from two base metal refineries participated in this study. Skin condition and dermal exposure was measured on different anatomical areas before, during and at the end of a work shift. Dermal exposure to nickel and/or cobalt was assessed with Ghostwipes TM as a removal method. Wipe samples of potentially contaminated surfaces in the workplace were also collected. Wipes were analysed for nickel and/or cobalt according to NIOSH method 9102, using Inductively Coupled Plasma-Atomic Emission Spectrometry. The assignment and use of skin notations and sensitisation notations in South African legislation and six other developed countries were compared. Results: To date, occupational dermal exposure has been reported for numerous substances by making use of surrogate skin methods (interception methods), removal methods and fluorescent tracer methods (in situ detection methods). From published literature it is evident that skin (dermal) wipes, as a removal method, are the most appropriate method to assess dermal exposure to metals. Varying degrees of skin dryness (low hydration indices) and impaired barrier function (high TEWL indices) are reported, with the hands being implicated the most. However, normal skin condition is also reported for some anatomical areas. Skin surface pH for all anatomical areas sampled decreased significantly during the shift, but remained in normal range. Dermal exposure to nickel occurred during the shift at the electro-winning plant of one refinery, while dermal co-exposure to cobalt and nickel occurred at the cobalt plant of the other refinery. At both of the refineries, cobalt and/or nickel was collected from the workers’ skin even before the shift. Also, dermal exposure to these metals was highly variable between individual workers. Skin notations in South African legislation had a mean agreement of between 42.9% and 45.8% with other countries, while agreement for sensitisation notations was only 3.6% between countries. / Thesis (Ph.D. (Occupational Hygiene))--North-West University, Potchefstroom Campus, 2011.

Aims and objectives: The research aims and objectives of this thesis were: (i) to review literature pertaining to different dermal exposure assessment methods; (ii) to assess dermal exposure of refinery workers to nickel and/or cobalt by making use of skin wipes as a removal method; (iii) to assess concurrently the skin condition of the above mentioned workers by measuring skin hydration, transepidermal water loss (TEWL) and skin surface pH, and (iv) to compare South African skin notations and sensitisation notations with those of other developed countries. Methods: Refinery workers from two base metal refineries participated in this study. Skin condition and dermal exposure was measured on different anatomical areas before, during and at the end of a work shift. Dermal exposure to nickel and/or cobalt was assessed with Ghostwipes TM as a removal method. Wipe samples of potentially contaminated surfaces in the workplace were also collected. Wipes were analysed for nickel and/or cobalt according to NIOSH method 9102, using Inductively Coupled Plasma-Atomic Emission Spectrometry. The assignment and use of skin notations and sensitisation notations in South African legislation and six other developed countries were compared. Results: To date, occupational dermal exposure has been reported for numerous substances by making use of surrogate skin methods (interception methods), removal methods and fluorescent tracer methods (in situ detection methods). From published literature it is evident that skin (dermal) wipes, as a removal method, are the most appropriate method to assess dermal exposure to metals. Varying degrees of skin dryness (low hydration indices) and impaired barrier function (high TEWL indices) are reported, with the hands being implicated the most. However, normal skin condition is also reported for some anatomical areas. Skin surface pH for all anatomical areas sampled decreased significantly during the shift, but remained in normal range. Dermal exposure to nickel occurred during the shift at the electro-winning plant of one refinery, while dermal co-exposure to cobalt and nickel occurred at the cobalt plant of the other refinery. At both of the refineries, cobalt and/or nickel was collected from the workers’ skin even before the shift. Also, dermal exposure to these metals was highly variable between individual workers. Skin notations in South African legislation had a mean agreement of between 42.9% and 45.8% with other countries, while agreement for sensitisation notations was only 3.6% between countries. / Thesis (Ph.D. (Occupational Hygiene))--North-West University, Potchefstroom Campus, 2011.

Composing music is something a lot of people have wished they could be able to do. Unfortunately, to be able to compose music, people often need several years of training and study to acquire the necessary knowledge: first to learn how to use the traditional musical representation and then to learn the rules for composing different kinds of music. This thesis describes research to develop and evaluate a representation and system for musical composition. The system provides users with a simple and specific language to create and interact with the artificial world; and by creating animals and giving them behaviors, users are composing music. The user study conducted at the end of this project showed that this program ("CompositionALife") could make it easier for people without previous knowledge in music and/or composition to compose interesting music.

In this master’s thesis, a sound-based notation system is explored and developed in the composition and performance of a musical work for live electronics. My approach builds on existing systems for electroacoustic music analysis, most notably Dennis Smalley’s (1997) theory of spectromorphology and the symbolic language of Lasse Thoresen &amp; Andreas Hedman (2007) based on Pierre Schaeffer’s typo-morphology, as well as Mattias Sköld’s (2023) adaptation of this system for composition and transcription (Sound Notation).  By separating the compositional processes from the interpretational process in the creation of a mixed work for live electronics and acoustic instruments, the notation could be explored as an isolated activity in the writing of sound objects, later realized in a studio environment in the form playable instrument patches. This resulted in two performances of the piece Sonic Mechanics (2022) where the author performed the electronics part together with musicians from the ensembles Norrbotten NEO in Piteå (Sweden) and Ensemble mise-en in NYC (USA).  The thesis shows how symbolic notation does not need to be dismissed in live electronic performance, but that a sound-based score can complement the compositional and interpretational processes of instrument design and improvisation. The project thus demonstrates the plausibility of composing electronic music using a reduced sound- based notation system (spectromorphological reduction) and provides an example of how a sound-based score can be executed by an electronic performer, as well as investigating the affordances that this approach has for both the compositional and interpretational process. For composition, the affordances of sound-based notation are that it becomes a technology for thinking about sound and musical structures themselves, without interaction with audio technology. For performance, this approach enables different interpretations for other electronic instruments and setups. / <p>Artistic outcomes are presented in their entirety through the accompanying Research Catalogue Expositions:</p><p>https://www.researchcatalogue.net/profile/show-exposition?exposition=2012206</p><p>https://www.researchcatalogue.net/profile/show-exposition?exposition=2241923</p>

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