L’information constitue l’élément ou l’enjeu de nombreuses règles juridiques en droit financier. Ces règles imposent des obligations d’information aux émetteurs, aux intermédiaires financiers et aux investisseurs. Elles sanctionnent en outre les abus de marché en ce qu’ils constituent des atteintes aux qualités de l’information, et encadrent l’élaboration des opinions émises par les analystes financiers et les agences de notation. Dans un ensemble aussi hétérogène de règles, l’information reçoit diverses qualifications juridiques. La cohérence en la matière provient de la nécessité d’informer l’ensemble des acteurs du risque inhérent aux instruments financiers. L’information peut être étudiée à partir de ses fonctions intellectuelles, comme savoir communicable permettant de connaître le risque attaché aux instruments financiers. Alors que certaines données permettent de décrire le risque d’investissement, d’autres en servent l’appréciation dans la durée en vue de la réalisation de prédictions. Le droit positif évolue ainsi en s’appuyant sur ces deux fonctions intellectuelles de l’information : sa fonction descriptive et sa fonction prédictive. Cette analyse permet de renforcer l’intelligibilité d’un dispositif en évolution constante, qui suppose l’articulation du droit des sociétés, du droit des contrats et du droit répressif. Le droit des instruments financiers peut ainsi faire l’objet d’une analyse ordonnée à partir de l’information comme exigence permettant la prise d’un risque d’investissement. / Information constitutes the element or the stake of many a legal rule in financial Law. These rules dictate disclosure obligations to issuers, financial intermediaries and investors. Furthermore, they sanction market abuses, insofar as they undermine the qualities of the information, and provide a legal framework for the elaboration process of opinions voiced by financial analysts and credit rating agencies. In such a heterogeneous body of rules, diverse legal qualifications are applicable to information. The conistency of the discipline lies in the necessity to inform the participants of the risk inherent to financial instruments. From its intellectual functions, information can be studied as transmittable intelligence permitting a better understanding of the risk financial instruments entail. While some data allows for the description of the investment risk, other data enables its assesment over time in order to realize predictions. Substantive law evolves by drawing on the two intellectual functions of information: its descriptive function and its predictive function. This analysis helps to reinforce the intellegibility of constantly evolving legislation, which implies the joint study of company law, contract law and criminal business law. The law of financial instruments can thus be the subject of an analysis stemming from information as a requirement to the taking an investment risk.

The thesis builds on the extensive work of bachelor of 2012. It examines the manuscript collection of songs Podstrážišťské Josef Václav Kratochvil. The first part describes the folk songs of Pelhřimov, folk songs in general and describes the development of folk songs in Bohemia and Moravia. This chapter also deals with the division of folk songs by region, collections of these regions and their collectors. These sub-themes also include sources and their gaining. Finally, the thesis refers to the collector Josef Václav Kratochvíl and his manuscript collection Podstrážišťské songs. In the next section the thesis classifies the literary aspect of songs, their themes and types also by the music side. In the following section the thesis discusses in general stylization of accompanied of folk songs. It also includes the possibility of using part of the folk songs and presents some selected examples of folk ensembles, folk institutions and the media which folklore spreads. The final section discusses the specific arrangements of folk songs from our collection and stylized accompaniment which has been discussed in previous chapters. The last chapter of the thesis includes 97 songs transcribed from the manuscript collection of Josef Václav Kratochvíl into a notation software. KEYWORDS: Folk Song,...

The thesis builds on the extensive work of bachelor of 2012. It examines the manuscript collection of songs Podstrážišťské Josef Václav Kratochvil. The first part describes the folk songs of Pelhřimov, folk songs in general and describes the development of folk songs in Bohemia and Moravia. This chapter also deals with the division of folk songs by region, collections of these regions and their collectors. These sub-themes also include sources and their gaining. Finally, the thesis refers to the collector Josef Václav Kratochvíl and his manuscript collection Podstrážišťské songs. In the next section the thesis classifies the literary aspect of songs, their themes and types also by the music side. In the following section the thesis discusses in general stylization of accompanied of folk songs. It also includes the possibility of using part of the folk songs and presents some selected examples of folk ensembles, folk institutions and the media which folklore spreads. Lay stress on the role of a family. Next the folk song is presented as a material that can be used in a pedagogical field. The essential part of the thesis is a supplement that contains 97 songs from the manuscript collection of songs compiled in a notation software.

Dès lors que l’on s’intéresse au XIIIe siècle, le motet est l’exemple musical le plus fréquemment employé pour illustrer la rationalisation de la pensée médiévale. De ce fait, celui-ci s’inscrit difficilement dans le cadre normé d’une continuité polyphonique.Pourtant, le motet est un passage, nécessaire et transitoire, entre l’organum et la polyphonie contrapuntique du XIVe siècle. La musique qui en découle exacerbe la technique du déchant tout en conservant l’originalité mélodique de chaque voix.C’est la difficulté propre à tout lieu médian : conserver, reproduire, modifier, transmettre puis figer sur une feuille de parchemin. Dans le cas du motet, le principal questionnement porte sur la possibilité de réaliser une oeuvre polyphonique entièrement mesurée dans laquelle subsiste une, voire plusieurs, trames mélodiques prolongeant le style formulaire des organa. L’analyse musicale permet-elle d’identifier les différents gestes compositionnels du motet ? En d’autres termes, peut-on se faire une idée précise du motet au XIIIe siècle à partir des seules traces écrites les concernant et construire un modèle analytique cohérent de type émique ?L’ambition de cette étude est d’identifier les éléments normatifs du motet au XIIIe siècle et de déterminer, en filigrane, les gestes d’inventivité de chacune des dix pièces analysées. C’est par la mise en place d’une norme, incessamment renouvelée par l’invention musicale, au sens médiéval du terme, qu’il est possible de reconstituer le motet au sein même de son environnement socioculturel. / Since we are interested in the 13th-century, the motet is the musical example most frequently called to illustrate the rationalization of the medieval thought. Therefore, this one joins with difficulty in the standardized frame of a polyphonic continuity.Nevertheless, the motet is a passage, necessary and passing, between the organum and the contrapuntal polyphony of the 14th-century. The music which ensues from it aggravates the technique of the discant while keeping the melodic originality of every voice.It’s the difficulty appropriate for any median place: preserve, reproduce, modify, to pass on then the congeal on a leaf of parchment. In the case of the motet, the main questioning concerns the possibility of realizing one polyphonic completely measured work in which remains one, even some, melodic wefts extending the “style formulaire” of organa. Does the musical analysis allow to identify the various compositional gestures of the motet? In other words, we can be made a precise idea of the motet at the 13th-century from the only written sources concerning them and to build a coherent emic analytical model?The ambition of this study is to identify the normative elements of the motet in the 13th-century and to determine, between the lines, the gestures of inventiveness of each of ten analyzed parts. It’s by the implementation of a standard, presently renewed by the musical invention, in the medieval sense, that it’s possible to reconstitute the motet within its sociocultural environment.

Visst kan man använda en film som ett partitur? Så kallade grafiskt noterade verk behöver inte enbart vara på notblad, utan kan även vara i form av en film. Jag valde att kontakta konsthögskolan i Umeå för att beställa en film av studenter – en film med olika färger, mönster och rörelser som jag ville skapa musik utifrån. Jag valde också ett partitur som är noterat på ett notblad. Syftet med arbetet var att undersöka instuderingsstrategier för ett fixerat och ett rörligt grafiskt partitur. De metoder som användes var kvalitativa, analytiska och experimentella. Det experimentella förhållningssättet genomsyrade hela arbetet. De primära materialen som användes var partituren, Extempore (1975) av Bengt Hambraeus och Pearlakistoscope (2016) av Victoria Repasi och Henrik Nygren. Annat material som användes var litteratur om notskrift och om musik från 1900-talet. Processen bestod till stor del av att analysera partituren och att experimentera med klanger vid Woehl-orgeln i Studio Acusticum. Repetitionerna spelades in med en mikrofon och lyssnades av i samband med repetitionen. Reflektionerna fördes ned i loggbok under varje repetition. En viktig del av arbetet skedde under orgellektioner och samtal med Gary Verkade, orgelprofessor vid Musikhögskolan i Piteå. Resultatet blev en jämförelse mellan det fasta och det rörliga partituret under rubrikerna Förberedelser, Strukturering, Registrering, Övning och Inspelning och Konsert samt en diskussion. I diskussionen reflekterar jag över notskrifter och konstaterar att jag läser partitur genom att ställa partiturets olika parametrar mot varandra. Jag diskuterar även om grafisk notation innebär improvisation, och vilken frihet som är kopplad till notationen. Jag reflekterar kring att läsa en film som ett partitur och ser tydliga likheter till grafiska partitur som komponerades under 50- och 60-talen, som även sågs som bildkonst. Avslutningsvis behandlas inspelningarna kortfattat, som är den klingande delen av arbetet och gjordes den 1/3 i Studio Acusticum. Den 2/3 kl. 19.30 hölls en konsert i Studio Acusticum där de två verken spelades upp för publik.

Theme of the diploma thesis is the analysis of the processes inside the library of the University of economics. The first part is dedicated to the definition of the goals of the thesis and to the theory of the company processes. The text interprets the term of information literacy and information education and links these terms with the procedural analysis. The thesis introduces the library and identified processes for optimalization. In the second part, the identified processes are analyzed and described in the EPC notation. The thesis describes five processes and their sub-processes. The first process is the educational program, the next process is the cooperation between the university teachers and the library. Another process is the the control of the plagiarism and the use of electronical sources and thesis in the education. The last described process is the feedback from the users. The conclusion summarises the thesis and is coupled with the recommendation about the optimalization of the described processes. The goal of the thesis is to optimalize the defined processes of the informational education in the library and to improve the quality of them, so they can effectively aid the goals of the library, but also to improve the information literacy of the students.

Esta pesquisa foi desenvolvida para propor uma atividade de ensino que relacione a fração com a notação decimal, utilizando da História da Matemática. A questão que permeou essa pesquisa de cunho qualitativo foi: Quais as contribuições da História da Matemática para o ensino da notação decimal no 6º e 7º ano do ensino fundamental? A metodologia utilizada foi a histórico-bibliográfica, também conhecida como estudo documental. Para isso, optou-se por estudar as contribuições que a história traz para a Educação Matemática. Após, foi analisado o conteúdo de números racionais nos currículos oficiais que são os Parâmetros Curriculares Nacionais e a Base Nacional Comum Curricular, além também do Referencial Curricular do material didático do Serviço Social da Indústria (SESI-SP). Após análise do que se espera do currículo de Matemática, especificamente dos números racionais do 6º e 7º ano, foram analisados capítulos de livros didáticos do SESI-SP e 7 livros aprovados pelo Programa Nacional do Livro e Material Didático, que tratam especificamente do conteúdo de transformação de fração para a notação decimal. Fizemos também uma pesquisa para procurar entender mais profundamente os elementos históricos que contribuíram para a relação entre certo tipo de fração e sua notação decimal nos dias atuais, para podermos compreender melhor e poder ensinar melhor esse aspecto da Matemática escolar. Ao final, é apresentada a atividade proposta e como ela pode contribuir para o ensino da relação entre a fração e a notação decimal. / This research was developed to propose a teaching activity that relates the fraction to the decimal notation, using the History of Mathematics. The question that permeated this qualitative research was: What are the contributions of the History of Mathematics to the teaching of decimal notation in the 6th and 7th year of elementary school? The methodology used was the historical-bibliographic, also known as documentary study. For this, it was decided to study the contributions that history brings to Mathematics Education. Afterwards, the content of rational numbers was analyzed in the official curricula that are the National Curricular Parameters and the National Curricular Common Base, as well as the curricular reference of the didactic material of the Social Service of Industry (SESI-SP). After analyzing what is expected of the Mathematics curriculum, specifically the rational numbers of the 6th and 7th grades, we analyzed SESI-SP textbook chapters and 7 books approved by the National Book and Didactic Material Program, which deal specifically with the contents of transformation from fraction to decimal notation. We also did a research to try to understand more deeply the historical elements that contributed to the relationship between a certain type of fraction and its decimal notation in the present day, so we can better understand and be able to better teach this aspect of school mathematics. At the end, the proposed activity is presented and how it can contribute to the teaching of the relation between fraction and decimal notation.

Le bouche à oreille en ligne est devenu en quelques années un outil incontournable pour se faire une idée sur les différents produits ou services avant de les acheter. La grande majorité des sites e-commerce utilisent une notation simple et unique. Rares sont ceux qui proposent une notation multicritères permettant de juger les différentes caractéristiques des produits et services associés. La recherche actuelle semble s’être focalisée uniquement sur la notation unique, délaissant la notation multicritères, bien que celle-ci apporte quelques avantages pour le consommateur ainsi que pour le marchand. Cette thèse aborde la question de la notation multicritères sous l’angle des processus cognitifs sous jacents, en particulier le rôle centrale de la confiance dans l’acte d’achat, ainsi que l’épuisement cognitif inhérent à la prise de décision. Les résultats montrent que l’augmentation du nombre de critères présentés sur un système de recommandation accroit la confiance dans le marchand. Les résultats montrent aussi qu’en manipulant l’épuisement cognitif des sujets ainsi que la variabilité des notes des sous-critères par rapport à la moyenne du produit, la disponibilité des ressources cognitives modère l’effet de cette variabilité menant à un effet de polarisation dans le jugement de confiance et d’intention d’achat. Lorsque les sujets ont les ressources cognitives nécessaires, le jugement et la prise de décision passent à la fois par le système de décision émotionnel et cognitif, alors que lorsqu’elles manquent, les décisions sont davantage prises par le système émotionnel. Des perspectives de recherches dans les domaines de la psychologie cognitive et de l’ergonomie sont présentées. / Electronic word-of-mouth became in few years an essential tool to seek information about products and services. Almost all e-commerce websites now use a simple rating system. Very few of them offer a multicriteria rating system to judge the features of products and associated services. Current research has been focused on simple rating system, even though the multicriteria rating system offer benefits for both the consumer and the merchant. This thesis addresses the multicriteria rating under the scope of cognitive processes, especially the central role of trust in the act of purchase and the self-depletion inherent to the decision making process. Results show that the augmentation of the number of criteria within a rating system increases the trust in the merchant. Results also show that manipulating self-depletion of the subjects and the variability of sub-ratings compared to the average rating, the availability of cognitive resources moderate the variability effect. This leads to a polarization effect in judgment and purchase intention. When subjects have available cognitive resources, judgment and decision making are produced by both emotional and cognitive systems, whereas they are missing, judgment and decision making are mostly a result of the emotional system. Research perspectives in the field of cognitive psychology and ergonomics are discussed.

O presente trabalho investiga as diculdades enfrentadas por decientes visuais ao ingressarem em um curso de nvel superior em Música, onde a troca de informacão musical escrita é frequente e se dá por meio de partituras impressas em tinta, e a conversão deste material para braille demanda conhecimentos específicos e disponibilidade de recursos. Igualmente problemática, a produção musical do aluno cego é feita em braille, seja para tomar nota de aulas como para realizar tarefas de disciplinas como Contraponto, Harmonia e Análise Musical, ou mesmo para a realização de exames. Claramente, esse material deve passar por um processo de conversão para que o professor possa avaliar o aluno, entre outros motivos. O foco principal da pesquisa realizada é a analise da musicografia braille sob a ótica das possibilidades de se produzir transcrições automáticas entre partituras em braille e tinta, a fim de prover recursos tecnológicos direcionados a solução deste problema. Para tanto, foi desenvolvido um aplicativo capaz de receber informação musical em braille e converê-la para o formato MusicXML, adequado para a leitura a partir de outros aplicativos de notação musical e, consequentemente, a impressão deste material em tinta. Este programa esta sendo distribudo como software livre sob licenca LGPL, contrapondo-se as suas alternativas hoje existentes no mercado. O aplicativo desenvolvido foi utilizado e avaliado por usuarios decientes visuais e com visão normal por meio de um questionário. Os dados foram então analisados, buscando mapear as diferenças nas experiências de uso e verificar necessidades de melhorias e novas funcionalidades, buscando com isso o aprofundamento nas questões pertinentes ao problema e dando suporte a novas pesquisas relativas ao assunto. / This work researches visually-impaired person\'s dificulties when studying music as a university career, where musical information is usually forwarded as ink-printed sheet music and the translation of this material to braille involves specic skills and resource availability. In that sense, the musical production demanded from a blind student is accomplished by using braille notation, for taking notes or producing homework for disciplines like Harmony, Musical Analysis, or even to take tests. Clearly the information produced has to be submitted to a conversion process, and finally it can be reviewed by the professor or other students. The main focus of this research is the understanding of braille music aspects and the problem of generating automatic ink-printed sheet music transcriptions, providing assistive resource for music students. For attaining this goal, an application was developed in order to receive braille music input and translate it to MusicXML format, which can be read by any of the widely MusicXML compatible softwares available for reading, editing and printing music. The program is distributed as free software under LGPL license, as opposed to currently available alternatives. The resulting application was tested by visually-impaired and non-visually impaired users, and reviewed trough the application of a survey. The collected data was analyzed, in search for variations on user experience and checking for software improvement needs, as well as uncovering further relevant matters on this subject.

Pour résoudre un problème de mathématiques ou comprendre une démonstration, une figure bien choisie est parfois d’un grand secours. Ce fait souvent remarqué peut être vu comme un cas particulier d’un phénomène plus général. Utiliser une figure plutôt que des phrases, reformuler un problème sous la forme d’une équation, employer telles notations plutôt que telles autres : dans tous ces cas, en un sens, on ne fait que représenter sous une nouvelle forme ce qu’on sait déjà, et pourtant, cela peut permettre d’avancer. Comment est-ce possible ? Pour répondre à cette question, la première partie de cette thèse étudie ce qu’apporte un changement notationnel précis introduit par Leibniz à la fin du XVIIe siècle. La suite de ce travail analyse, et confronte à l’exemple précédent, plusieurs manières de penser les différences représentationnelles proposées dans la littérature philosophique récente. Herbert Simon, étudié dans la deuxième partie, s’appuie sur le modèle informatique des structures de données : deux représentations peuvent être « informationnellement » équivalentes, mais « computationnellement » différentes. Les logiciens Barwise et Etchemendy, étudiés dans la troisième partie, cherchent à élargir les concepts de la logique mathématique (en particulier ceux de syntaxe et de sémantique) aux diagrammes et figures. Enfin, certains philosophes des mathématiques contemporains, comme Kenneth Manders, remettent en cause la notion même de représentation, en soutenant qu’elle n’est pas éclairante pour comprendre l’usage de figures, formules ou autres supports externes en mathématiques. C’est à ces critiques qu’est consacrée la quatrième et dernière partie. / When solving a mathematical problem or reading a proof, drawing a well-chosen diagram may be very helpful. This well-known fact can be seen as an instance of a more general phenomenon. Using a diagram rather than sentences, reformulating a problem as an equation, choosing a particular notation rather than others : in all these cases, in a sense, we are only representing in a new form what we already knew; and yet, it can help us make progress. How is this possible? To address this question, the first part of this thesis explores the benefits afforded by a specific notational change introduced by Leibniz in the late seventeenth-century. The rest of this work analyses, and puts to the test of the preceding case study, several ways of understanding representational differences which have been put forward in the recent philosophical literature. Herbert Simon, studied in the second part, relies on a comparison with the notion of data structures in computer science: two representations, he writes, can be “informationally” equivalent yet “computationnally” different. The logicians Barwise and Etchemendy, studied in the third part, try to broaden the concepts of mathematical logic (in particular those of syntax and semantics) to cover diagrams and figures. Finally, some contemporary philosophers of mathematics, for instance Ken Manders, argue that the notion of representation itself is not helpful to understand the use of diagrams, formulas or other external reasoning tools in mathematics. Such arguments are the focus of the fourth (and last) part.