This paper will examine color-coded musical notation. The history of color and music will be briefly explored before a more in-depth analysis of the widely available color-coded curriculums. Traditional method book formats will be examined for the potential integration of color-coded musical notation.

This thesis is comprised of a portfolio of musical compositions with accompanying media and a written commentary. In each of the seven compositions, the timbral palettes of musical instruments have been expanded through unconventional physical manipulation. The written commentary presents, in detail, specific examples of how this has been achieved. Alongside descriptions of the work in question, select aspects of other composers' music that approach a similar aesthetic are also referred to. In addition, the fundamental role technology has played in the creation or realisation of certain pieces is addressed. Also included are descriptions of the various customised notational systems used throughout the portfolio. It is outlined how each of these systems has been constructed in a clear and practical manner and, where possible, has incorporated elements derived from the lingua franca in order to communicate the required information as efficiently as possible to the performers.

System operation contracts were introduced by C. Larman as an application of the notion of Design by Contract (DbC) to the description of high-level system operations derived from requirements. A system operation contract specifies an operation in terms of changes induced in the domain. In the Responsibility Driven Development (RDD) process proposed by Larman, operation contracts play an important role in identifying and assigning systems' responsibilities, and help construct a sound design in later phases. Larman's notation for operation contracts is textual. In this thesis, we propose an alternative visual notation for operation contracts. As part of the process for the definition of this visual notation, we extended and clarified some informal aspects of Larman's notation in order to better accurately capture important aspects of system operations. Our extension allows the specification of data constraints, alternatives, and the temporal dimension of created domain objects, in addition to the description of changes in the state and associations of domain objects. The syntax of the visual notation for operation contracts aims to be cognitively effective and to reuse available UML notation. New visual elements were introduced only in the absence of corresponding elements in the UML. Elements reused from the UML are slightly modified to enhance their cognitive effectiveness. The introduced elements, on the other hand, are designed with the goal of not conflicting with the general theme of the UML. We used The Physics of Notations as a general guide and evaluation criteria. The Physics of Notations is a leading evaluation and design theory for visual models in software engineering. We propose a prototype tool (ViOpContract) that implements the proposed visual notation for operation contracts. ViOpContract is an Eclipse plug-in tool that helps to draw and manage visual operation contracts. The tool provides the capability to generate contracts in textual form from visual contracts.

Alors qu'il ressort de la volonté de contrôler les agences de notation financière des initiatives nationales et régionales concrètes, elles ne restent toutefois pas harmonisées. Cette situation n'est cependant pas rédhibitoire. A titre d'exemple, alors que l'UE et les États-Unis disposent tous deux d'un système d'enregistrement distinct des agences afin qu'elles puissent exercer sur leur territoire, il apparaît logique de penser, et donc à terme d'envisager, qu'un enregistrement ou une agrégation universelle constituerait un premier pas fort vers l'harmonisation des réglementations. Il est dans ce cadre possible d'affirmer que l'harmonisation des réglementations américaine et européenne pourrait constituer un premier pas vers un cadre supra-étatique de réglementation des agences de notation financière. Il resterait dès lors à définir si ce sont les standards européens qui s'appliqueraient, ou ceux de la réglementation américaine potentiellement moins ambitieuse. Et encore, cette piste de réflexion serait parfaitement juste si il ne fallait pas également prendre en compte la montée des économies des pays émergents qui souhaitent changer la donne. Il serait donc nécessaire de s'accorder avant tout sur un système convenant à tout un chacun, hypothèse fort difficile mais qui mérite des questionnements. En outre, pour contrôler les agences de notation financière de manière efficace et contraignante (ce que n'est malheureusement pas le Code de bonne conduite de l'OICV), il ne faut pas non plus négliger la possibilité de voir émerger un droit international économique issu de standards financiers. Ce processus ne serait ainsi pas seulement bénéfique dans le cadre de la création d'un contrôle international des agences de notation, il le serait également dans le développement d'un droit international financier contraignant. Dans le cadre des agences de notation, le développement des standards financiers s'est fait en réponse aux besoins des autorités de régulation nationales à la recherche d'un équilibre entre le maintien de la compétitivité de leur place financière et la nécessité d'une stabilité du système financier. Ces standards permettent aux institutions de coopération de se positionner comme des autorités internationales de standardisation pour les secteurs concernés. Ils constituent indubitablement la piste de réflexion la plus sérieuse pour un contrôle international efficace des agences de notation financière. / To control credit rating agencies, some national and regional initiatives are concrete, but they do not are harmonized. This situation is not, however, prohibitive. For example, while the EU and the US both have a separate registration system for credit rating agencies to exercise on their territory, it makes sense to think, and therefore ultimately consider, that a universal registration or aggregation would be a strong first step towards regulatory harmonization. It is in this context that the harmonization of US and European regulations could be a first step towards a supra-state regulatory framework for credit rating agencies. It remains to be defined whether European standards would apply, or those of the potentially less ambitious American regulation. And this line of thought would be perfectly fair if it was not also necessary to take into account the rise of emerging countries that want to change the situation. It would therefore be necessary to agree first and foremost on a system that is suitable for everyone, a very difficult hypothesis that deserves questioning. In addition, in order to control credit rating agencies in an effective and binding manner (which is unfortunately not the case for the IOSCO Code of Conduct Fundamentals for Credit Rating Agencies), the possibility of emerging international economic law made from financial standards. This process would thus not only be beneficial in the context of creating international control for credit rating agencies, it would also be beneficial in the development of a international financial law. In the context of credit rating agencies, the development of financial standards has been in response to the needs of national regulatory authorities seeking a balance between maintaining the competitiveness of their financial centers and the need of stability for the financial system. These standards allow cooperation institutions to position themselves as international standardization authorities for the sectors concerned.

While the separation of presentation and application logic is widely practiced in web-based applications today, many do not cleanly separate application and dialog control logic, which leads to inflexible implementations especially when multiple presentation channels shall be served by the same application logic. We therefore present a notation for specifying the complete dialog flow of an application separately from the application logic and show how to construct a formal metamodel for it using the OMG’s Meta-Object Facility (MOF). This allows the validation of dialog flow models, as well as the generation of machine-readable dialog flow specifications from graphical models.

The thesis deals with possibilities of recording sign language vocabulary, especially the possible ways of notation of Czech sign language signs. The introductory chapter describes the first attempts to put the data down on paper in the 18th and 19th century in Europe. These ones were the first verbal descriptions of signs, sign notations and signs drawn in figures. Furthermore, the chapter gives a detailed description of the first notation system based on linguistic principles - William Stokoe's notation system, which was established in 1960 for American sign language and has become a basis and inspiration for many other notation systems which are also briefly described. A great deal of the paper is focused on possible ways to record Czech sign language lexicon. First, the thesis describes the "non- notational" ways of recording signs that were previously used in papers dealing with Czech sign language - description, figures, photographs, videos and computer simulations. After these, we focus on the particular standardized notational systems that can be used for our purposes - Czech notation system for sign language and its modifications, the Edinburgh non- manual notation system, Hamburg notation system, SignWriting and Berkeley transcription system. The last chapter provides an evaluation of...

In diesem leicht überarbeiteten Text seiner Keynote auf dem Jahreskongress 2019 der GMTH erörtert Sandeep Bhagwati grundlegende Konzepte des aktuellen Notationsdiskurses, wie z. B. notational perspective und comprovisation. Er erläutert den Platz von Notationsformen innerhalb einer laufenden Entwicklung, in der sich die Klangerzeugung allmählich vom menschlichen Handeln und seiner Übersetzung ins Visuelle entfernt, und entfaltet das Feld möglicher Notationen, das durch neue sensorische Technologien eröffnet wird. Wird die Einführung solcher reaktionsfähiger und fließender Notationstechnologien die Natur dessen, was wir Musik nennen, erneut verändern? Schließlich stellt er sich mögliche Verschiebungen in der Ontologie des Musizierens vor, die durch derartige ›unsichtbare‹ Notationen und durch nichtmenschliches Handeln im Bereich des Musizierens hervorgerufen werden könnten. / In this slightly updated text of his keynote speech at the Annual Congress 2019 of the GMTH, Sandeep Bhagwati discusses foundational concepts of current discourses on notation, such as notational perspective and comprovisation. He elaborates on the place of notation in an ongoing evolution that sees sound production gradually move away from human agency and its translation into the visual and unfolds the field for possible notation opened up by new sensory technologies. Will the introduction of such responsive and fluid score technologies once more change the very nature of what we call music? Finally, he imagines possible shifts in the ontology of musicking that may be occasioned by such ‘invisible’ notations and through non-human agency in musicking.

One of the difficulties most frequently encountered among music students is reading inadequacy. In this particular study we shall attempt to measure and increase the visual span of reading musical notation.

Dans le domaine de l'Interaction Homme-Machine, nos travaux concernent l'interaction multiutilisateur et multimodale. Exploitant les avancées importantes en terme de modalités d'interaction, de nombreux collecticiels reposent sur une combinaison de modalités, comme les systèmes multiutilisateurs autour d'une table augmentée. Néanmoins ces systèmes constituent des réalisations ad-hoc en l'absence d'outils de conception. Face à constat, nos contributions conceptuelles et logicielles concernent la phase de spécification de l'interaction multiutilisateur et multimodale. Nous présentons une notation de spécification notée COMM (COllaborative et MultiModale) qui est une extension de CTT par l'introduction de deux concepts, le rôle interactif et la tâche modale, et par la spécialisation des opérateurs temporels, en s'appuyant sur les relations de Allen. La notation COMM est instrumentée par un éditeur logiciel de spécifications COMM, nommé e-COMM ((http://iihm.imag.fr/demo/editeur/). COMM et e-COMM ont été utilisés dans un projet DGA de taille conséquente pour spécifier l'interaction au sein d'un poste de commande de drones militaires. / Multi-user multimodal interactive systems involve multiple users that can use multiple interaction modalities. Although multi-user multimodal systems are becoming more prevalent (especially multi-user multimodal systems involving multi-touch surfaces), their design is still ad-hoc without properly keeping track of the design process. Addressing this issue of lack of design tools, our doctoral research is dedicated to the specification of multi-user multimodal interaction. The doctoral research contributions include the COMM (Collaborative and MultiModal) notation and its on-line editor for specifying multi-user multimodal interactive systems. Extending the CTT notation, the salient features of the COMM notation include the concepts of interactive role and modal task as well as a refinement of the temporal operators applied to tasks using the Allen relationships. The COMM notation and its on-line editor e-COMM (http://iihm.imag.fr/demo/editeur/) have been successfully applied to a large scale project dedicated to a multimodal military command post for the control of unmanned aerial vehicles (UAV) by two operators.

Les Millions d’Arlequin est un ballet créé en 1900, fruit du talent et de la passion pour leur métier de deux figures significatives de la scène du Théâtre Mariinski à Saint-Pétersbourg à la fin du XIXe et au début du XXe siècle : le chorégraphe français Marius Petipa et le compositeur et chef d’orchestre italien Riccardo Drigo. 1900 est une date symbolique, la fin d’une époque et le début d’une autre, l’aboutissement du style académique dans le ballet classique russe et l’apparition de nouvelles tendances dans la chorégraphie qui vont triompher avec Les Ballets russes de Diaghilev. Nous connaissons bien les grands ballets de Petipa comme La Belle au bois dormant, Raymonda ou La Bayadère, mais une partie de l’œuvre de ce grand chorégraphe, ses ballets créés dans les années 1900, reste dans l’oubli. C’est aussi le cas pour la musique de Riccardo Drigo, qui comme la plus grande partie de la musique de ballet, est souvent reléguée au second plan. Par notre travail, grâce à une analyse détaillée de la dramaturgie musicale et à l’aide de nombreux documents que nous avons réussi à découvrir, nous aimerions faire sortir cette œuvre de l’oubli et montrer son importance pour l’histoire de la danse et l’évolution de la musique de ballet. Ce travail sur Les Millions d’Arlequin invite aussi à réfléchir sur le rapport envers les chorégraphies du passé, y compris les œuvres de Petipa, sur la nécessité et les moyens de les reconstruire, et sur la place qu’elles devraient avoir dans le répertoire actuel des troupes de ballet classique. / Harlequin’s Millions is a ballet created in 1900, the fruit of the talent and a passion for their craft of two major figures of the Mariinsky Theatre in St. Petersburg in the late 19th and early 20th century: the French choreographer Marius Petipa and the Italian composer and conductor Riccardo Drigo. 1900 is a symbolic date, the end of one era and the beginning of another, the culmination of the Academic style in Russian classical ballet and the emergence of new choreographic trends that will triumph with the Ballets Russes of Diaghilev. We are familiar with Petipa’s great ballets such as The Sleeping Beauty, Raymonda or La Bayadère, but a part of the work of this great choreographer, the ballets created in the 1900s, remain in oblivion. This is also the case for the music of Riccardo Drigo, which like much ballet music is often relegated to the second class.Through our work, based on a detailed analysis of musical dramaturgy and drawing on many documents we discovered, we would like to bring this work out of oblivion and to demonstrate its importance to the history of dance and the evolution of ballet music. This work on Harlequin’s Millions also invites reflection on the place of the choreography of the past, including Petipa’s works; on the need and the ways to revive it; and on the place it should have in the current repertoire of classical ballet companies.