Das Notierte spielt im klassischen Musikbetrieb eine viel zu große Rolle. Seine ›genaue‹ Befolgung ist die Ursache für allerlei anachronistische Ideologien und Missverständnisse. Die genaue Abstufung der Dynamik anhand der angegebenen Buchstaben steht in markanter Konkurrenz zu den grammatischen, oratorischen und pathetischen Akzenten (H.Chr. Koch) und zur Takthierarchie, wie sie seit dem 15. Jahrhundert gegolten hat. Die Äquidistanz des Notierten führt zur Ideologie des stabilen Tempos, das einem Missverständnis aus einer (falsch verstandenen) Rezipientenperspektive gleichkommt. Die »invitation to collaborate« (Barrett) erstreckt sich einerseits auf die Anreicherung und Variation des Notierten in der solistischen Musik vom 16. bis 20. Jahrhundert, andererseits gelegentlich auch auf eine Reduktion gegenüber dem geschriebenen Melodieverlauf (z. B. in gewissen Klaviersonaten der Wiener Klassik). Diese Denkweise ist noch immer nicht im praktischen Musikbetrieb (inkl. Wettbewerb und Probespiel) angekommen. Unser Beitrag widmet sich angesichts dieser Sachlage der Frage: Wann, wie und mit welcher Absicht notierten Komponisten des 17.–20. Jahrhunderts (von Sweelinck bis Willy Burkhard) Angaben zu Dynamik, Artikulation und Tempomodifikation, und wann und mit welcher Absicht notierten sie diese gerade nicht, um nichts Ungewolltes zu provozieren. Außerdem gehen wir der Frage nach, wo das Fehlen von Aufführungsangaben auch das gewollte Unterbleiben von jeglichen Veränderungen in Tempo, Dynamik und Artikulation bedeutet – als rhetorische Qualität. / What is notated plays far too large a role in the classical music industry. Its ‘exact’ observance is the cause of all kinds of anachronistic ideologies and misunderstandings. The exact gradation of dynamics based on notated letters is in striking competition with grammatical, oratorical and pathetic accents (H.Chr. Koch) and with the metrical hierarchy that has been valid since the 15th century. The equidistance of the notated leads to an ideology of stable tempo, which is tantamount to a misunderstanding from a (misunderstood) recipient’s perspective. The “invitation to collaborate” (Barrett) extends on the one hand to enrichment and variation of what is notated in soloistic music from the 16th to the 20th century, and on the other hand occasionally to a reduction in relation to the written melodic line (e. g. in certain piano sonatas of the Viennese classical period). This way of thinking has still not arrived in general music practice (including competitions and auditions). In view of this situation, our contribution is devoted to this question: when, how and with what intention did composers of the 17th–20th centuries (from Sweelinck to Willy Burkhard) notate indications of dynamics, articulation and tempo modification, and when and with what intention did they not notate them, so as not to provoke anything unwanted. We also explore the question of where the absence of performance indications also means the deliberate omission of any changes in tempo, dynamics and articulation – in the sense of a rhetorical quality.

Beim Vergleich der handschriftlichen Musiknoten des Dipper Mouth Blues und der berühmten Aufnahme von King Oliver’s Creole Jazz Band wird offensichtlich, dass es sich bei den Noten nicht um ein Leadsheet im Sinne einer Spielpartitur handelt. Die Aufnahme des Stücks mit dem Bandleader und Kornettisten King Oliver, dem Kornettisten Louis Armstrong, dem Posaunisten Honoré Dutrey, dem Klarinettisten Johnny Dodds, Bill Johnson am Banjo, Lil Hardin am Klavier und Baby Dodds an den Perkussionsinstrumenten macht nur Andeutungen an die notierte Melodie. Durch den Vergleich der Transkription der Aufnahme mit der Handschrift kann die Verbindung zwischen den beiden analysiert werden. Dabei wird klar, dass die Musiker*innen die Technik des modularen Kontrapunktes angewendet haben. Mithilfe des Konzepts der Archetypen von C.G. Jung kann die Handschrift adäquat klassifiziert werden. Ungeachtet der substantiellen Unterschiede zwischen Manuskripts und der Aufnahme ist ein gemeinsamer Nenner zu finden, ein Archetyp, welcher die Grundlage für alle Erscheinungsformen des Dipper Mouth Blues ist. / Comparing the copyright deposit of the Dipper Mouth Blues and the famous recording of King Oliver’s Creole Jazz Band, it becomes apparent that the music score is not intended to be used as a lead sheet in the sense of a playing score. The performance with the bandleader and cornet player King Oliver, the cornet player Louis Armstrong, the trombone player Honoré Dutrey, the clarinet player Johnny Dodds, Bill Johnson on banjo, Lil Hardin on piano and Baby Dodds on percussion instruments seems to only contain hints of the same tune in written form. The connection can be analysed by comparing the transcription of the recording with the score. It is found that the musicians apply a technique of modular counterpoint. The concept of archetypes as described by C.G. Jung is used in order to describe and find an appropriate classification for the notation of the copyright deposit. Despite the substantial differences between the score and the recording there is a common denominator, an archetype, that is the source of all manifestations of Dipper Mouth Blues.

Ce mémoire traite des diverses agences de notation et de l'importance qu'elles accordent aux fluctuations du nationalisme dans l'émission des cotes de crédit du Québec de 1970 à 2012. Plus spécifiquement, il a pour objectif de traiter de la situation des finances publiques du Québec, de démystifier le rôle de la notation financière et de déterminer si le nationalisme québécois est une variable spécifique prépondérante dans le processus d'évaluation des agences de notation. L'analyse statistique occupe une portion importante de la démonstration. Ce faisant, il est possible d'établir des modèles, voire des préférences méthodologiques, pour chacune des agences de notation à l'étude dans ce document. Les résultats de cette recherche démontrent que le nationalisme québécois n'est pas une variable spécifique prépondérante dans l'évaluation des agences de notation à l'endroit du Québec mais que ce sont plutôt les facteurs institutionnels et fiscaux qui vont primer lors de l'émission des cotes de crédit.

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The work described provides the development, implementation and evaluation of engineering product design guidelines suitable for engineering product designers. The motivation arises from collaborative efforts that continue to be made by the Least Economically Developed Countries (LDC) and the Most Economically Developed Countries (MDC) towards the development of the engineering design field. It is argued here that product design guidelines which are derived from existing product design methods enhance the capability of engineering designers to shorten time to market, deal adequately with product design constraints and boost supply chains. The sample for the proposed study is comprised of companies in Botswana (a least economically developed country) and the United Kingdom (a most economically developed country). The research has been conducted using a mixed qualitative research approach comprised of aspects from the framework method, cluster analysis and Kolb's model. The findings have identified five themes central to the product design process which are incorporated into the engineering product design guidelines. Case study work was conducted to validate the approach. The following claims are made for contributions to knowledge: 1. A conceptual framework which is a graphical co-ordinate system of engineering and management techniques required by nine engineering product design methods. The conceptual framework is arranged according to two orthogonal axes that describe the structure of the product design process and incorporate the need function form structure, the divergent convergent structure, the product design drivers, product realisation process and product development lifecycles. 2. The product design method notation which is a register of the expressions derived from the conceptual framework and is used to communicate and aid in the selection of a group of techniques being implemented, or intended for implementation by design teams; and 3. The configuration scheme which provides a clear link between components, subassemblies, products, projects, programmes and policies. The critical point put forward by this work is that the conceptual framework is only comprehensible today because the engineering product design methods in the public domain have imparted knowledge about the functions of physical products (described here as part of the need function form structure) at the expense of human needs and the interactive forms of human responses to physical products. The contributions of this research provide a holistic and coherent means of integrating design methodologies for the benefit of design teams in Botswana. The approach is, however, universal and may also be beneficial for design projects in the most economically developed countries.

<p>In printed text, sound is a somewhat forgotten aspect. The recitation of text is vital in areas like poetry and oratory, but still has no distinct technique of being communicated. Emphasis of a word might be expressed through italics, but no canonic character set or system for vocal delivery of texts exists. With this essay we are creating a foundation for a development of such a character set or system. By studying existing visualisations of sound and comparing these with semiotic and perception-based theories we obtain useful insights for a prospective system for visualisations of vocal sounds.</p><p>We conclude that the aspects of sound one wants to visualise must be carefully defined since the viewer cannot process infinite amounts of information. A sound visualisation system does not have to consist of multiple characters or signs to be effective, but had better be built around a strong code to manage the signs into a working system. Creating a context for the signs is also recommended in order to be able to compare signs with eachother.</p>

Business Process Modelling Notation (BPMN) is a standardised diagram notation for modelling interactive workflow processes graphically at the design stage. The primary objective of this thesis is to provide a framework for precise specifications and formal verifications of workflow processes modelled as BPMN diagrams. We provide two behavioural semantics for BPMN in the process algebra Communicating Sequential Processes (CSP). We apply existing CSP refinement orderings to both the refinement of business process diagrams and the verification of behavioural compatibility of business process collaborations. The first semantic model is an untimed model, focusing on the control flow and communication of business processes. The second semantic model extends the first one to capture the timing aspect of behaviour. We also consider the applications of the semantic models. The secondary objective of this thesis is to apply BPMN and the semantic models to reason about long running empirical studies (e.g. laboratory experiments, clinical trials). We introduce a declarative workflow model Empiricol for recording trials and experiments precisely, and define bidirectional transformation functions between BPMN and Empiricol. Using the transformation functions, we make graphical specification, simulation, automation and verification of trials and experiments possible. We provide two case studies on the applications of BPMN’s formalisations.

Au cours de ces dernières années, la notion de la gouvernance d’entreprise fait l’objet d’un regain d’intérêt en raison de la faillite spectaculaire et des pertes importantes de quelques grandes entreprises (Enron, Worldcom…). Ainsi, le thème de la gouvernance des entreprises a pris, une préoccupation cruciale des chefs d’entreprise ainsi que par les investisseurs institutionnels. En effet, l’intérêt pour les bonnes pratiques de gouvernance d’entreprise a pris une importance de premier rang. Suite à cette attention accordée par les investisseurs aux pratiques de gouvernance, la notation de la gouvernance d’entreprise est devenue une pratique de plus en plus courante soit à travers des services de notation spécialisés ou avec l’intégration du système de gouvernance d’entreprise dans la notation financière. Notre objectif est d’identifier, à partir d’un échantillon de 132 entreprises françaises cotées sur la période 2002-2008, une structure de gouvernance appréhender par le fonctionnement du conseil d’administration, la structure de propriété et les caractéristiques du dirigeant. Plus précisément, notre travail consiste à calculer un score de gouvernance d’entreprise, comportant plusieurs variables, selon la méthode d’enveloppement des données (DEA). Les résultats obtenus montrent que les firmes françaises interrogées possèdent un indice d’efficience de gouvernance de 68 %. Ainsi, nous avons pu identifier des rapports entre le score de gouvernance et les autres caractéristiques des firmes. Ensuite, nous avons pu déterminer les pratiques qui permettent d’améliorer la qualité de la gouvernance, tout en se basant sur la performance de la firme. Enfin, nous avons pu établir, à partir d’un système d’équations simultanées, un lien de causalité entre la gouvernance et la performance de la firme. / Corporate governance has been the subject of a renewed interest for a few years because of the spectacular bankruptcy and of the significant losses of some large companies (Enron, WorldCom, Vivendi…). Thus, the theme of corporate governance has taken a key concern of business leaders and institutional investors. Indeed, interest in good corporate governance practices has gained importance in the forefront. Following the attention given by investors in corporate governance practices, the rating of corporate governance has become a practice increasingly common either through specialized rating services or system integration of corporate governance in credit ratings. Our goal is to identify, from a sample of 132 French listed companies over the period 2002-2008, a governance structure for understanding the functioning of the board of directors, ownership structure and characteristics of the leader. Specifically, our work is to calculate a score of corporate governance, with multiple variables, using the method of data envelopment analysis (DEA). The results show that French firms surveyed have a governance efficiency index of 68 %. Thus, we were able to identify links between the governance score and the characteristics of firms. Finally, we have established, from a system of simultaneous equations, a causal link between governance and firm performance.

Rhythm in early Western polyphonic music.

Throughout the history of public school music in the United States, one of the problems which has continually been in the foreground is that of music reading, It is primarily a problem for the elementary school as that is the place where reading must begin in order for the children's interest and ability to be balanced. The elementary school is the focal point for the teaching of all skills and tools in learning. Certainly, reading is one of the major tools in the process of musical learning. In many cases the ability of the students to read music has been the basic criterion of the entire music program. Davison states that the aim and end of a large percentage of instruction has for so long been to train students to sing music at sight that it has grown to be a fetish. While such a standard as that is an over-emphasis of reading, most music educators will agree that the place of music reading in the elementary school is of utmost importance. The differences of opinions lie not so much in the goals to be reached as in the methods of reaching them. The purpose of this study is not to weigh these various methods as to their usefulness. It is rather to survey as many publications as possible concerning the teaching of music reading in the elementary school and to make a digest of the opinions found in them. In agreement with Mursell's statement that anything can be taught effectively in a considerable number of ways,2 it is the writer's belief that there is no one best method for teaching music reading. The desired outcome of this study is to present an adequate digest of the material published about various methods in order that these lines of thought may be followed as they are needed to fit individual teaching problems.