Les interventions humaines de plus en plus fréquentes et persistantes dans les écosystèmes d'une part, et l'intensification des systèmes de cultures d'autre part qui s'accompagne pour partie de méthodes radicales pour combattre les bio-agresseurs des cultures, nous posent de multiples questions au sujet des risques écologiques liés aux changements des milieux, dont les perturbations induites sur les communautés d'organismes vivants. Les nématodes phytoparasites (NPP), vers ronds microscopiques telluriques qui occasionnent des pertes de production végétale importantes, sont partout présents en communautés. Ces nématodes répondent rapidement aux forçages extérieurs (e.g. anthropiques et environnementaux) par des modifications de la structure de leurs communautés. Par ce travail de thèse, nous cherchons à mieux comprendre l'effet des facteurs impliqués dans l'assemblage des espèces de NPP en communautés associées à l'olivier méditerranéen et à déterminer la réponse de ces communautés aux forçages imposés par la domestication de l'olivier, par l'intensification de sa culture et par différents facteurs environnementaux. L'étude a été réalisée au Maroc dans toutes les régions oléicoles (vergers traditionnels à faible densité et vergers à haute-densité), dans les zones refuge d'olivier sauvage (oléastre) et sur olivier féral. Les facteurs pédoclimatiques qui caractérisent les sites d'échantillonnage ont également été pris en considération. L'analyse de la nématofaune a révélé d'une grande diversité spécifique, de nombreuses espèces étant décrites pour la première fois sur olivier, et une nouvelle espèce (Meloidogyne spartelensis) ayant été découverte. La diversité, la composition taxonomique, trophique et fonctionnelle, la dominance des taxons, les patrons de communautés sont fortement affectés par les différents forçages pris en compte. Le gradient d'anthropisation croissante (sauvage vs féral vs cultivé traditionnel vs cultivé haute-densité) est la variable qui impacte le plus la diversité par réduction de la richesse spécifique et l'augmentation de l'abondance en NPP. L'étude a également porté une attention particulière sur la diversité des nématodes à galles des racines du genre Meloidogyne, un des principaux ravageurs de l'olivier. Elle a indiqué la dispersion de M. javanica dans les vergers et sur olivier féral, alors que d'autres espèces (M. arenaria, M. hapla et M. spartelensis) sont confinées dans les zones refuge des oléastres. Afin d'analyser la diversité génétique, des marqueurs morphologiques et moléculaires ont dévoilé d'une diversité importante entre et au sein des différentes populations de Meloidogyne. Les études diligentées dans le cadre de cette thèse confirment que la diversité et la structure des communautés de NPP pourraient être des indicateurs pertinents pour évaluer la santé des sols dans les agro et écosystèmes, en corrélant diversité et pathogénicité des communautés. Elles soulignent donc l'importance de la diversité parasitaire comme variable prioritaire à prendre en compte pour inspirer des stratégies de gestion des parasites basées sur le concept de résilience de la diversité (même s'il s'agit de parasites), pour une gestion durable des communautés de NPP et la préservation des milieux. / Human activities increasingly frequent and persistent in ecosystems on one hand, and cropping system intensification on the other hand partly with radical methods to control pests and diseases of crops, raise questions about the ecological risks related to biotop changes, including disturbances of living organism communities. Plant-parasitic nematodes (PPN), microscopic round soil-borne worms that cause significant losses of crop production, are everywhere present in communities. They respond quickly to external forces (e.g. human and environmental) by changing the structure of their communities. In this thesis, we seek to better understand the effect of the factors involved in the assemblage of PPN species in communities associated with the Mediterranean olive tree and to determine the response of these communities to forces imposed by olive domestication, by crop intensification and by various environmental factors. The study was conducted in all olive-growing regions in Morocco (traditional low density and high density orchards), in refugia areas for wild olive (oleaster) and on feral olive trees. The soil and climatic factors that characterize the sampling sites were also considered. The analysis of the nematofauna revealed a wide species diversity, many species being described for the first time on olive tree, and a new species (Meloidogyne spartelensis) have been discovered. The diversity, the species / trophic / functional structure of the communities, the dominance of the taxa, and the community patterns are strongly affected by the various forces considered. The increasing anthropogenic gradient (wild vs feral vs traditional cultivation vs high-density cultivation) is the variable that mostly impacts the diversity by reducing the species richness and increasing the abundance of PPN. A particular attention was attributed in this study to the diversity of root-knot nematodes Meloidogyne, a major pest of the olive tree. It revealed that M. javanica is widespread in orchards and olive feral, while other species (M. arenaria, M. hapla and M. spartelensis) are confined in oleaster refuge areas. In order to analyse the genetic diversity, morphological and molecular markers have revealed a significant diversity between and within different Meloidogyne populations. These thesis studies confirm that both the diversity and the structure of the PPN communities could be relevant indicators to assess soil health in agro and ecosystems, by correlating diversity and pathogenicity of communities. They therefore emphasize the importance of parasite diversity as a main variable to consider for inspiring pest control strategies based on the concept of diversity resilience (even if it concerns parasites) for sustainable management of PPN communities and for environment preservation.

Olivier Messiaen and Naji Hakim are both representative composers of the twentieth century. For the performer this "modern" music is difficult to analyze because of the increased complexities of its harmonic language. Therefore the purpose of this study is to demonstrate a way to approach Naji Hakim's Le Tombeau d'Olivier Messiaen through Messiaen's own musical language. This study examines how Hakim has borrowed Messiaen's theory and used it in his own piece. Chapter I outlines the purpose and motive of this study. Chapter II briefly outlines the piece, introduces the meaning of Tombeau in music history, and presents Messiaen's modes of limited transposition, one of the main sources used in the composition of Le Tombeau d'Olivier Messiaen. Chapter III details Messiaen's influence in Hakim's piece. This influence consists of four elements: melody, mode, harmony, and extra-musical ideas. This chapter is the primary portion of the document. After examining the influence of Messiaen, a conclusion of this study is offered in Chapter IV. Four appendixes are attached to this document: an interview with Naji Hakim about Le Tombeau d'Olivier Messiaen; the modes of limited transposition in Le Tombeau d'Olivier Messiaen; a biographical sketch of Naji Hakim; and program notes from Le Tombeau d'Olivier Messiaen.

No description available.

No description available.

No description available.

356181\u Ce mémoire est une réflexion philosophique sur l’infini et l’indéfini, champ de recherche en arts visuels en relation avec ma pratique personnelle. Je vous propose une recherche basée sur les enjeux impliqués dans la construction, la présentation et la représentation de mes œuvres produites au cours de ma maîtrise, soit de 2017 à 2019. Ce projet d’écriture accompagne l’exposition «Reproduire l’improbable », qui a pour but d’amplifier l’appréciation de l’objet abstrait en présentant son portrait en peinture.

Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2017 / Bien que ce texte accompagne l'exposition du même nom, il ne peut pas être tenu de la décrire ou de l'expliquer directement. Je ne tenterai pas de rendre compte de quelque chose qui ne s'est pas encore réalisé car je ne planifie jamais ainsi, qu'il s'agisse de peindre un tableau ou de mettre en place une exposition. Toute planification doit être mise à l'épreuve de son incarnation physique en se gardant toujours la liberté nécessaire au changement ou à la disparition. De là vient l'impertinence de faire état d'intentions aussi précises, comme si une maquette attendait quelque part de prendre vie. Je suis confiant que les raisons pour cela sauront transparaître à la lecture de ce qui suit. Ce que je tenterai de mettre en mots sont des processus, approches, positions, façons de vivre la peinture et conditions de pratique qui sont actuelles et donc cohérentes avec l'exposition en question. Je tenterai également de montrer comment mon évolution dans le monde du graffiti, antérieure et souvent indépendante de tout travail en atelier, aura été pour moi une influence majeure et durable dans tout ce que je fais. J'écris ceci à un moment où plusieurs de mes intérêts et pratiques convergent et s'influencent plus que jamais, tendant même à se confondre dans l'à-venir.

Mon mémoire traite de l’utilisation des outils de composition assistée par ordinateur (CAO) dans cinq de mes œuvres: 1. De deux choses Lune, pour flûte, clarinette, violon, violoncelle et électronique; 2. L’ombre véritable, pour harpe, voix, voix enregistrée et électronique; 3. Par ailleurs, musique acousmatique; 4. Musique du rocher, musique acousmatique; 5. Or Chess, orchestre symphonique. Après avoir présenté mes préoccupations artistiques, j’établis le contexte historique dans lequel s’inscrit mon travail. Je présente ensuite mes recherches ayant conduit à la composition des œuvres à l’étude. Finalement, j’explique, par l’analyse ciblée de chacune des pièces, en quoi les outils de CAO se sont avérés déterminants dans la composition de mes œuvres. J’y aborde, notamment, la programmation textuelle (De deux choses Lune, Par ailleurs), la programmation visuelle (Musique du rocher, Or Chess), ainsi que la manipulation audio (L’ombre véritable).

Este trabalho dedica-se à análise musical de três peças para piano de Olivier Messiaen (1908-1992): Regard de l\"Onction terrible (1944); Neumes rythmiques, (1949) e Le traquet stapazin (1956-1958). Procuramos nos concentrar em uma metodologia que levasse em consideração a inter-relação entre análise musical, análise da performance, percepção e performance musical, a fim de construir uma concepção analítica original das peças analisadas. Desse modo, relacionamos o corpus teórico de Messiaen a trabalhos de autores como: Hasty (1997), que desenvolve a ideia de projeção rítmica a partir da análise musical, não só da partitura, mas também pela audição de gravações; Straus (2005) e Healey (2013), sobre a aplicação da teoria dos conjuntos na identificação e compreensão dos materiais harmônicos de Messiaen; Cook (2009), Rink (2001), Fortunato, (2011), Gasques, (2013) e Rosa (2015), sobre a análise da performance a partir de material gravado; e por fim, o estudo das peças ao piano como fonte de retroalimentação entre a análise e a performance. Ao relacionar outras metodologias ao material teórico de Messiaen, procuramos lançar um olhar mais independente sobre sua obra, ora complementando, ora ressaltando o conteúdo deixado por Messiaen em seus registros. A estrutura dessa tese se configura em 5 capítulos. O primeiro aborda o referencial teórico que tomamos como base para as nossas análises. O segundo, o terceiro e o quarto capítulos tratam das análises das obras Regard de l\"Onction terrible, Neumes rythmiques e Le traquet stapazin, respectivamente. Procuramos atentar às particularidades de cada peça ao escolher as ferramentas mais adequadas à sua análise. Regard de l\"onction terrible exigiu um aprofundamento maior em relação às referências simbólicas inerentes à sua composição. Neumes rythmiques, por sua vez, apresenta uma linguagem mais técnica, o que nos levou a enfocar os processos de manipulação do material musical. Le traquet stapazin emprega materiais mais descritivos, advindos dos cantos de pássaros e de seu habitat, entretanto, estabelecemos uma relação destes materiais com outros mais abstratos presentes na linguagem composicional de Messiaen. O quinto capítulo traz uma discussão sobre as inter-relações na linguagem musical e pianística de Messiaen, traçando um paralelo entre as ideias desenvolvidas em seu material teórico e as análises das peças. / This work dedicates itself to the musical analysis of three piano pieces by Olivier Messiaen (1908-1992): Regard de l\'Onction terrible (1944); Neumes rythmiques (1949) and Le traquet stapazin (1956-1958). We have tried to focus on a methodology that took into account the interrelationship between musical analysis, performance analysis, perception and musical performance, in order to build an original analytic design of the analyzed parts. Thus, we relate the theoretical corpus of Messiaen to the works from authors such as: Hasty (1997), who develops the idea of rhythmic projection from the musical analysis, not only of the sheet music but also by listening to recordings; Straus (2005) and Healey (2013), on the application of set theory in the identification and understanding of Messiaen\'s harmonic materials; Cook (2009), Rink (2001), Fortunato, (2011), Gasques, (2013) and Rosa (2015) on performance analysis from recorded material; and finally, the study of the piano pieces as a source of feedback between analysis and performance. In relating other methodologies to the theoretical material of Messiaen, we try to launch a more independent look towards his work, sometimes complementing, or emphasizing the content left by Messiaen in his records. The structure of this thesis is configured in 5 chapters. The first deals with the theoretical framework we take as a basis for our analysis. The second, third and fourth chapters deal with the analysis of the pieces Regard de l\'Onction terrible, Neumes rythmiques and Le traquet stapazin, respectively. We have tried to pay attention to the particularities of each piece by choosing the most appropriate tools for its analysis. Regard de l\'Onction terrible required further deepening in relation to the symbolic references inherent to its composition. Neumes rythmiques, in turn, presents a more technical language, which led us to focus on the handling processes of the musical material. Le traquet stapazin employs more descriptive materials, coming from birds\' singing and their habitat, however, we have established a relation between these materials and other more abstract present in the compositional language of Messiaen. The fifth chapter discusses the interrelationships in Messiaen\'s musical and pianistic language, drawing a parallel between the ideas developed in his theoretical material, and the analysis of the pieces.

Este trabalho dedica-se à análise musical de três peças para piano de Olivier Messiaen (1908-1992): Regard de l\"Onction terrible (1944); Neumes rythmiques, (1949) e Le traquet stapazin (1956-1958). Procuramos nos concentrar em uma metodologia que levasse em consideração a inter-relação entre análise musical, análise da performance, percepção e performance musical, a fim de construir uma concepção analítica original das peças analisadas. Desse modo, relacionamos o corpus teórico de Messiaen a trabalhos de autores como: Hasty (1997), que desenvolve a ideia de projeção rítmica a partir da análise musical, não só da partitura, mas também pela audição de gravações; Straus (2005) e Healey (2013), sobre a aplicação da teoria dos conjuntos na identificação e compreensão dos materiais harmônicos de Messiaen; Cook (2009), Rink (2001), Fortunato, (2011), Gasques, (2013) e Rosa (2015), sobre a análise da performance a partir de material gravado; e por fim, o estudo das peças ao piano como fonte de retroalimentação entre a análise e a performance. Ao relacionar outras metodologias ao material teórico de Messiaen, procuramos lançar um olhar mais independente sobre sua obra, ora complementando, ora ressaltando o conteúdo deixado por Messiaen em seus registros. A estrutura dessa tese se configura em 5 capítulos. O primeiro aborda o referencial teórico que tomamos como base para as nossas análises. O segundo, o terceiro e o quarto capítulos tratam das análises das obras Regard de l\"Onction terrible, Neumes rythmiques e Le traquet stapazin, respectivamente. Procuramos atentar às particularidades de cada peça ao escolher as ferramentas mais adequadas à sua análise. Regard de l\"onction terrible exigiu um aprofundamento maior em relação às referências simbólicas inerentes à sua composição. Neumes rythmiques, por sua vez, apresenta uma linguagem mais técnica, o que nos levou a enfocar os processos de manipulação do material musical. Le traquet stapazin emprega materiais mais descritivos, advindos dos cantos de pássaros e de seu habitat, entretanto, estabelecemos uma relação destes materiais com outros mais abstratos presentes na linguagem composicional de Messiaen. O quinto capítulo traz uma discussão sobre as inter-relações na linguagem musical e pianística de Messiaen, traçando um paralelo entre as ideias desenvolvidas em seu material teórico e as análises das peças. / This work dedicates itself to the musical analysis of three piano pieces by Olivier Messiaen (1908-1992): Regard de l\'Onction terrible (1944); Neumes rythmiques (1949) and Le traquet stapazin (1956-1958). We have tried to focus on a methodology that took into account the interrelationship between musical analysis, performance analysis, perception and musical performance, in order to build an original analytic design of the analyzed parts. Thus, we relate the theoretical corpus of Messiaen to the works from authors such as: Hasty (1997), who develops the idea of rhythmic projection from the musical analysis, not only of the sheet music but also by listening to recordings; Straus (2005) and Healey (2013), on the application of set theory in the identification and understanding of Messiaen\'s harmonic materials; Cook (2009), Rink (2001), Fortunato, (2011), Gasques, (2013) and Rosa (2015) on performance analysis from recorded material; and finally, the study of the piano pieces as a source of feedback between analysis and performance. In relating other methodologies to the theoretical material of Messiaen, we try to launch a more independent look towards his work, sometimes complementing, or emphasizing the content left by Messiaen in his records. The structure of this thesis is configured in 5 chapters. The first deals with the theoretical framework we take as a basis for our analysis. The second, third and fourth chapters deal with the analysis of the pieces Regard de l\'Onction terrible, Neumes rythmiques and Le traquet stapazin, respectively. We have tried to pay attention to the particularities of each piece by choosing the most appropriate tools for its analysis. Regard de l\'Onction terrible required further deepening in relation to the symbolic references inherent to its composition. Neumes rythmiques, in turn, presents a more technical language, which led us to focus on the handling processes of the musical material. Le traquet stapazin employs more descriptive materials, coming from birds\' singing and their habitat, however, we have established a relation between these materials and other more abstract present in the compositional language of Messiaen. The fifth chapter discusses the interrelationships in Messiaen\'s musical and pianistic language, drawing a parallel between the ideas developed in his theoretical material, and the analysis of the pieces.