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Ce travail de thèse a pour objectif la définition d'une plate-forme logicielle pour l'interprétation d'orchestrations sur un cluster de bus logiciels. Nous proposons une approche qui permet d'offrir une haute disponibilité et une transparence d'utilisation aux usagers. Cette approche est dirigée par des modèles MDA où chaque niveau de modélisation est atteint après enrichissement de notre architecture avec des informations supplémentaires. Chaque enrichissement est défini comme une transformation entre deux niveaux adjacents. Notre premier niveau CIM se présente comme des spécifications formelles écrites en π-calcul polyadique d'ordre supérieur qui fournissent une définition formelle d'une architecture logicielle pour l'interprétation d'orchestration. Tout système distribué bâti sur cette architecture est capable d'interpréter différents types d'orchestrations de manière parallèle. Nos spécifications sont fortement inspirées du modèle classique bus logiciel, il décrit une architecture fortement modulable qui s'adapte au nombre d'orchestrations à traiter et au nombre de clients qui veulent accéder à ces orchestrations. Notre deuxième niveau PIM nous permet de définir un langage que nous avons baptisé π-DSL qui est un langage dédié aux orchestrations. Il introduit la notion de migration d'orchestrations au système de composition d'orchestration EIP défini par Gregor Hohpe. Le langage que nous définissons à ce niveau est dédié au domaine des orchestrations et permet de construire des orchestrations de façon simple et intuitive. Notre troisième niveau PSM nous permet d'enrichir le niveau précèdent en associant les concepts formels aux implantations concrètes. A ce niveau, nous introduisons des frameworks tels que les conteneurs OSGi, l'outil d'intégration de service Apache Camel ou bien le référentiel de code exécutable Apache Archiva. Ces frameworks sont enrichis dans le cadre de notre implantation afin qu'ils soient fidèles aux spécifications établies dans les niveaux supérieurs. Notre quatrième est dernier niveau est le niveau ISM qui présente le contexte d'exécution de l'architecture proposée. Il est obtenu en ajoutant des informations relatives à chaque outil. Nous avons transformé nos spécifications formelles définies en π-calcul d'ordre supérieur vers un réseau d'automates temporisés La définition complète des transformations d'une spécification à base d'EIP est une autre contribution de cette thèse. Ceci nous conduit à réaliser la transformation de notre spécification π-calcul dans le but de tendre vers une implémentation. Nous nous sommes intéressés à 2 types de propriétés liées à notre architecture : la transparence de localisation, la transparence d'échelle. Ces propriétés sont établies en utilisant notre réseau d'automates temporisés et avec l'emploi d'un outil reconnu dans le monde de la preuve par model-checking, l'outil UppAal. Ainsi, nous validons la possibilité d'établir des propriétés liées à la mobilité de code via un réseau d'automates. Dans le cadre de notre implantation, nous avons adapté les frameworks définis dans le cadre de notre PSM afin qu'ils respectent la modélisation formelle réalisée dans la première partie de cette thèse. Nous proposons aussi des outils en vue de l'édition. Ces outils couvrent tout le cycle de vie de l'architecture proposée. Notre framework d'interprétation apporte les transparences décrites dans nos modèles auxquelles s'ajoutent de nouvelles propriétés de transparences provenant de nos choix de réalisation. Pour mesurer le coût de la migration sur les orchestrations durant l'évaluation de notre framework nous utilisons SoapUI comme outil de mesure. Pour réduire au maximum les effets des perturbations sur le code source des différentes orchestrations, nous avons développé nos propres outils de mesure. Nos tests portent sur un comparateur de prix car il représente un scénario classique de benchmarking utilisé par d'autres frameworks d'orchestrations / This thesis aims to define a software platform for the interpretation of orchestrations on a cluster of ESBs. We propose an approach to provide high availability and transparency to users. This approach is model driven, where each modeling level is reached after enrichment of our architecture with additional information. Each enrichment is defined as a transformation between two adjacent levels. Our first level (CIM) is written as formal specifications in polyadic higher-order π-calculus that provide a formal definition of the software architecture that is used for the interpretation of orchestration. Any distributed system built on this architecture is able to interpret different types of orchestrations in parallel. Our specifications are based in traditional software model bus, it describes a highly scalable architecture that adapts to the count of orchestrations to be treated and the count of customers who want to access these orchestrations. Thus, location transparency, transparency of scale or the access transparency are enhanced through the specification of π-calculus terms. Our second level (PIM) allows us to define a language that we call π-DSL, this is a language dedicated to the orchestrations. It introduces the concept of migration of orchestrations system build on orchestration based on EIP composition defined by Gregor Hohpe. At this level, we define this language dedicated to the domain of orchestrations and helps build orchestrations in a simple and intuitive way. Our third level (PSM) enables us to enrich the previous level combining formal concepts to practical implementations. At this level, we introduce frameworks such as OSGi containers, the integration of Apache Camel Service or the Apache Archiva tool as repository of executable code. These frameworks are enhanced as part of our transformation, so they are compatible to the specifications laid down in the upper levels. The fourth and the last level (ISM) provides the executions context of the proposed architecture. It is obtained by adding information about each tool. This level represents the culmination of the MDA that we adopt in the context of our approach. We turned our formal specifications defined in higher order π-calculus to a network of timed automata. The definition of the complete transformation of an EIP based specification is another contribution of this thesis. Indeed, in order to automate our approach, we focused on the specification of the platform but also in the interpretation tools. This leads us to realize the transformation of our π-calculus specification in order to move towards an implementation. We are interested in two types of architecture related to our properties : Location transparency; Scale transparency. These properties are established using our network of timed automata and the use of a globally recognized proof using UppAal model-checking tool. Thus, we validate the feasibility of proofing the properties related to the mobility of code via a network of automata. As part of our implementation, we have adapted defined frameworks in our ISM in order to respect the formal modeling defined in the first part of this thesis. We also offer tools for editing, processing and the interpretation of orchestration in a distributed heterogeneous environment. These tools cover the entire life cycle of the proposed architecture. Our interpretation framework provides transparencies described in our models plus new properties transparencies from our implementation choices. To measure the cost of the migration of orchestrations during the evaluation of our framework, we use SoapUI as a measurement tool that interfaces with orchestrations by a web services interface. To minimize the effects of disturbances on the source code of different orchestrations, we have developed our own measurement tools

Through the researcher's experience and informal discussions with other pedagogues working in tertiary music environments, the researcher was of the opinion that there is currently not a comprehensive arranging/orchestration method book that could be used exclusively as a course text in post-secondary arranging courses. While there are numerous published method books available, they are generally produced in North America and do not address all the needs of an arranging/orchestration course. The aim of the research was to find what are the constituent parts and theoretical underpinnings of a model Arranging course text book. Also, to find what materials are currently being used by lecturers and teachers throughout Australasian universities, colleges and other institutions for the delivery of arranging (and/or orchestration) courses, and if these materials differ from those used in North America. Of interest are the assumptions made in the background knowledge of the students entering these courses from upper-secondary level or otherwise and if this project can assist students making the transition. Finally, is there potential to have a standard text published in Australia, what are the important elements that should be included, and is it possible to deliver such a text as an online document? The research showed that most teachers and lecturers in post-secondary school music courses teaching arranging/orchestration use extracts from several books and link them together, filling in the gaps, with their own methodologies and experiences. The problem with this approach is the resultant lack of uniformity through the various sections of the course; in particular the musical examples used and the availability of audio recordings of the examples. Some older published texts, while valuable in their content, do not supply audio recordings. Most texts investigated that do supply audio recordings only demonstrate good arranging/orchestration techniques and fail to compare the same example conceived through poor technique. This study revealed some important findings about the lack of a course method book existing that met the needs of educators delivering post-secondary courses in arranging. The key elements of such a course book were identified through research and then written into a model text (the project) with accompanying CD audio examples. Upon gaining valuable insights and completing the project, there was some scope for improving, extending (or changing delivery method) and publishing the project.

Diss.--München--Univ., 1998. / Bibliogr. p. 288-307.

Thesis (M. Phil.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 107-108).

Inaugural-Dissertation - Leipzig. / "Vita": p. [89]. "Bibliographischer Überblick": p. 3-7.

Bright Sheng (b. 1955) has won international acclaim for successfully fusing disparate musical elements in his works. Listeners can trace Chinese pentatonic scales and instrumental effects mixed with Western classical structures. Postcards (1997) is a well-received orchestral work that successfully merges diverse musical styles and compositional techniques. Sheng based Postcards on material from his Four Movements for Piano Trio (1990). He applies masterful and distinctive orchestration to transform the chamber work into a multi-layered and colorful orchestral canvas. He fuses polyrhythm and post-tonal compositional techniques such as polytonality with Chinese musical elements, including folk song quotations, pentatonic scales and extended instrumental effects. The resulting hybrid is an outstanding artistic work that warrants further discussion and analysis for deeper understanding This study provides an overview of Sheng’s life experience and educational background in Chapter 1. Chapter 2 and 3 present a detailed analysis of the important compositional attributes and orchestration techniques Sheng applies in Postcards. Chapter 4 provides important performance considerations for conductors to enhance preparation. With an understanding of Sheng’s hybrid style, it is hoped that conductors will have a better interpretative grasp to lead an informed performance and scholars will have a better context for Sheng’s orchestral compositions.

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Thesis (MMus) -- Stellenbosch University, 2010. / The wind band is a far underused composition medium in South Africa. Partially, this is due to the stereotypical view towards the ensemble and unfamiliarity with dealing with the heterogeneous timbral pallet. The author aimed to demonstrate the ensemble’s capabilities through a systematic orchestration process. The result of this dissertation is an orchestration of a large-scale work, From the Poets, for wind band. This creative research resulted in a systematic critical investigation of instrumental idiosyncrasies, balance, conventions of notation and timbre combinations found in the wind band. Furthermore, the author scrutinised the benefits and shortcomings of the aforementioned systematic process. Concluding that, through a methodical process, an orchestrator achieves a thorough understanding of the original text and can thus translate without fear of making unfavourable musical decisions. However, as this was a two-year process, the method might not work in the time constraints presented in real world situations, such as the music industry for instance. The author provides possible adaptations to the method in order to cope with the above-mentioned time constraints. / Die blaasorkes is ʼn vêr-onderbenutte medium vir komposisie in Suid-Afrika, deels as gevolg van die stereotipiese siening oor die ensemble en 'n gebrekkige kennis in die hantering van die orkes se heterogene toonkleur palet. Die skrywer het hom beywer om die ensemble se vermoëns te demonstreer deur middel van 'n stelselmatige orkestrasieproses. Die resultaat van hierdie skripsie is 'n orkestrasie van 'n grootskaalse werk, From the Poets, vir blaasorkes. Hierdie kreatiewe navorsing het gelei tot 'n sistematiese kritiese ondersoek met betrekking tot instrumentale eienaardighede, balans, konvensies van notasie en toonkleur kombinasies wat ʼn blaasorkes bied. Verder het die skrywer die voordele en tekortkominge van die bogenoemde proses ondersoek. Die gevolgtrekking is dat, by wyse van, 'n metodiese proses, 'n orkestrator 'n deeglike begrip van die oorspronklike teks kan bereik en dus die materiaal vertaal sonder vrees om ongunstige musikale besluite te maak. Aangesien die navorsing 'n tweejaarlange proses behels het, glo die skrywer dat hierdie metode moontlik ontoereikend mag wees gegewe die tydsbeperkinge wat dikwels deur die musiekindustrie opgelê word. Derhalwe bied die skrywer ook moontlike aanpassings tot sy metode om die bogenoemde tydsbeperkings te akkommodeer.

This study has attempted to observe and understand the reorchestrations of the four Robert Schumann symphonies through the analysis of revisions found in the edited scores of several eminent conductors. To provide a faithful and effective performance of Schumann's orchestral conception, the conductor may find it necessary to alter certain features in his scores. Conductors have complained that Schumann's symphonies are ineffectual in many passages. This is the reason they are less frequently performed than they deserve. Four performance editions of the complete Schumann symphonies were chosen to form the basis for this study. They are: Gustav Mahler, Arturo Toscanini, George Szell, Felix Weingartner. The revisions of other conductors were incorporated as available and appropriate. These include: Fritz Reiner, Bruno Walter, Wilhelm Furtwangler, Georg Solti, Joseph Keilberth, Gotthold Lessing, Willem Mengelberg, Eugene Ormandy, Hans Pfitzner, Theodore Thomas, Max Reger, Fritz Busch. The study of Schumann's orchestration involved the investigation of his development as an orchestral composer, including the influence of the piano on his scoring and his understanding of the orchestra. The state of the orchestra in Schumann's time and his development as an orchestral composer were also studied in order to better understand his technique in terms of his orchestral experience. The study of the revisions reveals that Schumann's scoring was less successful than many other composers in providing an orchestration which supports and clarifies the structural logic of the composition. It thus becomes the conductor's responsibility to assume the role of editor to provide a faithful performance of the work. Analysis of the reorchestrations reveals changes concerning dynamic balance, clarity, timbre and style, as well as manner of performance. This study has attempted to provide vital information about the performing editions and the aesthetic effect achieved through alteration of the original Schumann scores.