Cette thèse part du constat selon lequel les élèves domiens obtiennent, depuis plusieurs années déjà, des résultats inférieurs à ceux des élèves métropolitains aux évaluations nationales; le plus étonnant est que les écarts observés sont plus importants en mathématiques qu'en français. Nous nous intéressons alors à des caractéristiques culturelles (le bilinguisme et les représentations collectives) susceptibles d'influencer les apprentissages scolaires, dans un département français que l'on peut considérer comme un "laboratoire naturel": la Martinique. Quatre études sont menées auprès de deux niveaux scolaires (en cours élémentaire et en 6ème). La première étude consiste en analyses secondaires des données des évaluations nationales, portant sur plusieurs années. Elles confirment la réalité du constat posé éliminent l'hypothèse d'une difficulté particulière dans un champ spécifique des mathématiques (par exemple, la géométrie) et celle d'un biais d'items. La seconde étude, à travers un dispositif expérimental permettant 1) de mesurer le bilinguisme dans ses versants social et cognitif des élèves martiniquais 2) d'évaluer de façon diverse les performances des enfants en mathématiques et 3) de recueillir leurs résultats aux évaluations nationales, réfute l'hypothèse de l'influence du bilinguisme sur les apprentissages. La troisième étude s'intéresse alors au lien entre les représentations culturelles (et plus spécifiquement les représentations des enfants quant aux disciplines scolaires) et leurs performances. Les résultats obtenus ne permettent pas de conclure que les enfants martiniquais ont des représentations moins favorables envers les mathématiques que les enfants métropolitains. La dernière étude compile des données recueillies lors des dispositifs précédents afin de renforcer l'hypothèse réfutée quant à l'influence du bilinguisme français / créole sur les apprentissages. Tout en interprétant ces résultats, nous proposons enfin des pistes de réflexion que ce soit au niveau de la méthodologie et des instruments utilisés dans cette étude, ou au niveau d'autres pistes culturelles à explorer. / In this thesis, we try to explain why French overseas pupils have got, for many years, inferior performances to their mainland French school fellows at national academic evaluations. The most surprising is that the observed differences are stronger in mathematics than in French. Then, we focus on the cultural characteristics (bilingualism and collective beliefs) able to influence the school learning, in a French Overseas Department considered as a ?natural laboratory?: Martinique. We carry out four studies with two educational levels (in elementary school and first year of the secondary school). In the first study, we make side analysis of several years' national academic data. They acknowledge the observation as a reality and they invalidate two hypotheses, one to a specific difference in a particular field of mathematics (in geometry for example) and a second relative to an item differential functioning. In the second study, an experimental procedure allows 1) to measure social and cognitive bilingualism of Martinican pupils, 2) to evaluate with different procedures the children performances in mathematics and 3) to collect their scores at national evaluations. This second study refutes the hypothesis of the influence of bilingualism on academic learning. In the third study, we deal with the link between social beliefs (specifically the children?s beliefs of the school disciplines) and their performances. The results do not allow to conclude that the martinican children have worst beliefs of the mathematics than the French mainland children. In the last study, we compile data collected in the precedent analysis, in order to refute the bilingualism?s influence on the school learning. Finally, in the same time, we explain our observations and we submit considered perspectives relatives, for one part, to methodology and the instruments used in this research and, for the second part, to others cultural perspectives, which could be explore.

The Viola Concerto No. 1 was commissioned in 2010 by Xidi Shen, a viola professor at the Shanghai Conservatory of Music, and composed the same year by Zili Li (b. 1938), a Chinese composer and violinist. For musical, cultural, and technical reasons, this little-known Chinese viola concerto strongly aroused my interest, leading me to use it as the research subject for my doctoral dissertation and to also introduce this work to Western violists. This dissertation provides a performance guide to Zili Li's Viola Concerto No. 1. By analyzing the Mongolian music topics used in the work as well as addressing its typical Mongolian-style string performance techniques, the dissertation should provide a foundation for viola players who wish to play the work but are not familiar with this specific style. In addition, I hope that it can serve as an inspiration to other string players who are playing works based on Mongolian music.

With the importance of versatility in freelance work in the world of trombone performance, along with increased competition for that work, the need for players to play alto, tenor, and bass trombones to a high level of proficiency has become more and more crucial. This, coupled with the growing number of orchestras looking to hire musicians who are highly competent on all three instruments means that university professors need to be able to teach all three instruments. This evolution of the job market is driving a need for pedagogical material that is specifically designed to address the unique challenges of practicing and performing at a professional level on the main three instruments in the trombone family. As of the time of writing, this material simply does not exist. This project aims to fill that instructional gap. It gives students and teachers a resource that outlines an approach for a four-year undergraduate course of study that allows for the development of the playing of each of the trombones individually and collectively, utilizing the strengths of one instrument to develop the other two. It will also allow for the exploration of the technical challenges that arise when playing and changing between instruments. This four-year course of study combined with a clear explanation of numerous routines can be used from early in a student's development. It can be tailored to their specific needs and will give any teacher and student a comprehensive and holistic method for the acquisition of the skills needed to become a successful utility trombonist.

The intent of this dissertation is to explore the development of wind bands in China and the integration of the saxophone into these performing groups, beginning from the late Qing Dynasty through the early Republican era and contemporary military bands and wind bands. While acknowledging the historical context, this study concentrates on the role of the saxophone in selected compositions for wind band. By examining the cultural motivations that inspired Chinese composers to incorporate the saxophone into the fabric of the wind band repertoire, the document sheds light on the distinctive soundscape to which it contributes. The research includes a focused examination of esteemed composers such as Chen Qian (陈黔, chén qián), whose innovative works bridge traditional Chinese musical idioms and Western influences; Chen Yi (陈怡, chén yí), recognized for her integration of Chinese folk elements into the wind band genre; Bright Sheng (盛宗亮, shèng zōngliàng), whose compositions reflect a confluence of cultural narratives; and Wang Hesheng (王和声, wáng héshēng), known for his contributions to the development of Chinese wind music.

This dissertation provides a performance guide for the two quartets for saxophones by the Chinese composer Guo Yuan (郭元, Guō Yuán) (b. 1965): Eyes Creating Sun-Birds (创造太阳鸟的眼, chuàngzào tàiyángniǎo de yǎn), composed in 2012, and The Eyes Threading Through Sun-Trees (穿越太阳树的眼, chuānyuè tàiyángshù de yǎn), composed in 2021. Guo Yuan is a professor in the Composition Department at the Sichuan Conservatory of Music. He is one of the earliest Chinese composers to have created works for the saxophone. These two pieces were chosen because they demonstrate mature compositional skills and high artistic value, representing a refined level of development of Chinese quartets. Significantly, the composer identifies the two quartets as belonging to a specific series of compositions: both pieces are inspired by the Jinsha (金沙, jīnshā) Site and the Sanxingdui (三星堆, sānxīngduī) Civilization. To facilitate a performance guide, the two works have been analyzed. In particular, an analysis of the method whereby Guo manipulates the timbre and texture through the use of the four parts in the ensemble as well as uses traditional Chinese elements to describe the music should help performers to interpret the desired effect of each compositional technique.

With the emergence and development of Chinese opera market, a large number of excellent composers and original Chinese operas have emerged. Responding to the market demand for opera singers, many jobs came into being. The dissertation is used for western male singer who wants to get job opportunities to perform in China. The dissertation discusses three original Chinese operas, each of which features one tenor aria and one baritone aria. The research results in a performance guide for these six Chinese opera arias, in addition to providing detailed pronunciation rules of the Chinese alphabet along with an IPA (International Phonetic Alphabet) guide, a word-for-word translation of each aria, an analysis of vocal skills and difficulties, and some of the physical requirements of the staging.

Viola orchestral excerpts are challenging in terms of both technique and musicality. While technique is the prerequisite, the current viola research needs more practice about musicality in the orchestral excerpts, especially regarding phrasing. This dissertation presents a phrasing method developed from oboist Marcel Tabuteau’s pedagogical approach to analyze phrasing in the viola orchestral excerpts. By helping violists understand the logic in Tabuteau’s phrasing approach and providing demonstrations in examples, I hope this dissertation can motivate violists to discover their phrasing perspectives and develop individual approaches to improve musical expression.

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-11-14T13:45:52Z No. of bitstreams: 2 Dissertação - Lucas Monteiro dos Santos - 2018.pdf: 3504501 bytes, checksum: 0d4c0230e5a5a9653bc0e517810747c3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-11-19T10:21:59Z (GMT) No. of bitstreams: 2 Dissertação - Lucas Monteiro dos Santos - 2018.pdf: 3504501 bytes, checksum: 0d4c0230e5a5a9653bc0e517810747c3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-19T10:22:00Z (GMT). No. of bitstreams: 2 Dissertação - Lucas Monteiro dos Santos - 2018.pdf: 3504501 bytes, checksum: 0d4c0230e5a5a9653bc0e517810747c3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-10-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The following research talks about the rock and roll and phenomenons that contextualize with this theme, for example the use of the spaces for the fans e the ways of sociabilities that is possible to find in these spaces that the events happen. Talks about the historical processes of this musical style, fundamental piece for the comprehension, and about the moshpit too, corporal performance of the crowd that is completely associated with the experience to be in a rock and roll event. Field researches happened on Goiania, Goiás, and narratives were done about how these events happen and how the moshpit performance happen. The methodological path used was the cultural performance studies, that are coherent with the theme. It is possible to conclude that the ambience that rise when these events happen are full of liminarities and freedom, and all of this context ethic and aesthetical of rock and roll, moshpit and performance comes with a group of restored behaviors e a incorporated knowledge for the people that integrate the scenario and these ambiances. / A seguinte pesquisa aborda sobre o rock and roll e fenômenos que venham se contextualizar com essa temática, a exemplo do uso dos espaços pelos fãs e das formas de sociabilidades que são encontradas nesses espaços em que os eventos acontecem. Aborda-se sobre os processos históricos deste estilo musical, elemento fundamental para sua compreensão, e também sobre o moshpit, performance corporal da plateia que está completamente associada à experiência de se participar de um evento de rock and roll. Pesquisas de campo ocorreram na cidade de Goiânia, Goiás, e foram executadas narrativas de como acontecem os eventos e de como ocorre a performance do moshpit. O caminho metodológico utilizado foi dos estudos em performances culturais, que são coerentes com a temática abordada. É possível concluir que o ambiente que vem à tona quando esses eventos são executados é repleto de liminaridades e de liberdade, e que todo esse contexto ético e estético de rock and roll, moshpit e performance vem de um conjunto de comportamentos restaurados e de um conhecimento incorporado por parte das pessoas que integram esse cenário e esses ambientes.

Bien que les matériaux composites soient déjà très largement utilisés dans de nombreux domaines il n’en demeure pas moins qu’ils présentent toujours des pistes de développement et d’améliorations. Cela vise principalement à accroitre leurs performances et leur légèreté. La recherche sur l’utilisation de fibres naturelles et résines bio-sourcées dans la fabrication de composites s’est intensifiée avec le désir des entreprises de réduire les coûts de production, de recycler leurs produits et d’afficher une image « verte ».Ce projet s’inscrit dans ce cadre puisqu’il a pour but de caractériser l’effet d’un traitement de fibres naturelles sur les performances de matériaux composites. Le traitement réalisé sera le revêtement de fibres de lin par une couche mince de dioxyde de titane. Bien que de nombreux traitements sur les fibres visant à les rendre plus performantes existent déjà ce traitement permet de conserver le caractère biocompatible des fibres naturelles, d’améliorer leur résistance thermique et de diminuer leur capacité d’absorption d’humidité. De plus la nature de la matrice de ces composites sera amenée à varier pour étudier l’influence de ce traitement de surface sur l’adhésion interfaciale fibre/matrice. Le but de ce projet est d’étudier l’effet d’un traitement au dioxyde de titane réalisé par un procédé sol gel sur les performances mécaniques de composites. Cette caractérisation se fera à travers divers tests comme ceux de tension, cisaillement ou encore absorption d’humidité afin d’évaluer sur quels paramètres le traitement à une influence.

It is the purpose of this dissertation to examine in detail those types of dramatic performances in the period 1580-1660 which were not conditioned by the exigencies of a regular theatre and a paying audience, academic and, to a certain extent, court productins have been omitted in order to concentrate attention on less thoroughly investigated branches of the subject.