Cette thèse étudie trois sujets relevant de la biologie structurale, de lagénétique et de l'immunologie.Premièrement, nous développons de nouveaux prédicteurs de l'affinité deliaison de complexes protéiques, produisant des résultats de niveau ``état del'art''. Nous calculons d'abord 12 variables modélisant diverses propriétésstructurales des complexes. Nous générons et évaluons des estimateursutilisant des sous ensembles de ces variables, de façon à identifier les plusperformants. Le logiciel associé est distribué dans la Structural BioinformaticsLibrary.Deuxièmement, nous proposons de nouvelles analyses de complexes Ig-Ag.D'une part nous concevons un classificateur distinguant les types de ligand desIg. D'autre part, nous montrons que le modèle précédent prédit fidèlementl'affinité de complexes Ig-Ag. Enfin, nous quantifions la contribution des CDR3de la chaine lourde à l'affinité de liaison, et montrons qu'il contribuesignificativement plus que les autres CDR.Enfin, nous nous intéressons à la modélisation de la diversité des répertoiresde chaîne lourde des Igs, à partir de données de séquençage de CDR3, dans unmodèle de vaccin chez le poisson. Nous analysons les répertoires dans troisconditions: naifs, vaccinés et vaccinés + infectés. Nous comparons lesrépertoires de deux individus en utilisant la « earth-mover distance », laquelleexploite la correspondance entre clonotypes de deux répertoires, révélant ainsides informations inaccessibles aux méthodes basées sur les indices dediversité.Dépôt de thèseDonnées complémentairesPour caractériser la notion de réponse immunitaire publique / privée, nousquantifions le chevauchement des clonotypes exprimés entre individus de lamême ou de différentes conditions / This thesis investigates three topics at the cross-roads of structural biology,genetics and immunology.First, we develop a pipeline to design and select binding affinity predictors forprotein complexes, yielding state-of-the art results. The first step is the designand computation of 12 different variables accounting for geometric andphysico-chemical properties of the complexes. The second step is thegeneration and evaluation of models using subsets of these variables, followedby the selection of the best performing ones. The corresponding software isdistributed within the Structural Bioinformatics Library.Second, we provide an analysis of the interface properties of Ig-Ag complexes.In particular, we design a classifier using two descriptors, which is able todistinguish ligand types. We also apply the previous binding affinity predictionmodel to Ig-Ag complexes and obtain accurate predictions. We then develop aquantitative model for the contribution of VH CDR3 to the binding affinity andinteraction specificity, and show that it contributes significantly more thanother CDRs.Third, we model the diversity of VH CDR3 repertoires from Ig RNA sequencingdata in a fish vaccination model. We analyze repertoires from three conditions:naive, vaccinated and vaccinated + infected fish. Comparison of the repertoiresof two individuals uses the earth-mover distance (EMD). By exploiting amapping between the clonotypes of the repertoires, we show that EMD revealsinformation beyond classical methods based on diversity indexes. Tocharacterize the notion of public / private immune response, we quantify theoverlap of clonotypes between individuals of the same or different conditions

The presence of Allophone students in French-language secondary schools in Ottawa is gradually increasing. While the politique d’aménagement linguistique (PAL) insists on the use of French within the school, one may begin to wonder which language Allophone students are speaking. French? English? Their native language(s)? This qualitative case study of four multilingual Allophone students explores their language repertoire use in relation to their desired linguistic representation, their linguistic proficiency in French, English, and their native language(s), and their perceptions of language prestige. The results indicate that students spoke a significant amount of English, some French (particularly with their teacher or Francophone classmates), and minimal amounts of their native language. Recommendations are suggested to increase the effectiveness of PAL within a Francophone minority context and to ensure that the policy’s objects are attained.

The purpose of this study was to examine the repertoire selection practices of collegiate choral conductors at nationally recognized, religiously-affiliated, undergraduate-focused institutions for choral music performance. Participation in the study was determined based on the institution's history of invitational performances at the national conferences of the American Choral Directors Association for the period 1995-2015. The study involved a multiple case study of five Directors of Choral Activities and their five collegiate choral ensemble programs. Descriptive data were gathered from these five directors in the form of both concert programs of ten academic semesters and follow-up personal interviews pertaining to the content of the concert program collected data. The concert programs were analyzed for genre type, secular versus sacred text, language, composer, historical era, number of times performed, and any other appropriate commonalities. An examination of the application of repertoire selection principles (criteria) to varying levels of musicianship proficiency was conducted and an explanation regarding the learning purposes for each ensemble at the institutions was studied. Commonalities in repertoire selection practices for the purposes of vocal and musicianship growth were identified to support the scholarly literature on the subject of repertoire selection. This included the need to engage students in the repertoire selected by providing a balance of variety in historical era or style, genre, modality, key center, language, meter, and tempi. The repertoire selected for performance by all five institutions, as well as the individual conversations with the research participants, are included in the document.

Thomas Pasatieri is a prolific American composer of the twentieth and twenty-first centuries. Although Pasatieri is best known as an opera composer, he has composed in many different genres, and his numerous art songs have often been overlooked. This study evaluates Pasatieri's currently published song catalog and divides it into three groups of songs that correspond to the varying pedagogical needs of students. The first group presented in this document addresses the needs of the beginning vocal student. The songs are harmonically tonal, textually accessible, rhythmically uncomplicated, and metrically stable. The second group is more appropriate for the intermediate singer. The songs are highly chromatic and their harmonic progressions do not necessarily follow the rules of functional tonality; the texts are longer and more complex, the rhythmic and metric content are likewise more difficult, and the melodies are more disjunct, often exploring the extremes of the vocal range. The third and final group is most suitable for the advanced singer. The harmonies are challenging and explore an array of organizations, the texts are esoteric, the melodies are often unified through recurring motivic gestures, and the songs rarely contain any formal repetition. These groupings are intended to help teachers and students choose repertoire from Pasatieri's oeuvre that suit each individual student. This study includes a discussion of representative songs from each group within the chapters and a catalogue of all of Pasatieri's published songs arranged by group in the appendices.

The study addresses the preparatory information needs of potential performers of solo classical guitar concerti. Identifying a range of specific decisions that play an important part in the pre-performance planning of an anticipated concerto performance provides performance considerations for each selected concerto. The content of six solo classical guitar concerti spanning almost 180 years by six composers from four countries was analysed for the purpose of this study. Two early guitar concerti by guitarist composers Mauro Giuliani (1781-1829) and Ferdinando Carulli (1770-1841), two modern concerti by non-guitarist composers Mario Castelnuovo-Tedesco (1895-1968) and Joaquín Rodrigo (1901-1999) and two modern concerti by guitarist composers Heitor Villa-Lobos (1887-1959) and Leo Brouwer (b.1939) were investigated. The study examines specific compositional and performance aspects of each concerto to serve as a guideline for professional performers, students and teachers. Each concerto was analysed according to similar themes: the historical significance of the investigated concerti, pre-performance considerations, the level of difficulty of selected concerti, technical observations, performance recommendations and observations regarding balance between the soloist and orchestra. As an addendum the study provides a comprehensive list of published concerti for solo classical guitar. / Mini Dissertation (MMus)--University of Pretoria, 2017. / Music / MMus / Unrestricted

The yellowhammer (Emberiza citrinella) is a common bird of open areas whose song exhibits easily distinguishable dialects. The dialects are tied to the final part of its song. Some, especially older publications claim that yellowhammer's dialects can be divided into two broad groups with predominantly Eastern and Western European distribution, with a borderline intersecting Central Europe. Until recently, yellowhammer dialects have only been thoroughly researched in Denmark and in some parts of Germany. In the Czech Republic, a detailed study was carried on in connection with the"Bird of the Year"campaign, during which the general public was involved in collecting song recordings at various localities. Thanks toa project called "Czech Yellowhammers Dialect", more than 2600 recordings from throughout the Czech Republic were collected within three years. The recorded songs were then classified into one of the seven traditionally acknowledged groups; some new, not yet documented ones were also discovered. The distribution of the dialects generated a dialect mosaic with a clearly established borderline between individual dialects. Mixed singers were found along the borderlines. A borderline between two dialect groups, crosscutting Western Bohemia, was also found. It was proved once again that for a success of...

Piano teachers tend to approach pedagogy by treating technical studies and repertoire as separate parts of the curriculum, often using etudes by Charles-Louis Hanon, Josef Pischna, and Carl Czerny to build the student's technique. Yet, although these methods are popular, pedagogues disagree about their value. In any case, many pieces suitable for intermediate pianists integrate technique and musicality, such as Friedrich Burgmüller's 25 Etudes, Op. 100, Muzio Clementi's Preludes and Exercises, Op. 43, and Ignaz Moscheles's 24 Etudes, Op. 70. Although these exercises can indeed build technique through intermediate-level recital pieces, many similar piano works from the Russian school are rarely used, and yet they could better serve students who will eventually move on to the advanced Russian piano repertoire. This paper provides a pedagogical guide for introducing technical skills through various levels of the Russian piano repertoire. The guide focuses on technique in the context of musical expression, especially tone production, wrist motion, and finger technique, progressing systematically through elementary, intermediate, and advanced Russian piano pieces, composed in a Romantic style—both elegant and rich with melody and expression. The repertoire used as examples should develop the finger technique as well as the musicality of the student. The examples come from nineteenth-century Russian Piano School composers such as Reinhold Glière, Alexander Goedicke, Samuel Maykapar, Semyon Barmotin, and Anton Arensky.

The aim of the study was to map the repertoire of vocalization of four wild-caught grey parrots (Psittacus erithacus), two males and two females. Data were collected during nine days from June to November 2008 by recording of vocalization in standardized conditions. Recorded sounds (3 052) were categorized according to their characteristics using both visual inspection of spectrograms and listening. We found 70 different call types, which were combined into 18 bigger groups. We found no subject to use the whole repertoire. Important differences were found both between individuals and between males and females. almost all call types were used throuthout the whole period of recording. Model spectrograms of all call types are shown. Key words: grey parrot, Psittacus erithacus, repertoire, vocalization

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This paper addresses gendered trends in piano performance. It covers the New Jersey, New York, and Pennsylvania region between 1950 and 2019. There are numerous sources from throughout this region that are thoroughly archived (the New York Times, New York Philharmonic programs, The Etude, Clavier Companion/Piano Magazine, WNCN-FM broadcasts) that make this district an excellent candidate for case study.The second chapter explores gender representation in New York Philharmonic Subscription Season Concerts. It measures and compares the rates at which women and men pianists play different composers. The third chapter analyzes the New York Times reviews of women pianists who have performed in the New York Philharmonic Subscription Season Concerts. It focuses on how often reviewers utilize gendered language in relation to the composer being performed. Though the fourth chapter also covers repertoire and gender representation in The Etude and Clavier Companion/Piano Magazine CD/record releases, it centers primarily on the existence of gendered narratives within pedagogical resources. Similarly, the fifth chapter, explores trends in interview topics (clothing choices, sound production, children: to have or not to have?) that are specific to the woman pianist’s experience. Though limited in focus, this paper serves as a window into the impact that gendered thinking has had on the twentieth and twenty-first century woman pianist. / Music Performance