Ce mémoire explore comment la médiation de la musique et les nouvelles modalités du concert s’intègrent dans la carrière des chanteurs lyriques québécois. Le corpus de la recherche est composé d’une analyse documentaire des activités de médiation dans les institutions lyriques nord-américaines et de la formation des chanteurs, ainsi que d’une enquête qualitative auprès de 12 chanteurs québécois. Cette étude dresse un portrait des activités de médiation afin d’en faire ressortir l’apport des chanteurs par les fonctions qu’ils occupent au sein de la médiation de l’art lyrique. Même si tous les chanteurs rencontrés ont fait des activités de médiation dans leur carrière, il y a de nombreux facteurs qui agissent sur la poursuite des activités de médiation. Il y a des contraintes sociales qui sont liées à la notoriété des chanteurs influencé par la valeur symbolique plus faible du point de vue réputationnel des activités de médiation comparée à la prestation comme soliste. Mais aussi des contraintes économiques qui obligent les chanteurs à avoir plusieurs activités pour vivre de leur art. Il se dégage de cette étude que la médiation de la musique est un outil supplémentaire aux chanteurs, car ils deviennent polyvalents s’ils font de la médiation au côté d’un concert. Elle peut être aussi un moyen de diversifier leurs activités pour les chanteurs qui décident de créer des ateliers et des concerts dans de nouvelles modalités. Par contre, la médiation peut devenir une obligation dans la carrière des chanteurs, et ce malgré qu’ils n’y soient pas formés pendant leurs études. / This master thesis proposes to explore how the music mediation and the new modalities of the concert fit into the careers of lyric singers in Quebec. The corpus of my research is made up of a documentary analysis of mediation activities in North American lyrical institutions and the analysis of the singer’s training, as well as a qualitative survey of 12 Quebec singers. This study draws up a portrait of the mediation activities and the new modalities of the concert which are used to make opera accessible, then to highlight the contribution of the singers by the functions they occupy within the mediation of lyrical art. Even though all the singers we met have done mediation activities in their career, there are many factors that influence the continuation of mediation activities. There are social constraints which are linked to the notoriety of the singers influenced by the lower reputational value of the mediation activities compared to the performance as a soloist. But also economic constraints, which oblige the singers to have several activities to make a living from their art. It emerges from this study that music mediation is an additional tool for singers, as they become versatile if they mediate alongside a concert. It can also be a way to diversify their activities if the singers decide to create mediation workshops and concerts that are presented in new modalities. On the other hand, mediation can become an obligation in the career of singers, despite the fact that they were not trained for it during their studies.

Les maneliști sont des chanteurs et des chanteuses connus en Roumanie pour la prestation de manele (sg. manea), un genre musical ethnopop à sonorité « orientale ». Généralement chantée par des hommes identifiés et s’identifiant comme Roms, cette musique est devenue aussi populaire que controversée depuis les années 1990. Dans leurs vidéo-clips YouTube, ils nous dévoilent un monde qui choque : femmes dénudées, champagne à profusion, liasses de billets de banque, automobiles luxueuses et mobilier somptueux. Ces célébrités ont un style particulier, distinctif, qui ne manque pas de faire réagir en Roumanie. Son caractère exubérant et débordant est souvent taxé de « kitsch », de « mauvais goût ». Dépassant le jugement de valeur, la présente étude s’articule autour d’un problème sociologique : pourquoi les maneliști se présentent-ils comme richissimes sur le Web et pourquoi le font-ils d’une manière si ostentatoire? Il s’agit de répondre à cette question en étudiant les mises en scène des chanteurs et des chanteuses de manele à partir de photographies publiées sur leur compte Instagram et de vidéo-clips sur YouTube. La parure, le mobilier, les rideaux ou les planchers que l’on y retrouve sont autant de traces matérielles permettant de cerner la manière dont les maneliști se présentent sur le Web. Sous la forme d’un idéaltype wébérien, cette recherche trace les contours de leur esthétique distinctive en la superposant au rococo français, un style décoratif reconnu pour sa somptuosité. L’idéaltype qui y est construit accentue le caractère ostentatoire du style des chanteurs et des chanteuses de manele. S’il permet de décrire leurs mises en scène sur le Web, en mettant en évidence comment la richesse s’y manifeste, il fait aussi apparaître une tension dans le personnage richissime : les maneliști y adhèrent et s’en détachent à la fois. Pourquoi? Dans un contexte où les présentations des maneliști sont vivement critiquées, notamment en raison de leur (auto-)identification comme Roms, ce mémoire montre que ces célébrités négocient avec leurs exubérants personnages. Ils font valoir qu’ils sont de « bonnes » personnes qui croient en Dieu et qui accordent une plus grande importance à la famille et à la bonté qu’à la fortune. En bref, ils semblent contraints de montrer leur respect des conventions sociales dominantes en Roumanie. Afin d’obtenir une considération sociale et de revendiquer leur appartenance à la « nation roumaine », les maneliști tempèrent leurs mises en scène et rappellent que l’ostentatoire et l’exubérance relèvent d’un personnage de scène, pas de la personne qui le joue. / This master thesis focuses on maneliști, singers well known in Romania for singing manele (sg. manea), an ethnopop music with an “oriental” twist. Generally sung by men identified and identifying has Roma, this music gained as much popularity as it caused controversy in the last decades. In their YouTube video clips, the maneliști reveal a shocking world: scantily dressed women, flowing champagne, banknote bundles, luxurious cars, and sumptuous furniture. These celebrities have a particular style that arouses vivid reactions in Romania. Exuberant and ostentatious, their style is often deemed “kitsch” or “tasteless.” Going beyond these value judgments, the current study revolves around a sociological problem: why do maneliști present themselves as wealthy and why do they do it in such an ostentatious manner? This thesis attempts to solve this problem by focusing on the way manele singers display themselves in photographs published on their Instagram accounts and in their YouTube video clips. The clothes, furniture, curtains, or floors shown in these media constitute material traces that allow us to identify the way manele singers present themselves online. In the form of a Weberian idealtype, this research outlines their distinctive style by comparing it to the French rococo, a decorative style well known for its sumptuousness. The ideal-type constructed accentuates the ostentatious dimension of the manele singers’ style. While it is useful to describe the way they display themselves online, highlighting how ostentatious wealth is a great part of it, it also reveals a tension: the maneliști adhere to this presentation while distancing themselves from it. Why? Bearing in mind that the maneliști’s self-presentation is largely criticized in Romania, especially due to their (auto-)identification has Roma, this study shows that manele singers negotiate their exuberant character. They demonstrate that they are “good” people who believe in God and place more importance on family and kindness than fortune. In short, they are compelled to show that they respect the dominant social conventions in Romania. To gain recognition from their peers and claim their belonging to the “Romanian nation,” maneliști temper their presentations and distinguish their everyday self from their stage persona.

This dissertation explores the history of the translation of world literature into Yiddish through a series of interconnected case studies, stretching from the “founding” decade of modern Yiddish literature through its interwar acme. It features diachronic studies of single translator-authors (Sh. Y. Abramovitsh; Der Nister; Isaac Bashevis Singer) which consider the relationship between translations and original writing; synchronic views of transformative moments in Yiddish literary (translational) history across its multiple centers (1903; 1910; New York, Warsaw, Moscow); and “distant” readings of periodicals and anthologies with an eye to their particular explicit and implicit translation theories and practices as well as to the role of editors and publishers (Sholem Aleichem; Avrom Reyzen) in shaping both real and imagined literary markets. Throughout, it mobilizes the chronically-neglected genre of homegrown Yiddish literary criticism and theory (I.L. Peretz, Chaim Zhitlowsky, Moyshe Litvakov) in the hopes of understanding the shifting stakes and meanings of translation on the terms of translators, authors, critics, and readers themselves. By attending to the ways in which translations functioned as both sources of livelihood and engines of literary growth, this dissertation examines the desired and intermittently realized modernization and “normalization” of Yiddish literature on the world stage.

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Cyclic-additive-difference sets are combinatorial objects defined by Claude Carlet in 2018. It is, in some sense similar to cyclic difference sets, a well-known concept. In this thesis, first we summarize the current knowledge about cyclic-additive-difference sets and their connection to differential cryptanalysis. Then we present our own results. First, we prove the existence of three infinite families of cyclic-additive-difference sets arising from powers of Singer sets which is an open problem asked by Carlet in 2019. Then we generalize the definition of cyclic-additive-difference sets to the fields of odd characteristic and study similar sets in odd characteristic case. 1

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Indiana University-Purdue University Indianapolis (IUPUI) / I study d-bar and Dirac operators on classical and quantum domains subject to the APS boundary conditions, APS like boundary conditions, and other types of global boundary conditions. Moreover, the inverse or inverse modulo compact operators to these operators are computed. These inverses/parametrices are also shown to be bounded and are also shown to be compact, if possible. Also the index of some of the d-bar operators are computed when it doesn't have trivial index. Finally a certain type of limit statement can be said between the classical and quantum d-bar operators on specialized complex domains.

Voice teachers can train versatile singers by infusing musical theatre technique within bel canto evidence-based pedagogy. Seeing these two genres as possessing similarities instead of as unrelated fields allows teachers to not only match academic knowledge with the current entertainment job market, but most importantly, possess a versatile technique allowing them to train singers to perform fluently in multiple styles: the hybrid singer. An area of confusion in both bel canto and musical theatre training is mixed registration. This dissertation uses historic pedagogical texts and contemporary writings on mixed registration to understand laryngeal and acoustical events of the treble voice. The relationship between the two modes of voice production and musical theatre timbral acoustics ("legit" head voice, traditional belt, contemporary chest-mix, contemporary head-mix) is discussed with applicable tools for voice teachers training versatile singers.

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