Les recherches en psychologie sociale ont mis en évidence que le caractère évaluatif d'une situation de performance influence la réussite des individus. La peur de confirmer une infériorité à un standard d'évaluation génère un inconfort psychologique et amène les individus à s'autoréguler. Cette thèse vise à comprendre à partir de quand, comment et pourquoi la situation d'évaluation détermine le fonctionnement attentionnel des individus. Nous défendons l'idée que les situations évaluatives représentent une menace pour l'image de soi et perturbent l'attention à partir du moment où les individus questionnent leurs capacités intellectuelles. Deux études démontrent qu'une situation de comparaison sociale ascendante entraine une focalisation de l'attention quand la dimension de comparaison porte sur l'intelligence. Nous postulons également que les modifications attentionnelles qui surviennent en situation évaluative se traduisent au niveau de la sélection des informations. Trois études mettent en évidence que le mécanisme de filtrage des informations est plus strict chez les participants en situation évaluative et s'établit indépendamment de phénomènes concurrents de capture attentionnelle. Enfin, nous proposons que les situations évaluatives amènent les individus à basculer dans un mode général de traitement de l'information davantage analytique. Nous faisons l'hypothèse que ce changement cognitif général qui apparaîtrait en situation évaluative est un précurseur à la mise en place de filtres attentionnels plus stricts. Trois études pointent le rôle médiateur de l'adoption d'un style de traitement analytique dans l'apparition de ces effets / Research in social psychology highlighted that the evaluative nature of performance situations influences individuals' achievement. The fear of possibly being inferior to a standard of evaluation generates psychological discomfort and leads to self-regulation. This thesis aims to understand when, how and why evaluative situations influence individuals' attentional functioning. We defend the idea that evaluative situations represent a threat to self-image and disturb attention if individuals' intellectual abilities are questioned. Two studies demonstrate that a situation of upward social comparison leads to attentional focusing when intelligence is the dimension of comparison. We also postulate that evaluative situations lead to differences in attentional filtering. Three studies show that people in evaluative situations filter more information, and that this mechanism operates independently from concurrent phenomena of attentional capture. Finally, we propose that evaluative situations lead individuals to be in a more analytical general information-processing mode. We hypothesize that this general cognitive change is a forerunner of the implementation of stricter attentional filters in evaluative settings. Three studies show that the adoption of an analytical (i.e., local) processing style mediates the effects of evaluative situations on attention. Taken together, the results support the idea that individuals' cognitive functioning is deeply influenced by characteristics of the immediate performance situation

Dans l’art de la musique instrumentale, il y a certainement eu des moments de développement extraordinaires. La plus grande révolution dans le domaine du violon aura probablement été Paganini, avec ses innovations dans le cadre de la technique, de la texture et des effets timbriques du violon. Dans le domaine du piano, Liszt, suite à sa rencontre avec le violon assimilateur et imitateur du Génois, reforma son jeu et reconçut le pianisme de l’époque. Dans cette mission, il fut accompagné par des améliorations techniques à l’instrument. L’art du jeu du piano, qui hérita de Paganini le côté assimilateur et imitateur, qui abandonna le salon et s’installa dans les grandes salles, fut reconnu comme la « grande manière » ou le « grand style ». Ces termes, provenant principalement de l’art de Liszt, qui fut apparemment son premier représentant, se réfèrent à un style pianistique particulier, basé sur de grands effets acoustiques et de nouvelles techniques d’exécution. Le corpus de l’étude est constitué des œuvres de Liszt d’après Paganini, telles que les Études d’exécution transcendante d’après Paganini, les Grandes Études de Paganini, La Grande Fantaisie de bravoure sur La Clochette et les œuvres en relation avec Paganini des générations suivantes de pianistes de la « grande manière ». Celles-ci incluent les versions des études de Liszt réalisées par Ferruccio Busoni, son Introduzione e Capriccio (Paganinesco), les arrangements des Caprices de Paganini par Michael Zadora, les Variations sur un thème de Paganini de Mark Hambourg et les Études d’après un thème de Paganini op. 47b d’Ignaz Friedman. L’étude tente de tracer la « grande manière » dans les formes pianistiques appliquées dans les œuvres citées ainsi que d’identifier les particularités du « pianisme » des auteurs concernés. / In the art of instrumental music there were moments of extraordinary evolution. The greatest revolution in the domain of the violin was probably the appearance of Paganini and his innovations in the technique, the texture of violin writings and the exploitation of the timbrical effects of the instrument. In the domain of the piano, Liszt, after having heard the assimilating and imitating violin of the Genovese, reformed his playing and transformed the pianism of his époque. In that mission, he was accompanied by technical improvements of the instrument. The art of piano playing, which inherited from Paganini the assimilating and imitating tendencies and left the salon in favor of big halls, was recognized as the “grand manner” or the “grand style” grand style’, first represented by Liszt. These terms, mainly originating from the conceptual grandeur of his art, refer to a particular pianistic style, based on big acoustic effects and new techniques of execution. The corpus of the present study is constituted by the works after Paganini by Liszt, including the Études d’exécution transcendante d’après Paganini, the Grandes études de Paganini, La Grande fantaisie de bravoure sur La Clochette, and the works related to Paganini of the following generations of pianists of the « grand manner”. These include the arrangements of Liszt’s studies of Busoni, the Introduzione e Capriccio paganinesco, the Variations sur un thème de Paganini of Mark Hambourg and the Paganini-Studies op. 47b of Ignaz Friedman. The study tempts to trace the “grand manner” in the pianistic forms applied in the cited works, and to identify the specificities of the pianism of the concerned authors.

The diploma thesis deals with learning styles of learners in English language teaching namely in one-to-one courses. The theoretical part deals with the theory of learning styles which is contrasted with the theory of learning strategies. In the theoretical part it is described how learning styles and learning strategies are classified by different authors. How to identify learning styles of one particular student is explained. Apart from that the theoretical part deals with teaching styles in order to find the relationship between learning styles and teaching styles. One-to-one teaching is described as the research takes place in one-to-one teaching environment. The empirical part of the thesis is based on qualitative research of learning styles namely case studies of 7 students of different levels of English who acquire English in one-to-one courses. Students´ learning styles will be analysed through data obtained from an interview. The author of the thesis will use participant observation and will keep account of learning styles of every particular student. Results acquired from the interview will be compared with results from observation in one-to-one teaching. When students´ learning styles are analysed, appropriate teaching methods and exercises are proposed to satisfy students´ ascertained learning styles.

Notre recherche porte sur l’histoire de la reconstruction du Xreščatyk, l’avenue principale de Kiev, au cours de la première décennie qui suit la Deuxième guerre mondiale sous plusieurs angles : le contexte idéologique et économique dans lequel se trouve l’URSS à l’époque, la politique d’Etat dans le domaine de l’architecture et son impact sur la modélisation des formes architecturales, les matériaux et techniques de construction, l’organisation de l’activité architecturale, l’application pratique de la théorie de la synthèse des arts, le rôle des espaces verts dans la planification urbaine. Nous étudions les différentes étapes de l’élaboration et de la réalisation de ce projet architectural majeur en tant que résultat de l’interaction entre le commanditaire social et les architectes. Nous analysons le concept architectural du Xreščatyk comme l’adaptation de la tradition artistique nationale au contexte de l’Ukraine soviétique d’après-guerre. Malgré l’importance idéologique que revêt la reconstruction de l’avenue principale de la capitale ukrainienne, comme symbole du triomphe du communisme sur le nazisme, tout n’est pas subordonné au politique dans ce gigantesque chantier. Le dévouement et les idées personnelles des auteurs du projet jouent un certain rôle d’une part et les réalités économiques dictent un certain nombre de choix d’autre part. Ce travail met en évidence le décalage entre les projets ambitieux du concours architectural et la réalisation finale, analyse les mécanismes d’ajustement du projet aux besoins réels de la ville. / Our research relates to the history of the reconstruction of Xreščatyk, the main avenue of Kiev, during the first decade which follows the Second world war under several approaches: ideological and economic context in which is the USSR at the time; the state policy in the field of architecture and its impact on the modeling of the architectural forms, materials and building techniques, the organization of the architectural activity, the practical application of the theory of the synthesis of arts, the role of green spaces in the urban planning. We study the various stages of the development and the realization of this major architectural project as a result of the interaction between the social sponsor and the architects. We analyze the architectural concept of Xreščatyk like the adaptation of the national artistic tradition to the context of the Soviet Ukraine of post-war period. Despite the ideological importance of rebuilding the main avenue of the Ukrainian capital, as a symbol of the triumph of communism over nazism, everything is not subordinate to politics in this gigantic building site. The dedication and personal ideas of the authors of the project play a certain role on the one hand and economic realities dictate a number of choices on the other. This work highlights the gap between the ambitious projects of the architectural competition and the final realization, analyzes the mechanisms of adjustment of the project to the real needs of the city.

O prognóstico após a parada cárdio-respiratória (PCR) e reanimação cardio-pulmonar (RCP) depende de intervenções críticas, particularmente, do tempo de resposta entre a chamada de socorro ou resgate, até a chegada ao local onde se encontra a vítima, além das compressões torácicas eficazes, da desfibrilação precoce e do suporte avançado de vida. Para avaliar a eficácia e a adequação dos procedimentos de RCP durante a PCR, entidades e associações científicas se reuniram e elaboraram o Utstein Style out-of-hospital, cujas definições e instrumento, usados para registro do evento, têm sido amplamente utilizadas em todo o mundo, bem como para estudos publicados sobre atendimento à parada cardíaca. A adoção de um instrumento de consenso internacional levou a uma grande evolução guidelines de reanimação e a progressos científicos, possibilitando a troca de informações mais efetivas para promover comparações internacionais em relação aos procedimentos de ressuscitação tendo como propósito codificar variáveis, mensurar aspectos do processo e avaliar resultados dos atendimentos na PCR fora do hospital. Apesar do grande numero de PCR que ocorre no Brasil, não há, até então, um instrumento em nosso idioma adaptado à nossa realidade. Este trabalho teve pro objetivos realizar a tradução e adaptação cultural do Utstein Style out-of-hospital, com base nos pressupostos metodológicos de Guillemin (2002). O instrumento foi, também, testado em dois centros de atendimento pré-hospitalar para verificar a viabilidade de sua utilização. Como resultado deste estudo metodológico obtivemos um instrumento traduzido para o idioma português, com algumas modificações necessárias para sua adaptação à cultura nacional, sugeridas por um comitê de juizes e cuja aplicação, ainda que em pré-teste, permitiu verificar que os resultados obtidos assemelham-se aos dados internacionais. O maior número de causas de PCR ocorreu em adultos do sexo feminino (58,8%), com idade acima de 29 anos. Grande parte das paradas cardíacas foi identificada por espectador (47,0%), pelo Serviço Médico de Emergência (35,5) e pelo médico (17,5%). Quanto à ocorrência da PCR, 82,4% foi por causa desconhecida e 17,6% por trauma / The prognostic after the cardiac arrest and cardio-pulmonary resuscitation (CPR) is dependent of critical interventions, particularly, time reply called until place, efficient chest compressions early defibrillation and the advanced life support. The definitions of the Utstein style and the instrument of register have been widely used in published studies of cardiopulmonary arrest (CPA), what it took to a great evolution and the progress for international consensuses on science and guidelines of resuscitation, making possible the exchange of information more effective to promote international auditorship in relation to the resuscitation procedures having as intention to codify variable, to measure aspects of the process and to evaluate resulted of the take care of in the CPA of the hospital. Currently several countries already use with this purpose. The Utstein was approved by the international committees. Although the great one number of CPA in Brazil, we did not possess an instrument in our language and adapted. This instrument underwent a process of translation into Portuguese, back-translation into its original language and finally analysis by a committee of judges to evaluate semantics, idiomatic, cultural and conceptual equivalences, with the authorization of the AHA, following the recommendations of Guillemin, revised in 2002. The instrument was tested in two centers the out-of-hospital attendance to verify the use of in the Brazilian country and making possible comparisons with international data, enriching adding the evolution of the CPR in the world. As result of this study we got an instrument translated into the Portuguese language, with some necessary modifications for its adaptation to the national culture, suggested for a committee of judges and whose application allowed verifying that the gotten results resemble it the international data. The biggest number of CPA causes occurred in adults, females (58.8%), with age above of 29 years. Great part of the CPA was identified by witness (47.0%), the Emergency Medical Service (35.5%) and by the physician (17.5%). Several occurrences of CPA, 82.4% it was for unknown cause and 17.6% for trauma

A parada cardiorrespiratória é um evento potencialmente letal, e a qualidade do atendimento prestado depende da agilidade, conhecimento e habilidade de toda a equipe envolvida. O desenvolvimento de um guia com os pontos relevantes a serem observados durante o atendimento à PCR intra-hospitalar surgiu em 1997, com a criação do In-Hospital Utstein Style por uma força tarefa de especialistas em atendimento e pesquisa em PCR. Trata-se de um guia que agrega informações acerca do atendimento à PCR, contendo um relatório padrão para coleta de dados, divido em variáveis: do paciente, do evento e de resultados, além de algumas informações adicionais. A criação de um relatório padrão de coleta de dados, permitiu uniformizar a linguagem, bem como o desenvolvimento de novas pesquisas, baseadas no mesmo modelo. Com a finalidade de disponibilizar o In-hospital Utstein Style para a realidade brasileira, este instrumento foi submetido ao processo de tradução e adaptação cultural, nas seguintes etapas: tradução para o português, retro-tradução para a língua de origem, análise por comitê de juízes para avaliação das equivalências semântica, idiomática, cultural e conceitual. O resultado deste processo gerou um instrumento para pré-teste, aplicado em 20 pacientes que sofreram PCR, com a finalidade de verificar o comportamento do instrumento em nossa realidade. As variáveis de resultado não foram coletadas, pois pressupõe o acompanhamento destes pacientes ao longo do tempo. A amostra foi constituída por 60,0% de homens, com idade média de 63 anos ±16,17. O ritmo de PCR mais comum foi atividade elétrica sem pulso (65,0%), o tempo médio para desfibrilar foi de 1,25 minutos. Assim como observado por pesquisadores internacionais, existem informações perdidas durante o atendimento, não registradas, prejudicando a coleta dos dados referentes a este momento. A análise dos dados, permite concluir que o instrumento é aplicável à realidade brasileira, tornando possíveis comparações com estudos internacionais, buscando melhor atendimento ao evento da PCR. A falta de preenchimento de alguns itens , principalmente aqueles referentes às variáveis do evento (coletados no momento da PCR), podem ser perdidos, por falta de preenchimento adequado do instrumento, por profissionais médicos e de enfermagem. O treinamento e incentivo para melhorar a quantidade e qualidade de registros, tornam possíveis, através da aplicação do Utstein Style conhecer cada atendimento feito e toda a assistência prestada, identificando prováveis falhas e principalmente investindo em qualidade de vida após o evento / Cardiopulmonary Arrest is a potentially lethal event in which the quality of the service rendered depends on agility, knowledge and the skills of all of the involved team. The development of the first guide identifying the significant points to be taken during the procedure of an in-hospital CPA appeared in 1997, with the creation of the In-Hospital Utstein Style by a task force of personnel specialized in attendance and research of CPA. This guide brings together information concerning CPA attendance and contains a standardized report for collecting data which is divided into the following variables: patient, event, and the outcome, as well as some other additional information. The creation of this standardized report for collecting data made it possible to standardize the language as well as to develop new research based on the same model. With the intended goal of making available, the In-hospital Utstein Style for Brazilian professionals, this instrument underwent a process of translation and cultural adaptation in the following steps: translation into Portuguese, back-translation into its original language and finally analysis by a committee of judges to evaluate semantics, idiomatic, cultural and conceptual equivalences. The outcome of this process resulted in a pre-test instrument applied to 20 patients who had had CPA in order to verify the behavior of this instrument according to our reality. The outcome variables were not collected, because it involved accompanying these patients over a lengthy period of time. The sample consisted of 60% men, with an average age of 63 years ±16, 17. The most common CPA rhythm was pulseless electrical activity (65%); the defibrillation average time was 1.25 minutes. Therefore, as verified by international researchers, there is a loss of information during the attendance, which is not-recorded, thus hindering the collection of data concerning the moment of the CPA. With the data analysis, we can conclude that the instrument is adaptable to the Brazilian reality, enabling further comparisons with international studies, therefore improving the care administered during the CPA event. The failure to complete some of the items principally those referencing the variables of the CPA event (that should have been collected at the CPA moment) could result in critical data being lost if not properly answered in the report done by attending medical and nursing personnel. Personnel trained and encouraged to improve the quantity and quality of date collection can make it possible, through the utilization of the Utstein Style, to better understand each attendance and assistance rendered, identifying possible failures and, above all, enabling further investments in quality of life after the arrest

À l’aube du XXIe siècle, le style-Minuit s’offre d’abord comme une construction critique. En effet, depuis les années 1950 et le mouvement du Nouveau Roman, aussi appelé école de Minuit, les récits publiés aux Éditions de Minuit sont perçus irréductiblement par l’histoire littéraire comme des productions homogènes. Ainsi, les écrivains "impassibles" ou "minimalistes" puis "ludiques" auraient succédé aux Nouveaux Romanciers et, jusque dans les années 1990, le mythique éditeur, Jérôme Lindon, aurait découvert trois écoles stylistiques. Les critiques littéraires contribuent également à perpétuer dans la presse l’idée d’un style-Minuit. Entre 1999 et 2009, les journalistes représentent, dans un discours métaphorique et métonymique qui joue sans cesse d’un glissement sémantique sur la lexie polysémique "style", le style-Minuit en tant qu’objet sociocritique stéréotypique. Mais, si l’on entend par style ce qui fait événement dans la langue, peut-on encore faire l’hypothèse selon laquelle il existe un style-Minuit ? Passée au crible d’une étude à la fois synchronique et diachronique, la langue littéraire des écrivains Minuit nés entre 1964 et 1973 (Éric Chevillard, Éric Laurrent, Laurent Mauvignier, Marie NDiaye et Tanguy Viel) révèle un méta-patron discursif composé de traits de style supra-individuels. Ainsi, une analyse approfondie de la ponctuation, la syntaxe et l’énonciation permet de dégager non seulement la singularité langagière de chaque écrivain mais aussi les convergences de pratiques stylistiques qui définissent bien un style collectif Minuit. / In the early twenty-first century, the “style-Minuit” can be first approached as a critical construction. Indeed, since the fifties literary movement called the Nouveau Roman (the New Novel), also known as the Minuit School, books published by Editions de Minuit have been received by the literary world as homogeneous productions. Thus, the “impassive” or “minimalist” writers, then the “ludic” ones would have followed the Nouveaux Romanciers and upto the nineties, the mythical publisher, Jérôme Lindon, would have discovered three stylistic schools. Literary critics also contribute to perpetuate the idea of a style-Minuit in the media and between 1999 and 2009 journalists have depicted the Minuit-style as a stereotypical socio-critical object through a metaphorical and metonymical discourse playing constantly with several meanings of the word “style”. However, if we restrict the meaning of style to what makes “an event in language”, can we still pretend there would be a “style-Minuit”? Examining on both a diachronic and a synchronic level the literary language of a generation of writers all born between 1964 and 1973 (Éric Chevillard, Éric Laurrent, Laurent Mauvignier, Marie NDiaye et Tanguy Viel) reveals a common pattern composed by similar stylistic figures. Therefore a deep analysis of punctuation, syntax and discourse makes it possible to highlight first the linguistic uniqueness of each writer but also the convergences of some stylistic practices which properly delimit the collective “style- Minuit”.

La socialité diverse des femelles primates reflète une combinaison de stratégies compétitives et coopératives. Différentes théories expliquent cette diversité. Les macaques sont un bon exemple de variation sociale. L’objectif de ma thèse est d’approfondir la connaissance des sociétés de macaques par l’étude d’une espèce peu connue, les macaques à crête, Macaca nigra, dans son milieu naturel, la réserve de Tangkoko à Sulawesi, Indonésie. 2600 heures de données comportementales ont été prises sur 42 femelles adultes d’Octobre 2008 à Juin 2010. En combinant une analyse compréhensive des variables comportementales, je confirme le style social tolérant des femelles. En examinant la fonction des interactions post-agression par l’analyse des liens entre agression, anxiété, caractéristiques des conflits et de celles des dyades impliquées et les interactions post-agression, je détermine que celles-ci ne servent pas à réduire l’anxiété ou à “raccommoder” les relations sociales mais fonctionnent plutôt pour signaler l’intention pacifique ou pour réaffirmer le statut social. En étudiant l’influence des relations de dominance et de parenté sur les interactions sociales, je détermine que la force des liens sociaux n’est pas forcement liée a la dominance ou la parenté et que les coalitions sont formées entre femelles proches en dominance, mais pas entre apparentées ou proches affiliées. Ces résultats contrastent avec d’autres sociétés animales et mettent en évidence la complexité des sociétés tolérantes. Ma thèse apporte de nouvelles bases empiriques sur la variation sociale dans une perspective comparative et apporte un nouveau cadre théorique sur l’évolution des sociétés animales. / The diversity in female primate sociality reflects a combination of competitive and cooperative strategies. Different frameworks explain such diversity. The genus Macaca is a good example of social variation. The aim of my thesis is to foster our understanding of macaque societies by studying one little-known species, the crested macaque, Macaca nigra, under natural conditions, the Tangkoko Reserve, in Sulawesi Indonesia. From October 2008 to June 2010, I gathered 2600 hours of behavioural data on 42 adult females. By quantifying a comprehensive set of behaviours, I confirm the females’ tolerant social style. I investigate the function of post-conflict interactions by analysing the relationship between aggression, anxiety, characteristics of conflicts, of dyads involved in conflicts, and the occurrence of post-conflict interactions. Post-conflict interactions did not serve to reduce stress or to “repair” relationships but function as a signal of benign intent or to reassert social status. I analyse the hierarchical and nepotistic influence on social relationships and show that social bonds are not entirely shaped by kinship or dominance. Coalitionary support occurred amongst females close in rank but not amongst close kin or strong affiliates. These patterns represent meaningful contrasts to other animal species and highlight the complexity of social life in tolerant societies. By combining behavioural and genetic data, my thesis brings an empirical basis to theoretical frameworks on the evolution of social diversity, reflects on the interplay between different factors in a comparative perspective and provides a general framework for the evolution of animal societies.

As citações, alusões e referências à Divina comédia, de Dante Alighieri, começam a aparecer em quantidade e com vigor na obra de Machado de Assis na década de 1870. Estão em todos os gêneros, da poesia à crítica, da crônica à prosa de ficção, demonstrando a forte impressão que a obra provocou no escritor brasileiro. Esta tese trata das referências dantianas na obra de Machado de 1873 a 1881, começando em Americanas, passando por Helena e Memórias póstumas de Brás Cubas, e encerrando n\' \"O alienista\". Com isso, pretende-se mostrar como Machado de Assis estava às voltas com a adequação de temas, estilos, quadros e assuntos do repertório da alta tradição literária, em especial a da Comédia, em sua obra. Experiências que exibem a oscilação que os estilos elevado e baixo, sublime e vulgar sofrem em sua obra, à força de misturas, fusões, imitações e paródias, formas que encontrou para conciliar estes opostos. / Quotations, allusions and references to Dante Alighieri\'s The Divine Comedy started to appear frequently and significantly in the works of Machado de Assis during the 1870\'s. They can be found in all genres Machado worked with, from poetry to criticism, from newspaper columns (crônicas) to prose, evidencing the strong impression that Dante\'s work left in the Brazilian writer. This thesis is about the references to Dante in Machado de Assis\'s works from 1873 to 1881, beginning with Americanas, passing through Helena and Memórias póstumas de Brás Cubas, and finally \"O alienista\". It aims, accordingly, to demonstrate that Machado de Assis tailored his themes, style, sketches and repertoire to fit in the tradition of high literature, especially that of the Comedy. Such experience shows the oscillation between contrasting styles in Machado\'s work - the elevated and the low, the sublime and the vulgar -, which the author conciliates by employing combinations, fusions, imitations and parodies to bring together such opposite poles.

A presente pesquisa se concentra na recuperação da acepção setecentista dos conceitos de estilo e de gosto na música. Com base em fontes originais do séc. XVIII, mostra como a idéia de gosto veio a se associar à de estilo no decorrer do século XVIII, passando a constituir a base de termos como gostos reunidos e estilo galante, comumente relacionados à música de Georg Philipp Telemann (1681-1767). Este estudo aborda os estilos e gostos adotados por Telemann a partir de uma perspectiva histórica e, para tanto, utiliza as retóricas clássicas, nas quais se apoiaram os autores setecentistas; os tratados sobre gosto dos séc. XVII e XVIII; as poéticas musicais setecentistas; e as autobiografias de Telemann (de 1718 e 1740). Deste modo, propomos o estudo de ambos os conceitos não apenas a partir de sua perspectiva técnica ou nacional, mas recuperando sua função dentro do contexto da elocutio retórica, envolvendo a idéia de decoro. Nas fontes setecentistas, o uso destes termos se relaciona com os sistemas de adequação entre as diferentes maneiras de escrita em relação à ocasião e ao gosto nacional, ambos regulados pelo decoro. Desta forma, estes conceitos constituem aspectos de uma concepção musical única, que pode ser melhor compreendida a partir da perspectiva dupla do gosto e do estilo. No séc. XVIII, o gosto regulava as maneiras de compor, formando estilos próprios de um determinado grupo, país, ou auctoritas. Os dois principais parâmetros de gosto normativos do período são a música francesa e a italiana. Deste modo, a partir da imitação e do estudo dos modelos estrangeiros formou-se a prática denominada gostos reunidos - mencionada nos escritos setecentistas alemães como gemischten Goût, vermischter Geschmack e Gosto Alemão. Deste processo de imitação, onde tomar algo como modelo não se refere a uma cópia do discurso, mas sim à aprendizagem e exercitação de como tratar tecnicamente um material de origens diversas a fim de gerar algo novo, surge um novo gênero, denominado por Telemann e seus contemporâneos como Concert en Ouverture, ou Concertouverture. / This research is focused on recovering the seventeenth-century sense of the concepts style and taste in music. Based on original works from the eighteenth century, presents the process of association between the ideas of taste and style during the eighteenth century, becoming the basis of terms as mixed tastes and gallant style, often used on descriptions of Georg Philipp Telemann (1681-1767) music. This study analyses the styles and tastes used by Telemann from a historical approach, using the classical rethoric in which the seventeenth-century authors based their writings; treatises about taste from the seventeenth and eighteenth century period; musical poetics from the seventeenth century and Telemann´s autobiographies (from 1718 an 1740). This work proposed the study of both concepts not only from the technical or national perspectives, but recovering its place on the rhetoric context of elocutio tied to the notion of decorum. The use of the previous terms in the works from the seventeenth century relates them to the suitability between different ways of composition for each circumstance and national taste, both ruled by decorum. Hence, these concepts are part of an unique musical notion, that can be better understood from the parallel perspectives of taste and style. In eighteenth century, taste ruled composition forms, generating peculiar styles from certain groups, countries and auctoritas. The two main normative parameters of taste in the period were French and Italian music. Thus, from the study and imitation of foreign styles, the practice known as mixed tastes was shaped - it was mentioned in the seventeenth-century German writings as gemischten Goût, vermischter Geschmack and German taste. From this imitation process, where following something as example was not understood as copying the content, but learning and practising the process of working on materials from various sources with the purpose of building something new, a new genre arises. It\'s called by Telemann and his contemporaries Concert en Ouverture, or Concertouverture.