The purpose of this study was to develop a guide to help teach commercial music style imitation, Styles selected were ragtime, dixieland, Whiteman, Goodman, Miller, bop, Berry, Presley, Motown, hard rock, horn band, soft rock, straight ahead big band, Ellington, Basie, country rock, bluegrass, Country-Western, Mantovani, Boston Pops, and Love Unlimited Orchestra. Melody, harmony, rhythm, voicing, instrumentation, form, special effects, performance techniques, electronic alteration, and articulation were discussed for each style. A table summarizing each discussion, and an arrangement and recording of the same melody in each style were included, The guide appears successful, judging from commercial writers' estimations, The work will probably aid writers, performers, researchers, and publishers. Similar works could be done on other commercial and ethnic styles.

Esta dissertação procurou investigar a criação de obra original e de arranjo de canção como modelos de repertório utilizados pelos corais amadores brasileiros, com ênfase especial no meio universitário paulista, a partir de 1960. Um panorama histórico do século XX na música coral produzida no Brasil tornou-se necessário para localizar alguns dos fatores que determinaram a inserção de arranjos da canção popular urbana, ocorrida entre as décadas de 60 e 90, em especial como decorrência da atuação de alguns compositores do grupo Música Nova. Os dados recolhidos apontam os prováveis fatores que determinaram a inserção do arranjo da canção popular urbana (num momento já posterior aos arranjos de folclore) e revelam seus desdobramentos, como por exemplo, o surgimento de uma nova poética de escrita coral, o novo fazer coral, a inclusão da performance cênica, o predomínio do arranjo sobre as obras originais criadas para coro no repertório coral deste mesmo período e as alterações na interpretação e na vocalidade, que se transformaram para se adequar à nova escrita coral proposta pelos arranjadores deste período. Em alguns casos, tornou-se a grande busca artística de importantes grupos vocais brasileiros. Os resultados obtidos destacam a atuação de três arranjadores que iniciaram este processo: Levy Damiano Cozzella, Samuel Kerr e Marcos Leite. Nesta pesquisa serão também apontadas algumas das principais diferenças entre as linhas desenvolvidas por esses arranjadores e as influências que elas tiveram na atividade coral paulista e carioca no período, com desdobramentos que alcançam os dias de hoje. Procuraremos também verificar os fatores que levaram os corais a se afastarem das obras originais criadas para o coro no Brasil neste mesmo período, uma vez que o arranjo da canção popular urbana aos poucos foi se tornando uma busca artística, pedagógica e em alguns casos política, tanto dos regentes como dos coralistas. / This thesis sought to investigate the creation of original works and arrangements as models for the repertoire used by Brazilian amateur choirs, with special emphasis on the Choir of the University of São Paulo, since 1960. A historical overview of twentieth-century choral music produced in Brazil was necessary to identify some of the factors that determined the inclusion of arrangements of popular urban song, in the repertoire occurred throughout the 60s and 90s, particularly as a result of the actions of some composers of the Grupo Música Nova (New Music Group). The collected data show the likely factors that led to the prevalence of arrangements of urban folk songs (at a period that follows the trend of arrangements of folklore materials). They also, show its consequences, such as the emergence of a new poetic of choral writing, the inclusion of theatrical performances, the little interest arose by the original works for choir composed at that same period and finally, the changes in the interpretation and vocal techniques which turned to fit the new choral writing of the period. In some cases, it became the great artistic search of important Brazilian vocal groups. The results of the research show also the fundamental contribution of three arrangers who started this process: Damiano Cozzella Levy, Samuel Kerr and Marcos Leite. This research also points out some key differences between the styles developed by these arrangers and the influence they had on the choral activity in Sao Paulo and Rio de Janeiro at that period. The effects of the models that they propose reach this day. We also examined factors that led most of the choral groups, to ignore the original works created for choir in Brazil at the same period, since the arrangement of popular urban songs gradually became the prevailing artistic research, teaching method and sometimes political, tool by both conductors and singers.

L’évolution des nouvelles pratiques de l’investissement socialement responsable ouvre la voie à des modes d’organisation innovants. Un grand marché est né entre l’offre et la demande, de nouvelles « architectures transactionnelles » proposant des émissions obligataires socialement responsables voient le jour. L’objectif étant de créer la liquidité et de contribuer au développement économique et social. L'étude des arrangements organisationnels qui ont abouti à émettre une obligation socialement responsable à destination de la société de gestion se nourrit de deux expériences pionnières. Le contexte organisationnel nous amène à nous interroger sur la place du gérant de fonds dans le financement de l’économie solidaire. La société de gestion de portefeuille, acteur majeur au coeur des modes d’organisations, se positionne entre les émetteurs d’obligations et les investisseurs souhaitant intégrer des critères extra-financiers dans leurs choix de sélection de portefeuille. La problématique de notre travail de recherche s'intéresse à l'étude de l’attractivité des gestionnaires d’actifs face à des mécanismes différenciés d' Economie Sociale et Solidaire. Ainsi, dans le cadre de cette thèse, nous proposons d'étudier la perception du point de vue du gérant de fonds de deux modes d'organisation différents, qui aboutissent à la construction d'un produit qualifié d’ISR dans le sens où il répond aux attentes des investisseurs souhaitant intégrer des dimensions extra-financières dans leurs choix de sélection de produits. Dans cette optique, le gérant de fonds ISR est amené à prendre des décisions quant au choix des produits dans son processus de construction du portefeuille. Il joue un double rôle de constructeur de performance ESG et d'intermédiaire financier et doit faire face à un ensemble de contraintes de gestion mais aussi vis-à-vis de ses partenaires. / The evolution of the new practices of the socially responsible investment opens the way for innovative modes of organization. A big market was born between supply and demand, new "transactional architectures" proposing socially responsible bond issues. The objective being to create the liquidity and to contribute to the economic and social development.The study of the organizational arrangements which succeeded to emit a socially responsible obligation aimed at the management company feeds on two experiences pioneers. The organizational context brings us to wonder about the place of the fund manager in the financing of the united economy. The asset management, at the heart of the organization modes, is positioned between the bond issuer and the investors wishing to integrate extra-financial dimension into their choices of selection of asset.The problem of our research work is interested in the study of the attractiveness of the asset managers in the face of mechanisms differentiated of Voluntary and united Sector.So, within the framework of this thesis, we suggest studying the perception from the point of view of the fund manager of two different modes of organization, which end in the construction of a product qualified as SRI in the sense where he meets the expectations of investors wishing to integrate extra-financial dimensions into their choices of selection of products.From this perspective, the fund manager SRI is brought to make decisions as for the choice of products in its process of construction of the portfolio. He plays double role of construction social performance and financial intermediary and has to face a set of constraints of management but also towards these partners.

Le présent mémoire analyse les dispositions sur l'arrangement ou compromis avec actionnaires prévues aux articles 192 de la Loi canadienne sur les sociétés par actions et 49 de la Loi sur les compagnies du Québec. Dans un premier temps, l'étude de la genèse des dispositions sur l'arrangement dans les lois canadiennes fait ressortir que ces dispositions ont une origine commune et qu'elles partagent une même philosophie, caractérisée par une dualité entre la permissivité des transactions et la protection des épargnants. L'étude des fondements juridiques des mécanismes prévus dans la loi fédérale et provinciale permet ensuite de réaliser que, alors qu'à l'origine, la disposition québécoise était en quelque sorte le calque de la disposition fédérale, cette dernière a été modifiée postérieurement à la réforme de la loi fédérale, de sorte que plusieurs différences distinguent aujourd'hui ces deux lois au chapitre de l'arrangement. Dans un contexte où des démarches ont été entamées afin de réformer la loi provinciale, la question à laquelle ce mémoire tente de répondre peut se poser en ces termes: La « nouvelle disposition» d'arrangement adoptée par le législateur fédéral rencontre-t-elle mieux les objectifs de permissivité des transactions et de protection des épargnants que la disposition québécoise qui, pour sa part, est demeurée pratiquement inchangée depuis son adoption? L'étude parallèle de ces dispositions permet de constater que la «nouvelle disposition» d'arrangement de la L.c.s.a. semble davantage rencontrer ces objectifs. / This thesis studies the arrangement procedure under section 192 of the Canada business corporations Act and the arrangement or compromise with shareholders procedure under section 49 of the Quebec's Companies Act. At the very beginning of this work, the study of the history of the arrangement procedure and its arrival in the canadian laws demonstrates that these provisions have a common origin and that they share the same philosophy, caracterized by a duality between the permissiveness of the transactions and the protection of investors. This history of this mechanism also emphasizes that, despite the fact that the provincial provisions were at the beginning a copy of the federal provisions, we find several differences between them today. In a context in which the legislator has already taken some steps in order to reform the Quebec's Company Act, this thesis endeavours to answer the following question: Does the "new arrangement procedure" under section 192 of the Canada business corporations Act meets the objectives of permissiveness and protection better than the arrangement procedure under section 49 of the Quebec's Companies Act, which has remained practically unchanged since its adoption? The comparison between the two arrangement procedures suggests an affirmative answer to this question.

In 1972, professor Grigore Moisil, the most famous Romanian academician for Mathematics, said about Combinatorics, that it is “an opportunity of a renewed gladness”, because “each problem in the domain asks for its solving, an expenditure without any economy of the human intelligence”. More, the research methods, used in Combinatorics, are different from a problem to the other! This is the explanation for the existence of my actual paper, in which I propose to teach Combinatorics, using selected problems. MS classification: 05A05, 97D50.

No description available.

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.

Esta dissertação procurou investigar a criação de obra original e de arranjo de canção como modelos de repertório utilizados pelos corais amadores brasileiros, com ênfase especial no meio universitário paulista, a partir de 1960. Um panorama histórico do século XX na música coral produzida no Brasil tornou-se necessário para localizar alguns dos fatores que determinaram a inserção de arranjos da canção popular urbana, ocorrida entre as décadas de 60 e 90, em especial como decorrência da atuação de alguns compositores do grupo Música Nova. Os dados recolhidos apontam os prováveis fatores que determinaram a inserção do arranjo da canção popular urbana (num momento já posterior aos arranjos de folclore) e revelam seus desdobramentos, como por exemplo, o surgimento de uma nova poética de escrita coral, o novo fazer coral, a inclusão da performance cênica, o predomínio do arranjo sobre as obras originais criadas para coro no repertório coral deste mesmo período e as alterações na interpretação e na vocalidade, que se transformaram para se adequar à nova escrita coral proposta pelos arranjadores deste período. Em alguns casos, tornou-se a grande busca artística de importantes grupos vocais brasileiros. Os resultados obtidos destacam a atuação de três arranjadores que iniciaram este processo: Levy Damiano Cozzella, Samuel Kerr e Marcos Leite. Nesta pesquisa serão também apontadas algumas das principais diferenças entre as linhas desenvolvidas por esses arranjadores e as influências que elas tiveram na atividade coral paulista e carioca no período, com desdobramentos que alcançam os dias de hoje. Procuraremos também verificar os fatores que levaram os corais a se afastarem das obras originais criadas para o coro no Brasil neste mesmo período, uma vez que o arranjo da canção popular urbana aos poucos foi se tornando uma busca artística, pedagógica e em alguns casos política, tanto dos regentes como dos coralistas. / This thesis sought to investigate the creation of original works and arrangements as models for the repertoire used by Brazilian amateur choirs, with special emphasis on the Choir of the University of São Paulo, since 1960. A historical overview of twentieth-century choral music produced in Brazil was necessary to identify some of the factors that determined the inclusion of arrangements of popular urban song, in the repertoire occurred throughout the 60s and 90s, particularly as a result of the actions of some composers of the Grupo Música Nova (New Music Group). The collected data show the likely factors that led to the prevalence of arrangements of urban folk songs (at a period that follows the trend of arrangements of folklore materials). They also, show its consequences, such as the emergence of a new poetic of choral writing, the inclusion of theatrical performances, the little interest arose by the original works for choir composed at that same period and finally, the changes in the interpretation and vocal techniques which turned to fit the new choral writing of the period. In some cases, it became the great artistic search of important Brazilian vocal groups. The results of the research show also the fundamental contribution of three arrangers who started this process: Damiano Cozzella Levy, Samuel Kerr and Marcos Leite. This research also points out some key differences between the styles developed by these arrangers and the influence they had on the choral activity in Sao Paulo and Rio de Janeiro at that period. The effects of the models that they propose reach this day. We also examined factors that led most of the choral groups, to ignore the original works created for choir in Brazil at the same period, since the arrangement of popular urban songs gradually became the prevailing artistic research, teaching method and sometimes political, tool by both conductors and singers.

Le but de cette thèse est de comprendre la dynamique des graviers au sein des rivières alpines à faible contrainte en utilisant des expériences en laboratoire. Ces rivières sont souvent composées d’une large gamme de sédiments, allant des argiles aux galets. Ces différentes classes sédimentaires peuvent interagir entre elles, ce qui peut rendre difficile l’estimation du transport solide. Des expériences en laboratoire ont été conduites en écoulements instationnaires dans un canal de 18m de long et 1m de large. Deux types de lits ont été étudiés : lits unimodaux et bimodaux. Une attention particulière a été portée sur la réalisation des lits de graviers dans notre canal. Ils ont été créés dans le but d’approcher au mieux la configuration des lits de rivières alpines, c’est-à-dire avec différents arrangements et degrés de colmatage du lit par des sédiments fins. Les lits unimodaux sont composés de graviers peu triés avec divers arrangements de surface. Les lits bimodaux sont composés d’une matrice de graviers peu triés dans laquelle des sédiments fins se sont infiltrés (sables ou limons). Les processus régissant le transport de graviers ont été mis en avant. Le transport de graviers est impacté par l’arrangement du lit, la concentration de sédiments fins dans la couche de charriage, et par le changement de propriétés du lit due à la présence de sédiments fins (cohésion, perméabilité du lit). Plus le lit est arrangé, plus le transport est difficile. Plus la couche de charriage est concentrée en sédiments fins, plus le transport est facile. La forme des sédiments fins est aussi un facteur important pouvant modifier le transport des graviers. La présence de sédiments fins cohésifs dans la matrice peut considérablement réduire le taux de graviers transportés. Un modèle conceptuel a été développé pour résumer les différents processus contrôlant le transport de graviers. Il décrit le comportement des graviers dans les différentes configurations étudiées. L’outil proposé peut aider à comprendre, estimer et interpréter le transport de graviers. Il a été appliqué et discuté sur un cas de terrain sur la rivière de l’Arc. Basé sur ce modèle, nous avons proposé une nouvelle analyse dimensionnelle pour la construction d’un modèle de prédiction de transport solide prenant en compte des paramètres décrivant l’arrangement du lit, les propriétés géotechniques du lit et la présence de sédiments fins / This PhD thesis aims to understand gravel dynamics in Alpine rivers at low bed shear stress using laboratory experiments. Alpine river beds are often poorly sorted and composed of sediments ranging from clay to pebble. To understand interactions between these classes is an issue for predicting bedload rate. Laboratory experiments were performed in a 18m long and 1m wide flume, under unsteady flows. Two types of bed were investigated: unimodal and bimodal beds. A particular attention was paid to the bed construction, which was conducted in order to obtain a nature-like bed 12with different bed arrangements and degrees of clogging. Unimodal beds were made of moderately sorted gravels with different bed surface arrangements. Bimodal beds were made of moderately sorted gravels in which fine sediments (sand or silt) were infiltrated. Gravel rate was found to be impacted by the bed arrangement degree, the fine sediment concentration within the bedload layer and the changes in bed properties due to fine sediment presence (bed cohesion, bed permeability). The more packed the bed is; the more difficult it is to move gravels. The more concentrated in fine sediment the bedload layer is; the easier the transport of gravels is. The shape of fine sediments can also be an important factor for modifying the gravel rate. The presence of cohesive fine sediments within the bed matrix reduces significantly the gravel rate. A conceptual model was developed to recap the different processes controlling gravel transport. It provides a phenomenological description of the overall bed responses to a hydrograph. This tool is designed to help understanding, estimating or interpreting gravel transport in Alpine rivers. The conceptual model was discussed and applied to a field case made on the Arc River. Using the model, we also suggest a new dimensionless analysis for the construction of a bedload predicting model involving parameters describing bed arrangement, bed properties and fine sediment presence

The journey towards insolvency is often a gradual process, thus enabling a business or person in most circumstances to be aware of the danger ahead if adequate precautions are not taken. This position is recognized by the Statute, hence the definition given to a financially distressed company under the Companies Act1 to mean inability to pay all its debts within the immediately ensuring six months or the likelihood of going insolvent within the immediately ensuring six months. Rescue mechanisms are therefore aimed at ensuring that when faced with the signs of insolvency, a business for instance can be properly driven to become solvent again or at least restructured to achieve better realization of assets.2 Indeed, providing alternatives to insolvency is fast becoming a global trend as many countries now appreciate the need to give a person or business experiencing difficult times, the opportunity to rise again without necessarily going through the rigors of liquidation or sequestration. South Africa is not left out in the quest to assist over-indebted persons and provide them with alternative measures beside insolvency. The National Credit Act3 for instance seeks as one of its objectives to prevent over-indebtedness and where it occurs address same by means of debt rearrangement. This is in addition to certain provisions of the Magistrate CourtP a g e Act4 which allow a debtor the option of applying for an administration order and where granted make payment in instalments. The Companies Act also provides for business rescue as well as compromise between company and creditors.5 This research in brief analyses the above mentioned laws in South Africa that provide alternative measures for financially troubled or over-indebted debtors as applicable to corporate and non-corporate entities. The research considers whether these laws are sufficient to assist debtors in financial crisis, the effectiveness of these laws, challenges as well as loopholes taking into consideration what is applicable in other jurisdictions such as the United States, United Kingdom, Canada and Australia. The end of this research contains recommendations that would assist in achieving effective rescue mechanisms or alternatives to insolvency beneficial to both corporate and noncorporate entities in South African. Copyright / Dissertation (LLM)--University of Pretoria, 2012. / Mercantile Law / unrestricted