Le Modèle Standard de la physique des particules est une théorie robuste à l'échelle électro-faible. Cependant, ce dernier possède des lacunes. Par exemple il ne permet pas d'expliquer la matière sombre, qui est une des problématiques majeures de la physique moderne. Près de 85% de la matière présente dans l'Univers n'est pas expliquée par le Modèle Standard. On l’appelle la matière sombre. Cette thèse présente une catégorie de modèles s'adressant à la problématique de la matière sombre. Ceux-ci s'appuient sur le paradigme du WIMP, qui nous enseigne qu'une particule neutre avec une section efficace électro-faible et une masse électro-faible explique à peu près l'abondance relique observée. Néanmoins, une analyse plus approfondie révèle que cette correspondance n'est en fait pas très précise puisque des masses multi-TeV pour la matière sombre sont nécessaires pour les modèles les plus simples, ce qui est 1-2 ordres de grandeur plus grand que l’échelle électro-faible. Cependant, avec un secteur sombre étendu, il est possible de maintenir la masse de la matière sombre proche de l’échelle électro-faible tout en gardant la densité relique observée. Ma thèse présente des modèles effectifs simples de matière sombre fermionique du type WIMP, ou le candidat de matière sombre est issu du mélange entre un singlet du Modèle Standard et d'un n-plet de SU(2)×U(1). La particule de matière sombre est supposée avoir une masse de l'ordre de l'échelle électro-faible, et le mélange est généré par des opérateurs de dimensions supérieures impliquant le doublet de Higgs. Lorsque la symétrie électro-faible est brisée, le boson de Higgs acquiert sa valeur moyenne dans le vide et des matrices de masse non-diagonales sont générées dans le secteur sombre. Cela engendre un mélange entre les états du secteur sombre, et les états physiques ainsi que leur masse sont obtenus en diagonalisant les matrices de masse. Pour des valeurs appropriées des paramètres, il est toujours possible d’accommoder le mélange afin de reproduire la densité relique mesurée. On parle de "well-tempered mixing" ou mélange correctement ajusté en français. Afin de stabiliser la particule de matière sombre, on doit ajouter une symétrie sous laquelle le secteur sombre est impair et le Modèle Standard est pair. Pour n impair, le n-plet est un multiplet de Majorana d'hypercharge nulle. Pour n pair, on considère un bi-multiplet d'hypercharge opposée ± 1/2 de sorte à ce qu'il forme un spineur de Dirac. On se focalise sur les contraintes liées à la densité relique et à la détection directe pour les configurations singlet-triplet, singlet-quadruplet et singlet-quintuplet. Notons que les contraintes de la détection indirecte sont moins fortes que celles issues de la détection directe. On impose une masse électro-faible pour la matière sombre afin qu'elle puisse être produite au LHC. Les résultats montrent qu'il est toujours possible de trouver un espace des paramètres, avec une masse électro-faible pour la matière sombre et redonnant la densité relique observée, qui passe les contraintes de détection directe et a fortiori indirecte. Dans la région de validité de la théorie effective, la détection directe est moins contraignante pour les grandes représentations du n-plet à cause du très faible mélange. / The Standard Model of particles physics is a well-tested theory at the electroweak scale. However this is not the end of the story. For instance, it does not solve the dark matter problem, which is one of the major issues of the modern physics. About 85% of the matter in the Universe is not describe by the Standard Model. It is called dark matter. This thesis presents a category of models responding to the dark matter problem. These models are based on the WIMP-paradigm, stating that a neutral particle with an electroweak cross-section and with an electroweak-scale mass roughly explains the observed relic abundance. Nevertheless, a closer look reveals that this correspondence is quantitatively not very precise since multi-TeV dark matter masses are required for the simplest models, which is 1-2 orders of magnitude larger than the electroweak scale. However, with an extended dark sector, it is possible to maintain the dark matter particle mass close to the electroweak scale and to keep the observed relic density. My thesis discloses simple effective models of fermionic WIMP dark matter, where the dark matter candidate is a mixture of a Standard Model singlet and an n-plet of SU(2)×U(1). The dark matter is assumed to be aroundthe electroweak scale, and the mixing is generated by higher-dimensional operators involving the Higgs doublet. Upon electroweak symmetry breaking, the Higgs takes its vacuum expectation value and non diagonal mass matrices are generated for the dark matter sector. This causes mixing between dark matter sector states, and physical states and masses are obtained by diagonalising the mass matrices. For suitable parameters, it is always possible to adjust the mixing to reproduce the observed relic density. This is reffered to as a well-tempered mixing. In order to stabilise the dark matter particle, we need to add a discrete symmetry under which the dark matter sector is odd and the Standard Model is even. For n odd, the n-plet is a Majorana multiplet with zero hypercharge. For n even, we consider a bi-multiplet with opposite hypercharges of ± 1/2 such as to form a Dirac spinor. We focus on the observed relic density and the direct detection constraints for the singlet-triplet, singlet-quadruplet and singlet-quintuplet configurations. Note that bounds from indirect detection are less stringent than those from direct detection. We impose electroweak mass for the dark matter particle such that it could be produced by the LHC. Results show that it is always possible to find a choice of parameters reproducing the observed relic density with an electroweak dark matter mass which conforms to the direct and a fortiori indirect detection constraints. In the region of validity of the effective theory, direct detection is less constraining for higher representations of the n-plet due to the tiny mixing.

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O objetivo da presente pesquisa é, decifrando o significado do termo Clavier (-teclado?, em sentido genérico), na obra tecladística de J. S Bach - especialmente nos Prelúdios e Fugas que compõem Das Wohltemperierte Clavier, oder Praeludia und Fugen durch alle Tone und Semitonia - concentrar-se naqueles que apresentam maiores problemas de execução ao cravo e propor uma leitura dessas peças ao órgão de tubos, levando em conta a linguagem instrumental de cada instrumento. / The objective of the present study remains in the meaning of the word Clavier (-keyboard?, in a general sense) in Bach\'s keyboard works - especially the Preludes and Fuges of Das Wolhtemperierte Clavier, oder Praeludia und Fugen durch alle Tone und Semitonia - to focus in those pieces that presents more difficulties to perform on a harpsichord and suggest a pipe organ performance according to each instrumental language.

O objetivo da presente pesquisa é, decifrando o significado do termo Clavier (-teclado?, em sentido genérico), na obra tecladística de J. S Bach - especialmente nos Prelúdios e Fugas que compõem Das Wohltemperierte Clavier, oder Praeludia und Fugen durch alle Tone und Semitonia - concentrar-se naqueles que apresentam maiores problemas de execução ao cravo e propor uma leitura dessas peças ao órgão de tubos, levando em conta a linguagem instrumental de cada instrumento. / The objective of the present study remains in the meaning of the word Clavier (-keyboard?, in a general sense) in Bach\'s keyboard works - especially the Preludes and Fuges of Das Wolhtemperierte Clavier, oder Praeludia und Fugen durch alle Tone und Semitonia - to focus in those pieces that presents more difficulties to perform on a harpsichord and suggest a pipe organ performance according to each instrumental language.

Im Rahmen des 16. Jahreskongresses der GMTH hat ein Workshop stattgefunden, der sich zum Ziel gesetzt hat, hörend die Sensibilität zu wecken für den Klang einer Musik in einer bestimmten Tonart bei einer jeweils historischen Stimmung. Aufgrund der vom 16. bis ins 19. Jahrhundert benutzten ungleichstufigen Temperaturen ›funktionieren‹ nämlich viele Stücke nicht in jeder beliebigen Tonart. Hieraus ergeben sich wichtige Fragen für die Interpretation, für die Komposition und Improvisation, für die Werkanalyse und schließlich für den wissenschaftlichen Diskurs. / During the 16th Annual Conference of the GMTH a workshop was held that aimed to increase the awareness for listening to the sound of a composition in a specific key (within an appropriate historical tuning). Because of the unequal temperaments used from the 16th to the 19th century, many pieces don’t ›work‹ in every key. From this, important questions arise regarding performance, composition, improvisation, analysis, and, finally, scientific discourse.

This thesis comprises two manuscripts prepared for scholarly journals. Chapter 2 comprises an article entitled “Exploring Historic Changes in Musical Communication: Deconstructing Emotional Cues in Preludes by Bach and Chopin.”, which examines emotion perception in historic prelude sets by J.S. Bach and F. Chopin. This work connects psychological research on perceived musical emotion to musicological research describing changes in music structure. Using a technique called commonality analysis to deconstruct cues’ individual and joint roles in predicting participants’ perceived emotions, the chapter clarifies how music’s conveyed emotion can differ in compositions from different eras. Chapter 3 comprises an article entitled “Parsing Musical Patterns in Prelude Sets: Bridging Qualitative and Quantitative Epistemologies in Historical Music Research”. This chapter bridges gaps between qualitative and quantitative research on music history through an analytical approach engaging with both fields. Specifically, cluster analyses of Bach and Chopin’s preludes reveal notable differences in the composers’ expressive toolkits, consistent with work from historical and empirical music research. Through a novel analytical framework, the chapter illustrates a method for detecting groups of pieces demarcated by salient musical differences, assessing cues’ importance within these groups, and determining the most influential cue values for each group. Together, these articles provide new insight into the subtle sonic relationships influencing musical meaning and emotion perception. / Thesis / Master of Science (MSc) / Music’s capacity to express emotion has received considerable attention in psychological and musicological research. Whereas efforts from psychology clarify the musical cues for emotion through perceptual experiments, efforts from musicology track changes in compositional practice over time—finding changing relationships between music’s cues for emotion in historically diverse compositions. To date, the implications of these changing musical relationships for emotion perception remain unclear. This thesis analyzes musical scores and listeners’ emotion ratings to gain insight into music’s structural changes throughout history and their implications for perceived emotion. By applying statistical techniques to (i) detect musical patterns in prelude sets by J.S. Bach and F. Chopin and (ii) clarify how cue relationships influence emotion perception, this thesis sheds light on the relationship between music’s historic context and its emotional meaning.

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The Well Trained Algorithm is a composition that challenges prevailing conceptions of the use of AI tools in music through the reconceptualising of JukeBox, a generative AI model for music, as an instrument in its own right. Here, I am coining the term ‘instrumentisation’ to describe a methodology for applying the qualities and associations of a musical instrument to a traditionally non-musical object. To showcase this conceptual approach, this model of thinking is applied to aid in the composition of the AI-generated musical piece, The Well Trained Algorithm. Through this process of ‘instrumentisation’, musical terms such as tuning and timbre are redefined to better relate to the specific affordances of an artificially intelligent system. The composition is informed, then, by an exploration of a system's instrumental possibilities, leading to a more effective and artistic use of the technology in the creative process. The seminal works of J. S. Bach and La Monte Young, The Well Tempered Clavier and The Well Tuned Piano, respectively, provide a historical, musical, and theoretical context for the piece as well as the datasets used to fine-tune the JukeBox model. With this thesis, I ask if, through a process of ‘instrumentisation’ AI technology can be successfully reconceptualised as a musical instrument as a means to promote artistic expression.

The problem with, which this thesis is concerned is that of analyzing and comparing the fugal writing and contrapuntal style of J. S. Bach in the fugue expositions of The Well-Tempered Clavier and that of Paul Hindemith in the fugue expositions of the Ludus Tonalis. This comparison is made on the basis of a comprehensive analysis of the fugal expositions both collections of fugues mentioned ( The Well-Tempered by Bach and the Ludus Tonalis by Hindemith). Chapter I includes a discussion of the careers and compositional techniques of Bach and Hindemith. An emphasis is placed on a comparison of Bach's fugal writing with that of his immediate predecessors (composers of the seventeenth and early eighteenth centuries who were writing in the fugal style) and on a comparison Of Hindemith's theory of tonality, as expressed in The Craft of Musical Composition, with that of the traditional harmonic concept of Bach's day. Chapter II deals with the evolution of the fugal concept. In this chapter, imitative forms of composition which gradually evolved toward the fugue are traced from their very early beginnings through the sixteenth, seventeenth, eighteenth, nineteenth, and twentieth centuries. Emphasis is placed on the fugal form that Bach used and on Hindemith's neo-Baroque approach to fugal writing in the twentieth century. In Chapters III and IV, analyses are made of the expositions in the forty-eight fugues of Bach's Well-Tempered Clavier and Hindemith's Ludus Tonalis .There is a discussion of the number of voices, order of entries", order of statements of the theme, key relationships, and redundant entries. Also discussed In these chapters are the beginning and ending notes of the Subject, a change in tonality of the subject range and length of the subjects. There is, further, a discussion of the real and tonal answers and the reasons for the use of a tonal answer, recurring countersubject, invertible counterpoint, interludes, length of the exposition, and the cadences at the end of the fugue expositions. in Chapter V the fugal writing of Bach, as demonstrated in the fugue expositions of The Well-Tempered Clavier, and that of Hindemith, as demonstrated in the fugue expositions of the Ludus Tonalis, are compared. This comparison of these two styles of fugal writing shows the two composers' techniques and procedures to be very much alike except in Hindemith's expanded concept of tonality. Although Bach's set of fugues has set a standard for this type of writing, Hindemith has shown that this old form is still capable of being used with originality when adapted to twentieth-century practices.

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