The first chapter introduces the purpose and significance of this study for the piano teacher who wants to teach twentieth-century piano music effectively at the elementary or intermediate level, combining it and comparing it with nineteenth-century piano music. The second chapter presents an overview of both Schumann and Liebermann's Album for the Young. In the third chapter, the two collections are analyzed pedagogically and compared in detail. The study should provide piano teachers with an understanding of the musical concepts of each piece and how to effectively teach students about twentieth-century music by pairing them.

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Dans ce mémoire, je me suis tournée vers la création d'un recueil de poèmes à partir de la question suivante : comment le poème, et plus particulièrement le poème en prose, peut-il procéder à l'élaboration d'un langage dont le rythme, la voix, la présence et même le déploiement sur la page rappellent le travail de mémoire et d'archivage convoqué par les albums de photographies de famille? Il s'agissait de construire des poèmes qui permettaient à la fois une conservation et une lecture nouvelle de ma mémoire familiale. Sur la frontière entre remémoration et création, entre reconnaissance et ressemblance - les moments contemplés n'ayant pas été vécus - j'ai interprété l'écriture du poème comme une forme de rapport à l'espace, comme une image. À l'instar des albums de famille qui, hormis certains clichés figurant dans une ligne temporelle qui n'est pas la leur, se construisent en suivant une chronologie cohérente, le recueil Il était encore possible de ne pas parler offre une progression chronologique régulière, néanmoins rompue par certains poèmes qui, comme des photos décalées ou déplacées, en brisent l'unité. Ces textes singuliers font office de ruptures et de nœuds. Avec eux s'ouvre une analogie de temps, d'espace et de sens entre le poème-image et la photo égarée, sans datation, fichée entre deux pages de l'album. Ils rappellent que, malgré leur désir profond de présenter une histoire homogène, les albums de famille nous dévoilent les fragilités d'un récit dont le sens, prétendument fixé, commence à se modifier. Dès lors, la prémisse selon laquelle la famille se trouve au cœur de l'atelier du poète a soutenu l'élaboration du recueil et de l'essai. Cette famille ne s'est toutefois pas réduite à son sens biologique, voire sociologique. Elle a plutôt été envisagée comme une famille-langage, c'est-à-dire une communauté dont tous les individus partagent une même pensée poétique, un même rapport au souffle. Une telle famille définit notre rapport poétique et politique au monde. Elle habite notre regard, notre voix, notre pensée. Une telle famille ne se sert pas du langage, elle se fait langage. Entre sujet (le poète) et objet (les photographies familiales), entre objet et sujet, il n'y a donc pas une relation simple, unilatérale, mais un principe d'échange à partir duquel s'érige une mémoire à la fois personnelle et historique, collective. Ainsi, tout au long du projet, la photographie a été comprise comme une archive, c'est-à-dire un objet incomplet s'ouvrant vers l'avenir et oscillant entre le mémoriel et l'interprétatif. Dès lors, ma posture d'écriture ne saura être confondue avec celle de l'historien. D'un état à l'autre du processus de construction des poèmes et de figuration du lien familial, j'ai dû constamment me rappeler que l'archive n'est que ce que nous voulons bien comprendre d'un hier que d'autres auraient compris tout autrement. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Album, Archive, Famille, Généalogie, Image, Mémoire, Photographie, Poème en prose, Poésie.

In addition to the written report, my debut album The Light of Christmas is included in this Master thesis. The album was released 15th. November 2014 and it was a success. I worked as an artist and as a producer in this album project. The album consists of thirteen songs. It includes three different Ave Maria songs from Schubert, Bach-Gounod and Caccini and other Mary songs in Finnish (Kalliokoski, Reger) and in Swedish (Hahn). I also recorded traditional Finnish Christmas songs. The written report of this thesis describes the most important part of this project, the production of the CD from the beginning till the end. The artistic self-esteem is also in focus. My instrument, voice, is in me. It develops all the time. It is never the same. I needed to accept this fact and believe in my skills as a professional singer. I am a mentally stronger singer today than I was a year ago. I believe in what I am doing and I also believe in my future as a professional singer. The feedback from my album supported me as an artist and in my career. / <p>Appendice;</p><p>Bilaga: 1 CD - The Light of Christmas</p>

Commercial recordings - CDs, LPs - are familiar objects. However, discussion about them has often attempted to conceal the fact that, as communicating objects, recordings pose special problems due to the fact that they unite text, image, and sound in a material commodity. This thesis examines the role of the visual in the production, circulation and use of recordings. The album cover is the primary category of study, with an emphasis on its functioning in relation to the recording as a sonic and material commodity. The label ECM, a German company which has been producing recordings since 1969, provides the main focus in this analysis. The basis of this investigation lies in the questioning of the assumptions and categories that have historically guided the activity of cover design and the discourse about it. Traditionally, recordings have been understandably seen primarily as sound-carriers; their visual aspects, even when celebrated, are most often relegated to a peripheral status, despite the fact that in certain contexts the importance of the visual can overwhelm that of sound. The usual hierarchical opposition between these elements is here questioned through an examination of both the marketing of recordings and their circulation and use. ECM provides a pertinent case through which such questions can be elaborated. Its visual marketing strategies can be characterised in terms of a desire for difference. ECM's attempt to set itself apart has resulted in a "look" which rejects many conventions. It has also resulted in a complex, conceptual group of visual strategies. In its particular use of landscape photography, blank space, and gestural markings, ECM constructs ideas of space which relate to the potential for performativity and creativity. Through the combination of these strategies, the label deemphasises creative personality of the musical performer and emphasises the space occupied by the looker/listener. In doing this, it also questions the traditional boundaries between music and the visual. ECM's covers cause these categories to become indistinct and allow new conceptions of the recording as a material commodity to emerge. One effect of this is a construction of the apprehender's subjectivity that fails to fit within the marketplace's traditional categories. The thesis considers how the visual has been implicated in more concrete processes such as the negotiation of taste and practices of consumption and use. The niche that ECM attempts to carve out for itself is considered in relation to the tension in the marketplace between the desire for distinction and the recording as a massproduced commodity.

The problems associated with short growing seasons has led to the development of leafy-reduced stature (LRS) corn hybrids. These hybrids have more leaf area above the ear, more rapid leaf area development, shorter stature, earlier maturity, and better responses to high plant populations and narrow spacings than conventional hybrids. Plants grown in a reduced light environment are limited in carbon assimilation and this, in turn, results in reductions in growth and development. A way to supplement the availability of photosynthate is injection of sucrose into plant stems. The objective of this thesis was to determine the ability of LRS corn plants to compete with weeds, and the reactions of weed species to the shade, including the relationships between weed growth (increase in biomass) and development (shape) under shaded conditions. Three years of field experiments (LRS and more conventional corn hybrids with both transplanted and naturally growing weeds) and two years of greenhouse work [weeds alone, C3 (lamb's quarters and velvetleaf) and C4 (redroot pigweed) in full sun or deep (75%) shade injected with 15% sucrose or not] were conducted. Yield reductions due to weed pressure were lower for LRS than other hybrids. Biomass production by both transplanted and naturally occurring weeds was up to 85% less under corn canopies than when grown without competition from corn. The biomass of C4 weeds was more reduced by competition with corn plants than that of C3 weeds. In spite of quick and early leaf development, leaves and other plant parts of LRS were not damaged excessively by mechanical (rotary hoeing) weed control. Both C3 and C4 weed plants produced more dry matter when injected with sucrose. Dry weights of sucrose injected shaded plants were not different from full sun uninjected plants. However, sucrose injection did not alter shading effects on development (distribution of biomass). Dry matter production and photosynthetic rates of C4 weeds were more reduced

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Cette thèse porte sur deux questions de recherche en éducation. La première concerne les différentes représentations de la Shoah dans des albums pour la jeunesse écrits et illustrés par des auteurs américains et par des auteurs européens. La seconde se focalise sur le lien potentiel entre la culture de ces auteurs et leurs choix concernant la représentation de l’Holocauste au jeune public. Notre intérêt et la justification de notre sujet résident, d’une part, sur l’importance du devoir de mémoire, transmis aux générations futures par l’intermédiaire de certaines représentations. D’autre part, et à notre connaissance, peu de chercheurs se sont penchés sur la question du lien entre la culture des auteurs et les représentations de la Shoah dans leurs albums de jeunesse. Or il semblerait qu’il existe des tendances attribuables à la culture des auteurs. Nos résultats montrent en effet la présence d’éléments « américanisants » dans les albums, mais uniquement dans ceux de trois auteurs américains. C’est surtout l’émergence d’une nouvelle tendance, que l’on a appelée « germanisation » de la Shoah, qui constitue la contribution première de notre recherche à la communauté scientifique. En effet, en évaluant les oeuvres de deux auteurs européens, et de surcroit, allemands, nous avons remarqué des similarités bien singulières dans leurs représentations. Cette découverte peut engendrer des recherches plus approfondies, dans le but de pouvoir éclairer, toujours davantage, le choix des adultes qui se lancent dans l’éducation de l’Holocauste avec les jeunes.

This document is a pedagogical guide for Tchaikovsky’s Album for the Young, Op. 39, which is regarded as valid pedagogical material for teachers interested in incorporating this repertoire into their studios. This document contains brief bibliographical information of Peter Ilyich Tchaikovsky and a concise background of Album for the Young, Op. 39, and then presents a comprehensive pedagogical analysis of each piece, which includes teaching methods, technical approaches and practice suggestions. In addition, this document assigns a level for each piece of this collection. Tchaikovsky’s Album for the Young, Op. 39 may be employed by teachers for elementary and intermediate students. This pedagogical guide is written as a reference for the teachers who will enable students to better understand Tchaikovsky’s piano music. Studying this repertoire allows students to be better prepared to study Tchaikovsky’s other more advanced works.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Fotografias carregam consigo e em torno de si, pessoas, lugares onde estiveram, momentos que as atravessaram. A imagem excede Ãlbuns e ganha vida na memÃria e imaginaÃÃo dos observadores e todos que fizeram parte do contexto em que ela foi produzida. Faz-se entÃo necessÃrio que a utilizaÃÃo dessas imagens em pesquisas sociais opere num circuito mais amplo formado por esses indivÃduos, seu ambiente e sua rede de relaÃÃes. Partindo desse pressuposto, o presente trabalho tem por objetivo construir um compÃndio de palavras e imagens que busca mapear e analisar a gama das dimensÃes, significados e papÃis sociais da fotografia em uma famÃlia de classe popular, a partir de estudo de caso no Conjunto Habitacional SÃo Vicente de Paulo, localizada na cidade de Fortaleza. Ã perceptÃvel uma multiplicidade de papÃis e afetos que essas imagens mobilizam dentro de tais grupos. Quais entÃo seriam esses sentidos do arquivamento de imagens para uma famÃlia? Na intenÃÃo de conhecer o outro, observando e tentando compreender seus registros visuais de ritos, cotidiano e diferenÃas - aprofundando-se em vidas - Ã necessÃrio tambÃm olhar em volta. Sentir e perceber instantes que nÃo se revelam nem se escrevem em papÃis, pois transbordam deles e alcanÃam um campo mais complexo. Ã importante entÃo perceber que buscando compreender fotografias, podemos alcanÃar tambÃm visÃes de mundo e imagens da alma. SÃo essas as mais fortes e potentes que encontrei junto de algumas pessoas e que pretendo aqui analisar e compartilhar. / Fotografias carregam consigo e em torno de si, pessoas, lugares onde estiveram, momentos que as atravessaram. A imagem excede Ãlbuns e ganha vida na memÃria e imaginaÃÃo dos observadores e todos que fizeram parte do contexto em que ela foi produzida. Faz-se entÃo necessÃrio que a utilizaÃÃo dessas imagens em pesquisas sociais opere num circuito mais amplo formado por esses indivÃduos, seu ambiente e sua rede de relaÃÃes. Partindo desse pressuposto, o presente trabalho tem por objetivo construir um compÃndio de palavras e imagens que busca mapear e analisar a gama das dimensÃes, significados e papÃis sociais da fotografia em uma famÃlia de classe popular, a partir de estudo de caso no Conjunto Habitacional SÃo Vicente de Paulo, localizada na cidade de Fortaleza. Ã perceptÃvel uma multiplicidade de papÃis e afetos que essas imagens mobilizam dentro de tais grupos. Quais entÃo seriam esses sentidos do arquivamento de imagens para uma famÃlia? Na intenÃÃo de conhecer o outro, observando e tentando compreender seus registros visuais de ritos, cotidiano e diferenÃas - aprofundando-se em vidas - Ã necessÃrio tambÃm olhar em volta. Sentir e perceber instantes que nÃo se revelam nem se escrevem em papÃis, pois transbordam deles e alcanÃam um campo mais complexo. Ã importante entÃo perceber que buscando compreender fotografias, podemos alcanÃar tambÃm visÃes de mundo e imagens da alma. SÃo essas as mais fortes e potentes que encontrei junto de algumas pessoas e que pretendo aqui analisar e compartilhar.