The present thesis deals with the origin of Latin American Spanish. The first part of this work is dedicated to the historical context which shows us the situation in which was the Kingdom of Spain in the moment of the voyages of exploration. It is treated in there the exploration on the New World and the interior situation of the kingdom as well. The second part of the historical context contains as well the language policy because is needed to have on mind the official reason why Spain was colonizing America which was the Christianization of the American original people. In this battle was the main weapon the language, that's why also it was so important to regulate it with laws and orders. Next part of the present work define American Spanish as an entity which is possible to define geographically and historically, it is a linguistic system which has a common history and determine the most important and decisive period for the formation of the American Spanish as the first one which is in between 1492 - 1519. To this part belong also the opinions and theories of the most important linguists. There is no time for mentioned every linguist who have ever treated the topic, therefore there are mentioned just the most important ones and their theories. Next chapter is dedicated to the pronunciation,...

La musique arabo-andalouse a fait l’objet d’une littérature abondante dès la seconde moitié du XIXe siècle : dans un premier temps, à travers un regard orientaliste nourri par un esprit de curiosité en quête d’exotisme, puis à travers des essais de transcription et des travaux musicologiques axés sur l’étude et la classification des corpus. Fruit d’une longue gestation commune, les répertoires arabo-andalous sont soumis à des fluctuations d’origine aussi bien exogène qu’endogène. Malheureusement, l’approche comparative des variantes maghrébines et l’analyse approfondie des échelles musicales restent peu explorées. Cette thèse propose une étude analytique et comparative de trois ţubūˁ maghrébins à échelles homologues : l’Asbaˁayn tunisien, le Zidāne algérien et le Hijāz al-Kabīr marocain. L’identification des comportements mélodiques inhérents aux trois corpus est réalisée par la combinaison de plusieurs démarches analytiques. Le traitement statistique des mélodies (occurrences et durées des hauteurs, finales internes, degrés fondamentaux…) sera suivi par une analyse paradigmatique basée sur le repérage des schémas conclusifs. Une étude empirique, s’appuyant sur l’interprétation de mesures fréquentielles, permettra la comparaison des rapports d’intervalles et des amplitudes de fluctuation des différentes hauteurs de notes. Notre première partie sera fondée sur une approche diachronique démontrant d’un côté le caractère dynamique des répertoires étudiés et justifiant d’autre part certaines divergences et convergences déduites des différentes analyses. / The Arab-Andalusian music has been the object of an abundant literature from the second half of the 19th century: at first, through an Orientalist perspective fed by a spirit of curiosity in search of exoticism, then through transcription attempts and musicological research focused on the study and the classification of the corpuses. Fruit of a long common gestation, the Arab-Andalusian repertoires are influenced by exogenous and endogenous fluctuations. Unfortunately, the comparative approach of the variants from the Maghreb and the thorough analysis of musical scales remain little explored. This thesis proposes an analytical and comparative study of three North African ţubū, with equivalent scales: Tunisian Aşbaˁayn, Algerian Zīdāne and the Moroccan Hijāz al-Kabīr. The identification of melodic behaviors inherent to the three corpuses is reached by the combination of several analytical approaches. The statistical processing of melodies (occurrences, notes duration, internal finales, and fundamental degrees) will be followed by a paradigmatic analysis based on conclusive patterns. An empirical study, based on the interpretation of frequency measurements, will allow us to compare intervals ratios and the variation margin of note pitches. The first part deals with a diachronic approach demonstrating, on the one hand, the dynamic character of the studied directories and on the other side, justifying certain differences and convergences deduced from the various analysis.