Esta pesquisa teve objetivo investigar o processo de criação e a trajetória do Conservatório de Música Joaquim Franco (CMJF), em Manaus/AM. Esta instituição foi criada pelo Governo do Estado do Amazonas, no ano de 1965, por iniciativa de um pequeno núcleo de pessoas. Foi transferida para a Universidade Federal do Amazonas (UFAM), em 1968, e transformada, em 1987, em Setor de Artes. Atualmente, configura-se como Centro de Artes Hahnemann Bacelar da UFAM. Para o desenvolvimento deste estudo, trabalhei com a metodologia de história oral, em que participaram das entrevistas nove ex-professores e cinco ex-alunos do CMJF. Utilizei também fontes escritas encontradas em acervos públicos e particulares. O CMJF foi visto no presente trabalho como uma instituição educativa, a partir dos trabalhos de Garay (1998), Nóvoa (1995) e Magalhães (1999a, 1999b). Manteve-se, ao longo de sua história, como uma instituição que abraçou, ao mesmo tempo, diferentes concepções e práticas pedagógicas, principalmente advindas das experiências e da formação musical de seus professores, mesmo estando atrelado ao modelo conservatorial, e tendo, inicialmente, adotado o programa da Escola Nacional de Música do Rio de Janeiro. Sua permanência como instituição de ensino de música até aos dias de hoje, conforme os dados levantados na pesquisa, se deu pelas ideias e ações de seus dirigentes e professores no esforço de tentar, através de diferentes estratégias administrativas e pela aceitação de diferentes abordagens pedagógico-musicais, cumprir os objetivos pelos quais foi criado, especialmente, implementar um curso superior em música. / This research aimed to investigate the process of foundation and development of the Music Conservatory Joaquim Franco (CMJF), in Manaus, north of Brazil. This institution was established by the State Government of the Amazon, in 1965, by a small nucleus of people. It was transferred to the Federal University of Amazon (UFAM) in 1968 and transformed, in 1987, in the Sector of Arts of this University. Currently, it is configured as Arts Center Hahnemann Bacelar of UFAM. To carry out this study I worked with the methodology of oral history, interviewing nine exteachers and five ex-students of the CMJF. I also used written sources, which were found in public and private collections. The CMJF was seen in the present work as an educational institution, as conceived by Garay (1988), Nóvoa (1995) and Magalhães (1999a, 1999b). The CMJF remained, throughout its life course, as an institution that embraced, at the same time, different pedagogical conceptions and practices, that coming especially from the experience and musical training of its teachers, even being tied to the conservatory model, and having adopted initially the music program of the National Music School of Rio de Janeiro. The CMJF survived as an institution of music teaching because of the ideas and actions of its managers and teachers. The flexibility of managers and teachers in adopting both different musical-pedagogical models and approaches and different management strategies helped the institution to achieve its main objectives, specially the implementation of a higher education music course.

Esta pesquisa teve objetivo investigar o processo de criação e a trajetória do Conservatório de Música Joaquim Franco (CMJF), em Manaus/AM. Esta instituição foi criada pelo Governo do Estado do Amazonas, no ano de 1965, por iniciativa de um pequeno núcleo de pessoas. Foi transferida para a Universidade Federal do Amazonas (UFAM), em 1968, e transformada, em 1987, em Setor de Artes. Atualmente, configura-se como Centro de Artes Hahnemann Bacelar da UFAM. Para o desenvolvimento deste estudo, trabalhei com a metodologia de história oral, em que participaram das entrevistas nove ex-professores e cinco ex-alunos do CMJF. Utilizei também fontes escritas encontradas em acervos públicos e particulares. O CMJF foi visto no presente trabalho como uma instituição educativa, a partir dos trabalhos de Garay (1998), Nóvoa (1995) e Magalhães (1999a, 1999b). Manteve-se, ao longo de sua história, como uma instituição que abraçou, ao mesmo tempo, diferentes concepções e práticas pedagógicas, principalmente advindas das experiências e da formação musical de seus professores, mesmo estando atrelado ao modelo conservatorial, e tendo, inicialmente, adotado o programa da Escola Nacional de Música do Rio de Janeiro. Sua permanência como instituição de ensino de música até aos dias de hoje, conforme os dados levantados na pesquisa, se deu pelas ideias e ações de seus dirigentes e professores no esforço de tentar, através de diferentes estratégias administrativas e pela aceitação de diferentes abordagens pedagógico-musicais, cumprir os objetivos pelos quais foi criado, especialmente, implementar um curso superior em música. / This research aimed to investigate the process of foundation and development of the Music Conservatory Joaquim Franco (CMJF), in Manaus, north of Brazil. This institution was established by the State Government of the Amazon, in 1965, by a small nucleus of people. It was transferred to the Federal University of Amazon (UFAM) in 1968 and transformed, in 1987, in the Sector of Arts of this University. Currently, it is configured as Arts Center Hahnemann Bacelar of UFAM. To carry out this study I worked with the methodology of oral history, interviewing nine exteachers and five ex-students of the CMJF. I also used written sources, which were found in public and private collections. The CMJF was seen in the present work as an educational institution, as conceived by Garay (1988), Nóvoa (1995) and Magalhães (1999a, 1999b). The CMJF remained, throughout its life course, as an institution that embraced, at the same time, different pedagogical conceptions and practices, that coming especially from the experience and musical training of its teachers, even being tied to the conservatory model, and having adopted initially the music program of the National Music School of Rio de Janeiro. The CMJF survived as an institution of music teaching because of the ideas and actions of its managers and teachers. The flexibility of managers and teachers in adopting both different musical-pedagogical models and approaches and different management strategies helped the institution to achieve its main objectives, specially the implementation of a higher education music course.

Music performance anxiety (MPA) is reported in musicians of all experience, levels, and genre. However, solo classical musicians report MPA more often and at higher levels than performers in other genres because of its formal culture and traditional structure. Within solo classical musicians, collegiate training greatly differs between conservatories that award a Bachelor of Music (B.M.) and liberal arts institutions that award a Bachelor of Arts (B.A.). In 2 studies, the proposed research examines the differences in general anxiety, MPA, and private lesson content between these two groups. Participants will be from the two groups of types of collegiate music students. In Study 1, participants will take the Beck Anxiety Inventory (BAI), Kenny Music Performance Anxiety Inventory (K-MPAI), and a Personal and Musical Background Questionnaire (PMBQ) at 3 times intervals before a public, solo performance in order to assess general connections between anxiety and MPA. In Study 2, participants will partake in weekly session of 1 of 3 interventions (meditation, journal entry, and biofeedback training) in order to determine an effective method for preventing and coping with MPA. Proposed results suggest higher levels of general anxiety and MPA in conservatory music students and lower levels of MPA in participants who undergo biofeedback training. Individuals who report learning about MPA strategies in their lessons will have lower levels of MPA, suggesting the need to consistently address MPA in classical music pedagogy.

Bibliotheken an Kunst- und Musikhochschulen führten über Jahrzehnte hinweg weitgehend ein Schattendasein. In der künstlerischen Ausbildung spielten Bibliotheksdienstleistungen nur eine Nebenrolle. Studierende betraten diese Einrichtungen, vielleicht um in einem Kunstband zu blättern oder einige Noten auszuleihen – nicht viel mehr und nicht viel weniger. In der Informationsgesellschaft haben sich auch die Ansprüche an Kunst- und Musikhochschulbibliotheken deutlich erhöht. Die rasanten Veränderungen im Bibliothekswesen sind an ihnen keineswegs spurlos vorbeigegangen. Vielmehr lässt sich deutschlandweit auch hier eine zunehmende Professionalisierung gekoppelt mit einer eigenen Entwicklungsdynamik beobachten.

Stockholm växer och det kräver i sin tur nya bostäder. De fria ytorna i Stockholm city minskar och Stockholms stad försöker på nya sätt förtäta och förbättra staden konstant. Fastigheten Gulbetan är centralt belägen på Södermalm i anslutning till Ringvägen och Vitabergsparken. Idag används platsen till parkering och återvinning vilket gör att platsen är dyster och inte fyller sin fulla potential. Detta examensarbete leder till färdiga förslagshandlingar för fastigheten. Handlingar tas fram utefter en noggrann platsanalys som i sin tur resulterar i en byggnad med butik i hörnet av plan 0, trygghetsboende på plan 1-2 och bostäder på plan 3-7. Även ett gångstråk skapas mellan parkerna Vitabergsparken och Lilla Blecktornsparken. Tanken med arkitekturen under hela projektet har varit att skapa ett nytt avslut av Ringvägen, med en stilren byggnad som står sig i tiden. / Stockholm is growing and that in turn requires new buildings. The free surfaces of Stockholm decreases and Stockholm City are trying to find new ways to improve the city. The property Gulbetan is located on Södermalm in connection with Ringvägen and Vitabergsparken. Today the site is used for parking and recycling which makes the place dismal and it does not fulfill its full potential. This thesis leads to the final draft documents for the property. Documents are produced along a thorough site analysis, which in turn results in a building with a shop on the corner of plane 0, sheltered housing on floors 1-2 and apartments on floors 3-7. Even a pedestrian area created between the parks Vitabergsparken and Lilla Blecktornsparken. The idea of the architecture throughout the project has been to create a new clearance of Ringvägen, with a stylish building that is timeless.

Like Art, Architecture has the potential to impact people. Art is often considered the process of consciously arranging elements in a way that appeals to the senses or emotions. Architecture can also be described similarly. However, the key difference between Art and Architecture is that while Art is pure personal expression, Architecture carries with it a certain accountability towards its immediate context and inhabitants. While a painting begins and ends on a canvas, Architecture cannot stop at a whim; it must transform from imagination to tangible reality. This process brings with it, a set of constraints imposed by structural, climatic, socio-economic aspects, construction methodologies and material properties, amongst others. These constraints call for fine-tuning of the design. The sophistication and elegance used to handle these constraints differentiate a "building" that poses as a mere visual sculpture in isolation, from "architecture" that evolves as a response to its context and people. Matthew Frederick (2007) says, "being genuinely creative requires something different from conventional, authoritarian control; a loose velvet tether". The "velvet tether" possibly represents the constraints that need to be navigated through, during the realization of the project. The central focus of this thesis is to explore how to address some of those constraints, through the design of a school campus for students of music and dance. The program includes practice, rehearsal and classroom spaces for music and dance, administrative spaces and a library. Themes explored as part of the design development process include architectural form, materiality and detailing. / Master of Architecture

This work deals with the life and work of French Impressionist composer called Claude Achille Debussy and its utility in primary and secondary levels of art education. The first part focusses on the life and work of the composer and gives more details about his piano work. The second part, using the surveys and interviews of the teachers of elementary music schools, examines the use of Claude Debussy's work and Impressionism in teaching at elementary music schools and Conservatories. We can also find there the section with fully cited interviews with an elementary music school teacher who uses Claude Debussy and Impressionism works in her lessons and with a pupil who, under her direction, interpretes a compositon of Claude Debussy. There are eighty examples of the musical compositions by Claude Debussy attached and as well as the recording of an elementary music school pupil interpreting Debussy's Arabesque. KEY WORDS Claude Debussy, piano, piano composition, interpretation, utility in teaching, elementary music school, the Conservatory.

L’abeille mellifère (Apis mellifera, L.) est divisée en quatre lignées évolutives (M : Ouest-Méditerranéenne, A : Africaine, C : Nord-Méditerranéenne et O : Orientale), elles-mêmes divisées en au moins 26 sous-espèces. Ces lignées et sous-espèces Sont caractérisées par une très forte structuration géographique. Cette structure est le fruit de milliers d’années d’évolution (depuis les dernières glaciations jusqu’à nos jours).Parmi les différentes sous-espèces, on distingue notamment Apis mellifera mellifera (A. m. mellifera), également connue sous le nom de « Abeille noire ». Cette sous-espèce est naturellement présente en France et en Europe du Nord.Pour diverses raisons, des sous-espèces non locales, appartenant en particulier à la lignée C sont importées depuis les années 60 en France.Ces importations, souvent massives, ont tendance à déstructurer la répartition géographique de l’espèce et pourraient mener à une perte de la sous-espèce locale et de ses caractéristiques spécifiques.Des conservatoires d’A. m. mellifera, gérés par des associations d’apiculteurs, ont progressivement vu le jour en Europe, pour limiter les effets des importations. Toutefois, aucun « cahier des charges », couplant l’aspect scientifique de la conservation avec l’apiculture, n’a encore été émis.La présente thèse a donc permis, par l’étude de congrégation de mâles d’abeilles, de caractériser et valider des conservatoires Européens.Un protocole, quant à la mise en place et au suivi scientifique ainsi qu’apicole de ces conservatoires a été proposé.Enfin, une étude préliminaire du fonctionnement reproducteur d’une population d’abeilles a été menée en Ile-de-France. Cette étude a été entreprise dans le but d’apporter de nouvelles informations pour les programmes de conservation de l’espèce et de l’Abeille noire.Il ressort de cette thèse que la majorité des conservatoires étudiés présentent un niveau d’introgression (par la lignée Nord-Méditerranéenne) suffisamment faible et une diversité génétique suffisante pour être acceptés comme conservatoires. Il faut cependant maintenir le faible niveau d’introgression, d’une part, et, d’autre part, la diversité génétique suffisante, ces critères étant indispensable pour tout conservatoire d’A. m. mellifera.Il apparait également que l’isolement géographique n’est pas obligatoire, voire même non recommandé, pour l’établissement d’un conservatoire. Mais, il est important de caractériser l’ensemble des populations situées autour des zones conservatoires. Cette caractérisation a, en effet, pour but d’estimer et de limiter les risques d’introgression par des colonies non locales.Plusieurs hypothèses émises au cours de cette analyse réfuteraient les conclusions proposées dans des études précédemment réalisées sur l’espèce A. mellifera.En effet, il semblerait que les « faux bourdons » ne se rendent pas à la congrégation de mâles la plus proche. Toutefois, une étude plus approfondie du comportement reproducteur doit être réalisée afin de valider ou d’infirmer cette hypothèse.Enfin, des essaims naturels pourraient être présents dans la région Ile-de-France. Ces essaims étaient considérer comme complètement disparus, à cause de l’invasion du parasite Varroa destructor en Europe. Cette nouvelle hypothèse doit cependant être confirmée par d’autres analyses plus approfondie. La présence de ces essaims naturels serait très encourageante pour la conservation d’A. m. mellifera, mais également de l’espèce en générale. / The honeybee species (Apis mellifera, L.) is divided in four evolutionary lineages (M: West-Mediterranean, A: African, C: North-Mediterranean and O: Oriental). These lineages are also divided in, at least, 26 subspecies which show a very high geographical structure. This structure is the result of more than thousand years of evolution (from the last Ice Ages to nowadays).Among the different subspecies, one is naturally found in France and Northern Europe: Apis mellifera mellifera (A. m. mellifera), also known as the Black Honeybee.For many reasons, non local subspecies, belonging to the C evolutionary lineage, have been imported in France since the beginning of the sixties.These massive importations result in the tendency of losing of the Apis mellifera geographical repartition and could lead to the loss of the local subspecies (A. m. mellifera) and its specific traits.Many A. m. mellifera conservatories, managed by beekeepers, have been initiated in Europe to compensate the importation effects on the subspecies. However, no specifications, combining a scientific approach and beekeeping, regarding the setup and monitoring of a conservation center have been proposed.The present study genetically characterized and validated, by the analysis of drone congregation areas, different European conservatories.A protocol regarding the setup and, scientific and beekeeping, monitoring of conservation centers have been proposed.Finally, a preliminary study, regarding the specific honeybee mating system and its implication on conservation programs, has been initiated in the Ile-de-France region.This thesis presents interesting results.First, the conservatories analyzed show a level of introgression, by C lineage, low enough and a genetic diversity high enough to be validated as A. m. mellifera conservation centers. But, the introgression cannot increase, and/or the genetic diversity cannot decrease, these criterions are indeed necessary for any Black Honeybee conservation center.Second, the geographical isolation of conservatories is not needed, it could even be not recommended because of the possible loss of genetic diversity implied, to set up conservation centers. However, it is really important to genetically characterize the colonies surrounding the conservatory. This is, indeed, needed to estimate and limit the risk of introgression by non local colonies.Different hypotheses proposed is this thesis do not corroborate the conclusions of previous studies on A. mellifera.It seems that drones do not go to the closest drone congregation. But the question whether they go to another congregation or they do not have the same probability to join a congregation is not answer. This analysis has to be more precisely considered in further studies.The most striking result is the possible presence of feral swarms in the Ile-de-France region. These swarms were supposed to have disappeared because of the invasion of the parasite Varroa destructor in Europe. However, this new and interesting hypothesis has to be confirmed by more precise analyses. Nevertheless, the occurrence of feral swarms would be very encouraging for the conservation of A. m. mellifera, but also for the conservation of the whole species.

Cette thèse a pour objet une étude qualitative de l’enseignement d’un instrument de musique en orchestre et en groupe restreint dans deux écoles primaires d’un Réseau d’Education Prioritaire en France et dans un conservatoire. La finalité est de comparer dans ces deux configurations, les moments de travail collectif et les moments de travail individuel entre professeur et élèves pour savoir s’ils s’opposent, se complètent et/ou convergent.Nos outils théoriques, en didactiques comparées, s’appuient sur la Théorie de l’Action Conjointe enDidactique principalement avec les notions de jeux d’apprentissage, la double dialectique contrat/milieu etréticence/expression et la dévolution. Nous convoquons également les concepts sociologiques suivants : concept de configuration, habitus social, habitus didactique. Notre méthodologie s’appuie sur les transcriptions et photogrammes tirés des séances de cours filmées pendant trois ans.Des premiers résultats montrent que les élèves ne jouent en tutti autour de cinquante pourcent du temps du cours en orchestre. Ce qui influence la pratique d’enseignement et le contenu enseigné, de même que le rapport des élèves aux savoirs et le rapport au corps. Ce qui se retrouve aussi bien dans le jeu instrumental des élèves que dans la signification qu’ils donnent aux gestes et aux mimes du professeur. Les compétences décrites lors des analyses didactiques montrent que les enseignements en collectif, en groupe restreint et en individuel sont complémentaires (pour le jeu d’ensemble : la compréhension gestuelles des chefs d’orchestre,L’écoute collective, la synchronisation et pour les cours d’instrument : le jeu technique et musical) convergent (écoute de la justesse, le travail sur les sensations) et sont indissociables. Grâce à une étude détaillée de l’activité musicale, la thèse a montré comment les élèves tirent profit d’un enseignement individuel et collectif dans les relations qu’ils construisent entre les deux. / This thesis aims at a qualitative study of the teaching of an orchestral musical instrument and of a small group at two primary schools and one conservatory. The aim is to compare these configurations with that of individual teaching in order to know if they are opposed, complementary, and convergency.Our theoretical is on the Joint Action Theory in Didactics. We take support on the notions of learning games, the double dialectic contract/milieu and reluctance/expression, devolution. We also convene the following sociological concepts: concept of configuration, social habitus, didactic habitus. Our Methodology is based on the transcripts and photograms taken from the lecture sessions filmed during the three years of observation.Initial results show that students do not play in tuttis fifty percent of the time in the orchestra class. This teaching configuration of course influences the teaching practice and the content taught, as well as influencing the students’ relationship to knowledge through the choice of modes of privileged knowledge transmission. The relationship to the body, both in the students’ instrumental play and in the meaning they give to the teacher's gestures and mimics, is complex. The skills acquired by the pupils and described in the didactic analyses show that collective, restricted and individual teachings are complementary on certain points (collective playing, gestural understanding of conductors, collective listening, synchronization and/for instrumental courses, technical and musical play). They are convergent on other points (e.g. listening to the corrections, working on the sensations). They are complementary and inseparable.

L’elaborato indaga le modalità di insegnamento della lingua e della dizione italiana ai cantanti d’opera internazionali. Dopo una breve cronistoria dell’opera lirica, si analizza la figura del librettista e in particolare di Lorenzo Da Ponte, insegnante ante litteram della lingua e della cultura italiana. Segue una disamina dei corsi di canto degli albori, dalla quale emerge quanto il problema di una corretta pronuncia fosse cruciale nell’educazione dei cantanti già nel Settecento. Si indagano le metodologie di insegnamento della fonetica e della prosodia nella storia della glottodidattica, i fattori biologici e psico-sociali determinanti nell’apprendimento di una L2/LS e le principali difficoltà linguistiche incontrate dai discenti stranieri che si accingono ad apprendere la lingua italiana. Si presentano i dati di una ricerca condotta su dieci istituzioni musicali tra i quali il Conservatorio di Milano, la Juilliard School of Music di New York e la Washington State University di Seattle. Si analizzano le metodologie di insegnamento e i manuali adottati e si espongono i dati emersi da un questionario rivolto ai docenti e ai discenti delle suddette scuole. Si procede esponendo un sillabo ideato per i cantanti che permetta uno studio più proficuo della lingua e della dizione italiana. / The research investigates the teaching procedures of Italian language and diction to international opera singers. After a brief digression on the lyric opera, we analyze the figure of librettista and in particular of Lorenzo Da Ponte, a forerunner of the Italian language and culture teaching. An examination of the first singing courses shows how teaching a impeccable pronunciation was already crucial in the XVIII century. The phonetics and prosody teaching procedures in the history of glottodidactics are then examined, as well as the biological and psycho-social factors critical while learning a foreign language and the main linguistic difficulties faced by foreign students approaching the Italian language. We present the data of a survey conducted on ten musical institutions like the Milan Conservatory, the Julliard School of Music of New York and the Washington State University of Seattle. We analyze the teaching procedures and the textbooks adopted and the results of a questionnaire addressed to the teachers and students of these schools. Finally we display a syllabus for international opera singers to profitably approach the Italian language.