Examinations administered by the Royal Conservatory of Music (RCM) play a major role in the musical education of many individuals across Canada. The evaluative process needs to be a constructive one in order to ensure its positive impact on students’ musical education. Examiners who are confident and comfortable in their roles as assessors are more likely to provide this ideal environment for the students. Individuals at the dawn of their examining careers are prone to lower confidence and comfort levels due to their inexperience. Yet all music students deserve an optimal examination situation, even from new examiners. Ensuring that an examiner receives proper training will help to increase their confidence and comfort levels while assessing students. This study examined the elements of an examiner’s education, experience and preparation which contributed to higher confidence and comfort levels as they participated in the RCM evaluative process. Ten individuals participated in surveys and interviews. Seven were recent apprentices of the examiner training program and three were senior examiners. Their experiences and insights given in a narrative form shed light on which elements of their background and training benefited them as examiners. According to the participants, varied and extensive pedagogical training, taking exams as students and intensive performance education gave them the most advantages during their early careers as examiners. Regarding the examiner apprenticeship program, participants felt that they would have benefited from more practical experience during the early classroom seminar, additional opportunities to observe students at varying performing levels and more time for discussion with their mentors. These recommendations for background preparation and enhanced training are intended to give examiners greater confidence in their evaluative roles early in their careers, enabling them to provide constructive and effective assessments for students and their teachers.

Esta dissertação de mestrado possui o objetivo de identificar as particularidades relacionadas à utilização das tutelas de urgência nos casos em que as partes convencionam submeter seus litígios atuais ou futuros à jurisdição arbitral (i.e., tutelas de urgência arbitrais) e explorar o seu tratamento sob a perspectiva do direito brasileiro. As tutelas de urgência arbitrais adquirem cada vez maior importância para o desenvolvimento da arbitragem e para que o processo arbitral seja efetivo, alcançando o resultado desejado pelo direito material. Esta dissertação, depois de breves considerações iniciais, analisou as principais características e tipos de tutelas de urgência arbitrais (capítulos 2 e 3). Em seguida, passou em revista as bases teóricas para a compreensão da competência dos árbitros com relação às tutelas de urgência (capítulos 4 e 5), com estudo específico do cenário do direito brasileiro (capítulo 6). Esta dissertação reviu em detalhas as questões polêmicas da fase pré-arbitral (tanto perante as cortes estatais quanto perante árbitros de emergência), assim como as questões pertinentes sobre o momento em que o árbitro precisa analisar o assunto na fase arbitral (capítulos 7, 8 e 9). Por fim, analisou a hipótese na qual os juízes são chamados a auxiliar na efetivação de tutelas de urgência proferidas por árbitros em arbitragens nacionais e estrangeiras (capítulo 10). / The arbitral provisional measures have an increasing importance for the development of arbitration and for the effectiveness of the arbitration process, reaching the result aimed by the substantive law. This dissertation, after brief preliminary considerations, analyzed the main characteristics and types of arbitral provisional measures (Sections 2 and 3). Afterwards, it has reviewed the theoretical basis for understanding of arbitrators competence with regard to provisional measures (Sections 4 and 5), specifically in relation to the Brazilian law (Section 6). This dissertation has performed a detailed review of the controversial issues in the pre-arbitral phase (regarding state courts and emergency arbitrators), and has also reviewed issues related to the moment in which the arbitrator needs to analyze such controversial subject during the arbitral phase (Sections 7,8,9). Finally, this paper analized the hypothesis in which judges are called to assist on the enforcement of provisional measures issued by arbitrators in domestic and international international arbitrations (Section 10).

Fils d’un facteur de piano, Pierre Joseph Guillaume Zimmerman (1785-1853), virtuose, pédagogue, compositeur et homme du monde, trouve sa place au sein d’une pléiade de promoteurs du piano et de la littérature pianistique. Son originalité réside dans la dualité que l’on distingue entre, d’une part, sa conscience de compositeur académique héritée de Cherubini et, d’autre part, cet esprit novateur que lui inspira la modernisation de la facture instrumentale dont il suivit et entérina l’évolution. Cette thèse se veut la première monographie qui envisage les activités nombreuses et variées dans lesquelles le musicien s’illustra aux différentes époques de sa vie. La première partie traite de ses origines et de l’époque d’avant 1831. Nous nous intéressons à ses études au Conservatoire, à sa première carrière pédagogique, à ses mariages, à ses œuvres classiques pianistiques (la Sonate op. 5 et les deux concertos) et à ses deux opéras. La deuxième partie porte sur la période de 1831 à 1845. Nous parlons des lauréats sortis de sa classe qui se multiplient à l’époque, de sa méthode Encyclopédie du pianiste compositeur qui favorise le genre des études, ainsi que des soirées musicales qu’il organise dans son appartement du Square d’Orléans. La troisième partie étudie la période post-Cherubini, de 1842 à 1853. Nous y abordons sa contribution à l’organisation de l’Association des artistes musiciens, ses deux messes, ses dernières années comme professeur au Conservatoire, ainsi que l’époque postérieure à sa retraite en 1848. Le second volume d’annexes complète cette étude en présentant un arbre généalogique, les portraits et les états civils des Zimmerman, ses lettres et d’autres documents. / Born as the eldest son of a piano manufacturer, Pierre Joseph Guillaume Zimmerman (1785-1853) was one of the piano promoters in the first half of the nineteenth century, this can clearly be seen from his activities as a piano virtuoso, educator, composer and socialite. His unique role consisted of his dual occupation as a successor to Cherubini in academic composition, and also his role as a passionate supporter of the modernization of the piano. This thesis is a monographic study of Zimmermann, and explores the multiple aspects of the activities in which the musician became famous for in different periods of his life. In the first part, I discuss his origins and his life before 1831. I discuss his studies at the Conservatoire, his first pedagogical contributions, his marriages, his classical piano works (Sonata op.5 and two concertos) and two operas. The second part covers the period from 1831 to 1842. I consider the increase in the number of students from his class who became winners of the annual piano competition, his method Encyclopédie du pianiste compositeur – which favours the études as a genre – and the salon concerts that he organized at his apartment in the Square d’Orléans. The third and final part relates to the post-Cherubini period from 1842 to 1853 in which I focus on his contribution to the organization of the Association des artistes musiciens, his two masses, his last years as a professor of Conservatoire, and the life after his retirement in 1848. The information provided in the second volume of annexes also highly complement this study by presenting a family tree, his portraits, civil registers of the Zimmermans, his letters and the other documents.

Sans limiter notre propos aux seules voix masculines aiguës, il s'agit ici de refléter l'importance historique de l'évolution de la voix de ténor dans les mutations du goût et de la vocalité lyrique en France au cours du deuxième tiers du XIXe siècle. Aborder l'opéra, l'opéra-comique et les morceaux de salon via leurs interprètes permet d'insister sur la dimension théâtrale, vocale et oratoire de ces genres. En vue de définir les caractéristiques techniques du chant français, la thèse exploite largement les jugements portés par les artistes entre eux. Ces jugements sont notamment livrés par les méthodes et les mémoires imprimées, les archives du Conservatoire et les correspondances. Pour envisager les conditions pratiques des exécutions vocales, nous avons procédé à une étude des situations, des contraintes et des attentes des chanteurs comme des auditeurs, en fonction des lieux et des répertoires abordés. Afin de mieux appréhender les qualificatifs employés par les musicographes rendant compte des prestations publiques, on a mis en relation le lexique des traités avec les premiers enregistrements sonores. La meilleure connaissance des codes de la tradition permet en outre d'envisager avec une pertinence accrue la cohérence des divers paramètres concourant à la juste interprétation scénique et musicale. La réinvention d'après les sources d'un savoir-faire répond d'ailleurs à une attente croissante des programmateurs et des interprètes pour renouveler leur approche d'un répertoire ou redécouvrir une part du romantisme français oublié (www.lesfrivolitesparisiennes.com). / Looking at opera, opéra-comique and salon music through the eyes of the first performers stresses the histrionic and vocal dimension of their art. Thus, this dissertation drives from the mutual appraisals of artists, which can be found in treaties, memoirs, archives of the Paris Conservatoire, letters, etc. The vocabulary used to describe singing in the 19th-century has been linked to 78rpm records and cylinder recordings. The relative focus on high-pitched male voices is only relevant because changes in the general taste for opera voices were mainly triggered by leading tenors during the romantic era. The impact of various locations and repertory on the audience's expectations was studied in order to define the aesthetic and social frame of vocal performance. Reinventing the practical know-how from the sources actually meets the growing expectations of both schedulers and singers who want to renew the approach of the so-called "romantic" French repertory - which currently goes widely unknown and unsung. A better understanding of tradition allows for more consistent historically informed performances (www.lesfrivolitesparisiennes.com).

My inquiry, centered on the applied practice of teaching, confronts the detachment that often disassociates the intellectual study of music theory from the physical experience of music. This pedagogical detachment, perceived as a split between opposing views of knowledge, privileges positivist science over interpretive art (Aróstegui, 2003), producing written competencies that have little or no musical meaning (Rogers, 2004). Endeavouring to re-attach music theory and the music it was initially intended to explain (Dirié, 2014), I constructed four Listening Guides to align with the intermediate-level theory curriculum of the Royal Conservatory of Music. Their construction incorporates elements of design research along with an underlying framework derived from the Kodály Method’s four-step instructional process. Given my multi-faceted personal/professional interactions with music theory, my research project is presented in the form of a quest narrative that weaves together my story and the stories of participant teachers who established the Listening Guides’ potential usefulness through reviewing and implementing interactions. This narrative, as a creative representation of arts-based research practices (Leavy, 2015), is derived from the blurring of specific cognitive findings and less definable aesthetic knowings (Greenwood, 2012). My data, both the prototypical data I designed and the empirical data I collected from focus group discussions with my participants, are filtered through an a/r/tographic lens that acknowledges the coexistence of my artist/researcher/teacher identities. The analysis of our aggregate narrative, as an exploration of music theory pedagogy with, about, in, and through music, relies on the evaluative tools of educational criticism (Eisner, 1991). Unfolding in a mostly linear climb, my quest for a fully integrated music/theory (art/science) pedagogy reaches its apex in the understanding that a music-logic organization confounds the subject-logic of traditional teaching approaches. Thus, my inquiry challenges the customary practices of scientific knowledge-building with a model for artistic “ways-of-knowing” in music theory pedagogy.

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A presente pesquisa tem como objetivo compreender como se constituem as práticas musicais realizadas fora da aula de música, nos espaços/tempos do/no Conservatório Estadual de Música "Dr. José Zóccoli de Andrade” de Ituiutaba-MG. O aluno desse Conservatório é visto como um ser social, tecido por inúmeras características ligadas ao seu contexto sociocultural, e que têm relação direta com suas práticas musicais nessa escola de música. A partir de um olhar ligado às teorias do cotidiano, pretendeu-se também compreender quais eram essas práticas musicais, como aconteciam e se organizavam nos espaços/tempos em que os alunos estavam no Conservatório, mas, fora da aula de música, em espaços/tempos como corredores, pátio, hall e, até mesmo, na própria sala de aula, horários vagos, recreios, horários burlados, entre outros. O olhar teórico dirigido para essas práticas está fundamentado em alguns conceitos das teorias do cotidiano, sobretudo na perspectiva de Pais (2003); da música e da educação musical como prática social, na visão de Souza (2000, 2004, 2009); nas ideias de Brougère (2012) sobre aprendizagem no cotidiano; e nos conceitos de espaços/tempos, de Lindón (2000). Em uma abordagem qualitativa, o estudo de caso foi o método adotado nesta pesquisa, e os procedimentos de coleta de dados foram observações e entrevistas com alunos. Como conclusão, os alunos se organizam de diferentes formas para realizarem essas práticas musicais, algumas delas de forma prevista e outras não previstas, de formas individuais e/ou compartilhadas, e subsidiadas pela execução e escuta musical. As práticas musicais realizadas nos espaços/tempos livres da aula de música são ações importantes no contexto diversificado dessa escola de música, e que contribui para o entendimento dos processos de ensino/aprendizagem musical nesse Conservatório. / The present research aims at understanding how the musical practices are carried out outside music classes in the space/time in the State Conservatory of Music "Dr. José Zôccoli de Andrade" of Ituiutaba-MG. The student of this Conservatory are seen as social beings made of numerous characteristics due to their socio-cultural context, which is directly related to their musical practices in the school of music. From the point of view related everyday life theories, it was intended to also understand what those musical practices were and how they used to happen and to be organized in space/time when students are at the Conservatory but out of music class in space/time like hallways, patio, hall and even the classroom itself, free time between classes, at the unofficial break time, among others. The theoretical view directed to these practices is based on some concepts of theories of everyday life from the perspective of Pais (2003), of music education as social practice in the vision of Souza (2000, 2004, 2009), the ideas of Brougère (2012) about learning in daily life, and in the concepts of space/time of Lindôn (2000). In a qualitative approach, the case study was the method adopted in this research, and data collection procedures were observations and interviews with students. It is concluded that the students are organized in different ways to perform these musical practices, some of them expected and not expected, individual or/and shared ways and grounded on performances and musical listening. The musical practices carried out in the space/free time music class are important actions in the context of this diversified School of music, and that contributes to the understanding of the teaching/learning processes in the musical Conservatory. / Dissertação (Mestrado)

Production de bois et autres ressources (gibier, champignons,...), conservation de la biodiversité et gestion des paysages, la forêt a suscité de riches débats depuis quelques années, le Grenelle de l'Environnement ayant révélé des intérêts parfois contradictoires. Si le gestionnaire forestier tente de développer autant que possible une gestion multifonctionnelle de ses forêts, il reste dépendant des connaissances fragmentaires sur les interactions dans les écosystèmes forestiers. La politique actuelle, qui vise à concilier la production de bois et la préservation des espèces, repose plus sur des expériences de terrain que sur des études étayées scientifiquement. Les Chiroptères comptent des espèces candidates pour étudier l'influence de la gestion forestière sur la biodiversité : le jour, elles occupent des gîtes arboricoles et, la nuit, elles exploitent des habitats forestiers pour chasser leurs proies, qui dépendent elles-mêmes de micro-habitats forestiers. Pour aider le gestionnaire à mettre en œuvre une stratégie de gestion conservatoire, nous avons étudié l'utilisation des ressources de la forêt par trois espèces : Myotis bechsteinii, Myotis nattereri et Plecotus auritus. La radio-localisation a permis d'identifier des réseaux d'arbres-gîte dont l'occupation varie selon les espèces, leur statut reproducteur et l'implication dans le comportement de fission-fusion des colonies de parturition. Les différentes utilisations des gîtes impliquent une stratégie de gestion propre à chaque espèce, voire à chaque colonie de reproduction. Procurant a priori de potentiels gîtes et proies, le bois mort debout favorise la richesse spécifique des Chiroptères forestiers à partir de 25 m3 à l'hectare, mais une stratification de la végétation pourrait être un objectif de gestion, la réponse des espèces était essentiellement liée à la structure forestière des trouées induites par le bois mort. Ce travail a ensuite nécessité de s'intéresser aux méthodes permettant de comprendre l'utilisation de l'espace par chaque individu (domaine vital) et la façon dont chacun d'eux fréquente ses terrains de chasse (sélection de l'habitat). Compte tenu des limites technologiques, le Kernel semble actuellement la meilleure méthode de représentation et de calcul de surface du domaine vital alors que la K-select a livré des résultats significatifs pour mettre en évidence des facteurs de sélection d'habitat. Les surfaces des domaines vitaux et des centres d'activité varient selon les espèces, Myotis bechsteinii associe de petites surfaces à un comportement territorial, surtout en période d'allaitement. M. nattereri et Plecotus auritus peuvent exploiter de grands espaces sur lesquels ils se limitent à de petits centres d'activité. Les colonies de ces dernières pourront plus facilement se déplacer dans leur domaine vital au gré des itinéraires de gestion mis en œuvre. Les caractéristiques des habitats forestiers utilisés comme terrains de chasse varient selon les espèces, voire le sexe, l'âge et le statut reproducteur des individus, mais toutes trois montrent une forte sélectivité pour les peuplements forestiers présentant un fort encombrement végétal, des gros arbres et une forte structuration du peuplement. Cinq principes de gestion dans un contexte fort de production de bois sont développés en conclusion des résultats avec deux exemples de stratégies de gestion destinée au maintien des Chiroptères. / The forest is the center of many interests that fuel the debates of our society. These debates are particularly exacerbated since the french " Grenelle de l'Environnement " in 2008. Among the various expectations, forest produce wood that is the subject of attentions, both by an increased demand for certain types of trees and by the naturalist world which sees in it one of last refuges for biodiversity in our modified landscapes. Thus, if the forest manager is trying to develop a management that is as much multifunctional as possible, it remains dependent on fragmented knowledge on the link between biodiversity and the forest ecosystem. Despite the establishment of a conservation policy that seeks to balance timber production and species preservation, the way to conduct such a policy is based on concrete field experiences yet scientifically unsubstantiated. Bats are good candidate species to study the response of biodiversity to forest management: they select networks of tree-roosts in which they form breeding colonies composed of several dozen individuals and they exploit forest habitats to hunt their prey, prey which themselves depend on forest microhabitats. However, their study is recent in forest and provides very vague management guidelines. To help managers implement a conservation management strategy, we thus studied the behavior of forest usage by three species of gleaning bats, Myotis bechsteinii, Myotis nattereri and Plecotus auritus. This work required to focus on the methods available to understand the use of space by each individual (home range) and how each individual selects its hunting habitats. We showed that each species had a unique response to available habitats and that the status of individuals (sex, age and reproductive status) intervenes in explaining the selection of tree roosts and hunting grounds. Both compartments are constrained by the availability of suitable habitat, helping to explain the structuring of habitat selection factors and the shape and surface of individual home ranges. Furthermore, the way networks of tree-roost are used partly explains the types of roosts selected. These different results means that it is necessary to lay down specific management strategies for each species, even each breeding colony. Finally, we studied the role of deadwood to explain the presence of bats in forests. We have shown that species richness increased from standing deadwood of 25m3 per hectare, while the response of species to deadwood was mainly restricted to forest habitat structure produced by the gaps resulting from the deadwood patch, favoring particularly edge-foraging species. Some species do however clearly benefit from insects emerging from deadwood. Five recommendations are proposed for the conservation of these species in a context of strong wood production.

The thesis focuses on virtuoso pianist, teacher, musical theoretician and composer Josef Jiránek (1855 - 1940). The thesis draws from Josef Jiránek's own estate, as well as resources kept at various archive institutions in Prague. It underlines Josef Jiránek's merit as regards the art of the piano and piano education in particular, while emphasizing Hugo Riemann's influence on his music-teaching as well as theoretical ideas. In the light of the Prague resources, Josef Jiránek may be viewed as a follower of the traditional interpretation legacy of Bedřich Smetana. Nonetheless, by further elaborating Smetana's legacy from a purely scientific perspective and with his analytical and rational approach to piano work, Josef Jiránek had indeed largely contributed to the development and evolution of piano education and piano reproduction art - regardless of the fact that his ideas and methods were later overcome. The objective of this thesis is to open a gateway that would attract greater attention of musicologists to Josef Jiránek, who has been on the periphery of their interest and whose true picture remains hidden under the label "Bedřich Smetana's pupil".