Magister Legum - LLM

Les stéréotypes historiques attribués aux Noirs peuvent-ils déterminer l’infériorité du Guadeloupéen?J’expose comment à l’aune du régime diurne et nocturne de l’Imaginaire, en actionnant les connaissances de type mécaniste et organique en état potentiel dans mon enseignement et mes thèses soutenues, j’ai eu l’opportunité de négocier ma part d’ombre, de « fendre la gueule » du Maître paranoïaque, d’absoudre le temps par des armes non prométhéennes et proposé une éducation de compagnonnage pour une épistémologie de vivre ensemble laïc sans sentiment victimaire.Par des prolégomènes portant les fondamentaux de ma thèse je rends attentif aux connaissances endormies dans les structures de l’Imaginaire, la métaphore Moi-Mangrove agissant par éthique/esthétique, je rends attentif à des paradoxes dont l’Imaginaire permet de déceler les images archétypales d’émancipation cognitive rendues actionnables dans le traitement des jeux, jouets et traditions populaires et dans le traitement de l’environnement, comme jeux pédagogiques selon les classifications et catégories de Roger Caillois traduisant concrétisation, individuation, dialogie et le comprendre pour faire et faire pour comprendre.Une éducation surplombante pouvait suggérer une forme aliénante d’émancipation par des armes prométhéennes, nous proposons comme alternative une enseignabilité de connaissances actionnables et enseignables qui n’est pas une encapsulation de savoir mais un suivi dynamique d’un corpus de connaissances en expansion qui ne s’arrête pas à des connaissances spéculatives, avoir un toit et une possibilité de manger mais à une émancipation cognitive dont les armes sont savoir, réflexion et connaissances. / Are Guadeloupeans determined by stereotypes attributed to blacks resulting in an inferiority complex ?I expose how, in light of the diurnal and nocturnal imaginary regimes by actualizing the potential of mecanist and organic knowledges in my teaching and past theses, I have been able to negotiate my share of shadow, to wreak havoc on the paranoid Master, to absolve time with non-Promethean weapons and to propose an education of compagnonnage for an epistemology of secular living together devoid of victimizing feelings.Through prolegomena that carry the fundamentals of my current thesis, I awake sleeping knowledges from the structures of the Imaginary, the metaphore of Me-Mangrove acting through an ethics aesthetics. I further bring attention to paradoxes from which the Imaginary can extricate archetypal images of cognitive emancipation made actionnable through an analysis of play, games, and popular traditions as pedagogical instruments according to the classifications of Roger Caillois concretization, individuation, and dialogy—and the notion of understanding both as understanding to create and creating to understand. Finally, I also carry out this analysis of the structure of the Guadeloupe an Imaginary through her relationship to the natural and man-made environment and risks.An over reaching, top down education could suggest an alienating form of liberation through promethean weapons. I suggest instead, as an alternative, the teaching of actionable knowledges that does not encapsulate knowledge but is a dynamic following of a corpus of expanding knowledges that go beyond the speculative and amount to a cognitive emancipation whose weapons are knowledge and reflection

Föreliggande självständiga arbete har sitt ursprung i en nyfikenhet på den praktiska potentialen i musikteoriundervisning på gymnasienivå. Enligt forskning blir musikteoriundervisning ofta teoretisk utan tydliga kopplingar till autentiskt musikutövande. Syftet med denna uppsats har varit att få djupare insikt i hur gymnasielever uppfattar det musikteoretiska begreppet funktionsanalys och vad det kan användas till. Material har samlats in genom sex intervjuer med gymnasielever och en före detta gymnasieelev som läser eller nyligen har läst Gehörs- och musiklärakurser. Materialet har därefter analyserats ur ett fenomenografiskt perspektiv. Resultatet visar att funktionsanalys och dess praktiska användning kan uppfattas på några olika sätt. Exempelvis är en uppfattning av funktionsanalys att det är en akademisk musikbeskrivning som inte är särskilt praktiskt tillämpbar. En uppfattning av vad funktionsanalys kan användas till är att motivera vilken karaktär något ska spelas med. I diskussionskapitlet diskuteras resultatet utifrån litteratur och mina egna tankar, inte minst ur ett pedagogiskt perspektiv hur undervisning skulle kunna anpassas för att elever ska erhålla så bred och djup förståelse för funktionsanalys som möjligt. / The present degree project has its origins in a curiosity about the practical potential of music theory teaching at the upper secondary school level. According to research, music theory teaching often becomes theoretical without clear connections to authentic music practice. The purpose of this essay has been to gain a deeper insight into how upper secondary school students perceive the music theoretical concept of functional harmony and what it can be used for. Materials have been collected through six interviews with upper secondary school students and one former upper secondary school student who are taking or recently have taken Pitch and music theory courses at upper secondary school in Sweden. The material has been analyzed from a phenomenographic perspective. The results show that functional analysis and its practical use can be perceived in some different ways. For example, one perception of functional analysis is that it is an academic music description that is not very practically applicable. One perception of ​​what functional analysis can be used for is to motivate with which character something should be played. In the last chapter the result is discussed based on literature and my own thoughts, not least from a pedagogical perspective how teaching could be adapted so that students receive as broad and deep understanding of functional analysis as possible.

Pendant la perception de la parole, les locuteurs sont biaisés par un grand nombre de facteurs. Par exemple, il existe des limitations cognitives comme la mémoire ou l’attention, mais aussi des limitations linguistiques comme leur langue maternelle. Cette thèse se concentre sur deux de ces facteurs : les biais de traitement pendant la reconnaissance des mots, et les biais d’apprentissage pendant le processus de transmission. Ces facteurs peuvent se combiner et, au cours du temps, influencer l’évolution des langues. Dans la première partie de cette thèse, nous nous concentrons sur le processus de la reconnaissance des mots. Des recherches antérieures ont établi l’importance des traits phonologiques (p. ex. le voisement ou le lieu d’articulation) pendant le traitement de la parole. Cependant, nous en savons peu sur leur poids relatif les uns par rapport aux autres, et comment cela peut influencer la capacité des locuteurs à reconnaître les mots. Nous avons testé des locuteurs français sur leur capacité à reconnaître des mots mal prononcés et avons trouvé que les traits de mode et de lieu sont plus importants que le trait de voisement. Nous avons ensuite considéré deux sources de cette asymétrie et avons trouvé que les locuteurs sont biaisés et par la perception acoustique ascendante (les contrastes de mode sont plus facile à percevoir à cause de leur distance acoustique importante) et par la connaissance lexicale descendante (le trait de lieu est plus exploité dans le lexique français que les autres traits). Nous suggérons que ces deux sources de biais se combinent pour influencer les locuteurs lors de la reconnaissance des mots. Dans la seconde partie de cette thèse, nous nous concentrons sur la question d’un biais d’apprentissage. Il a été suggéré que les apprenants peuvent être biaisés vers l’apprentissage de certains patrons phonologiques grâce à leurs connaissances phonétiques. Cela peut alors expliquer pourquoi certains patrons sont récurrents dans la typologie, tandis que d’autres restent rares ou non-attestés. Plus spécifiquement, nous avons exploré le rôle d’un biais d’apprentissage sur l’acquisition de la règle typologiquement commune de l’harmonie vocalique comparée à celle de la règle non-attestée (mais logiquement équivalente) de la disharmonie vocalique. Nous avons trouvé des preuves d’un biais d’apprentissage aussi bien en perception qu’en production. En utilisant un modèle d’apprentissage itéré simulé, nous avons ensuite montré comment un biais, même petit, favorisant l’un des patrons, peut influencer la typologie linguistique au cours du temps et donc expliquer (en partie) la prépondérance de systèmes harmoniques. De plus, nous avons exploré le rôle du sommeil sur la consolidation mnésique. Nous avons montré que seul le patron commun bénéficie d’une consolidation et que cela est un facteur supplémentaire pouvant contribuer à l’asymétrie typologique. Dans l’ensemble, cette thèse considère certaines des sources de biais possibles chez l’individu et discute de comment ces influences peuvent, au cours du temps, faire évoluer les systèmes linguistiques. Nous avons démontré la nature dynamique et complexe du traitement de la parole, à la fois en perception et dans l’apprentissage. De futurs travaux devront explorer plus en détail comment ces différentes sources de biais sont pondérées les unes relativement aux autres. / During speech perception, listeners are biased by a great number of factors, including cognitive limitations such as memory and attention and linguistic limitations such as their native language. This thesis focuses on two of these factors: processing bias during word recognition, and learning bias during the transmission process. These factors are combinatorial and can, over time, affect the way languages evolve. In the first part of this thesis, we focus on the process of word recognition. Previous research has established the importance of phonological features (e.g., voicing or place of articulation) during speech processing, but little is known about their weight relative to one another, and how this influences listeners' ability to recognize words. We tested French participants on their ability to recognize mispronounced words and found that the manner and place features were more important than the voicing feature. We then explored two sources of this asymmetry and found that listeners were biased both by bottom-up acoustic perception (manner contrasts are easier to perceive because of their acoustic distance compared to the other features) and top-down lexical knowledge (the place feature is used more in the French lexicon than the other two features). We suggest that these two sources of bias coalesce during the word recognition process to influence listeners. In the second part of this thesis, we turn to the question of bias during the learning process. It has been suggested that language learners may be biased towards the learning of certain phonological patterns because of phonetic knowledge they have. This in turn can explain why certain patterns are recurrent in the typology while others remain rare or unattested. Specifically, we explored the role of learning bias on the acquisition of the typologically common rule of vowel harmony compared to the unattested (but logically equivalent) rule of vowel disharmony. We found that in both perception and production, there was evidence of a learning bias, and using a simulated iterated learning model, showed how even a small bias favoring one pattern over the other could influence the linguistic typology over time, thus explaining (in part) the prevalence of harmonic systems. We additionally explored the role of sleep on memory consolidation and showed evidence that the common pattern benefits from consolidation that the unattested pattern does not, a factor that may also contribute to the typological asymmetry. Overall, this thesis considers a few of the wide-ranging sources of bias in the individual and discusses how these influences can over time shape linguistic systems. We demonstrate the dynamic and complicated nature of speech processing (both in perception and learning) and open the door for future research to explore in finer detail just how these different sources of bias are weighted relative to one another.

This dissertation explores a method of music analysis that is designed to reflect the phenomenology of the listening experience, specifically in regards to harmony. It is primarily inspired by the theoretical approaches of the music theorist Moritz Hauptmann and by the writings of philosopher Edmund Husserl.

While Berkeley's position on the materialism of the world is undoubtedly idealistic, Leibniz's position is somewhat problematic: in metaphysical texts, he seems to be an idealist, while in texts concerned with natural philosophy and physics, he seems more like a dualist similar to Aristotle. We will even see that Leibniz wants to be both an idealist/phenomenalist and a realist. Moreover, in his remarks to Berkeley, he criticizes Berkeley's idealism and his rejection of matter. The aim of this paper is to map Leibniz's idealistic position, compare it with Berkeley's, and decide whether Leibniz's objections to Berkeley are justified and whether their positions are any similar

The main aim of my thesis was to re-establish their former individual creation. When rendering images, I came from my heart that emotionally involved in deciding the final constellation of colors. The resulting series of images is processed oil painting technique using mainly medium formats. The composition of paintings based on geometric abstraction and draw on previous work by increasing the details of their own earlier paintings. The operational objective was to search for color variations that inherently express different emotional states. The work focuses primarily on finding harmonious interplay of color tones.

Denmark has a long tradition of teaching aural skills i.e. ear training and to educate ear training teachers. Books from Danish authors are still extensively being used within the Nordic countries. The function analysis system was introduced the same year in Denmark and Sweden, but Denmark has developed more terminology than its Swedish counterpart. The purpose of this study was to research how music majors are expressing themselves about newly introduced function analysis terminology and how they experience the use for the terminology in their profession as musicians. The study was made through a survey and a semi structured interview with six participants and the data was analysed according to the social cultural theory. The participants expressed themselves mainly positive about the new terminology and said it gave them a more nuanced picture of the harmony. They also found the new terminology useful for their profession as musicians. The results suggest that music majors would be interested in having a more comprehensive system as they use in Denmark and that teachers in aural training should consider incorporating this new terminology in their teaching.

Detta arbete syftar till att undersöka hur inre medvetenhet samt kunskap om melodin inverkar på min upplevelse och förmåga att lära mig, samt att uppfatta, stämmor utifrån inspelade förlagor. I studien plankar jag tre stycken stämmor från inspelningar med tre olika duokonstellationer från Dalarna, där jag för varje stämma som plankas har olika grader av inre medvetenhet samt kunskap om melodin. I bakgrunden tas begrepp som gehör och plankning upp och en redogörelse görs för vad jag menar med inre medve- tenhet och kunskap om melodin. Vidare förklaras stämspel inom svensk folkmusik och forskning om människans förmåga att uppfatta tonhöjder och harmonier i arrangemang tas upp. I resultatet framkommer att min uppfattning av de valda låtarna som helhet har förändrats efter att jag plankat stämmorna. I efterhand har jag mycket enklare för att uppfatta dem och kan välja att fokusera mitt lyssnande på olika aspekter av musiken i större grad än innan. Min förmåga att lära mig stämmorna påverkades av hur mycket jag kunde melodin till en början. / This study is aiming towards investigating how inner awareness and knowledge about the melody affects my ability and experience of perceiving and learning second voices from a source of recorded sound material. In the study I learn three second voices by ear from recordings of three different duo constellations from the county of Dalarna. For every second voice different levels of inner awareness and knowledge about the melody are applied. In the background the concept of learning by ear is explained and an illus- tration about inner awareness and knowledge about the melody is made. Furthermore, harmony lines in Swedish Folk Music is explained and research about human’s ability to perceive pitch and harmonies in arrangements is described. In the result it is shown that my perception of the pieces of music studied has changed after learning the second voic- es. Afterwards I find it easier to perceive the second voices in the arrangements and show a higher grade of ability to focus my awareness to different aspects of the music. My ability to learn the second voices was affected by my knowledge of the melody from start.

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