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The American composer Charles Ives is well known for musical quotation/borrowing: composing music with or from pre-existing musical sources, such as folk tunes, hymns, chants, or other composers' works. His Third Violin Sonata is one of few works that used his unique technique of cumulative setting with only hymn tunes. For analysis of his instrumental music, the text of the hymn tunes is generally disregarded, as the compositions are for instruments. Ives' Third Violin Sonata is challenging to understand in comparison with other violin sonatas, because it lacks information such as titles and subtitles. Even though Ives never mentioned the piece's meanings or extramusical meanings, almost all the elements of the piece indicate hope as a common theme. This dissertation examines which hymn tunes were quoted in the piece, gives the meanings of the hymn tunes, and discusses how Ives uses these tunes as themes with textual meanings. The study includes a brief life of Ives and his historical circumstances and presents a brief musical analysis. The research should give a better understanding of the piece to performers and others curious about it.

L’appropriation d’algorithmes existants, la création d’outils numériques et des recherches conceptuelles ont mené à la création de deux installations audiovisuelles interactives. La première, Deep Duo, met en scène des réseaux de neurones artificiels contrôlant des synthétiseurs modulaires. La deuxième, Morphogenèse, l’œuvre d’envergure de ce mémoire, met en relation le spectateur avec des modèles profonds génératifs et le place face à des représentations artificielles de sa voix et de son visage. Les installations et leurs fonctionnements seront décrits et, à travers des exemples de stratégies créatives et des concepts théoriques en lien avec l’interactivité et l’esthétique des comportements, des pistes pour favoriser l’utilisation d’algorithmes d’apprentissage automatique à des fins créatives seront proposées. / The appropriation of existing algorithms, the creation of digital tools and conceptual research have led to the creation of two interactive audiovisual installations. The first, Deep Duo, features artificial neural networks controlling modular synthesizers. The second, Morphogenesis, the major work of this dissertation, connects the viewer with generative deep models and places them in front of artificial representations of their voice and face. We will describe these installations and their functioning and, through examples of creative strategies and theoretical concepts related to interactivity and the aesthetics of behaviour, we will propose ways to promote the use of machine learning algorithms for creative purposes.

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Inclusive design is a concept intended to promote the development of products and environments equally usable by all users, irrespective of their age or ability. This research focuses on developing a method to derive heuristics for inclusive design. The research applies the actionfunction diagram to model the interaction between a user and a product, design difference classification to compare a typical product with its inclusive counterpart, graph theory to mathematically represent the comparison relations, and graph data mining to extract the design heuristics. The goal of this research is to formalize and automate the inclusive-design heuristics generation process. The rule generation allows statistical mining of the design guidelines from existing inclusive products. Formalization results show that, the rate of rule generation decreases as more products are added to the dataset. The automated method is particularly helpful in the developmental stages of graph mining applications for product design. The graph mining technique has capability for graph grammar induction, which is extended here to automate the generation of engineering grammars. In general, graph mining can be applied to extract design heuristics from any discrete and relational design data that can be represented as graphs. Concept generation studies are conducted to validate the heuristics derived in this research for inclusive product design. In addition, an inclusivity rating is created and verified to evaluate the inclusiveness of the conceptual ideas. Finally, appreciation and awareness about inclusive design is important in an engineering design course, hence, a module is compiled to teach inclusive design methods in a capstone design course. The results of the exploratory study and validation show that there is problem dependency in the application of the representation scheme. It cannot be stated with certainty at this point if the representation scheme is helpful for designing consumer products, where only the activities related to the upper body are involved. However, self-reported feedback indicates that the teaching module is effective in increasing the awareness and confidence about inclusive design.

The study substantiates common strategies and theories regarding the teaching of sight-reading. The literature study done on sight-reading at the keyboard consists of opinions and recommendations resulting from empirical findings of well-known piano pedagogues. Seven beginner courses were analysed in order to assess their presentation of a well-structured development of piano sight-reading against the opinions and recommendations of well-known piano pedagogues and authors in this field as well as the personal experience of the researcher. During this process it was discovered that insufficient attention was paid to the development of the association between a note symbol and its corresponding key on the piano. However no attention was paid to the act of playing while reading ahead. The researcher compiled additional progressive exercises for the 7 to 9 year old beginner, to address the above-mentioned discrepancies. The exercises and their individual purposes are clearly explained with instructions regarding their performance. / Hierdie studie bevestig algemene strategieë en teorieë aangaande die ontwikkeling van vaardighede om musieknotasie te lees en te speel. Die literatuur wat in hierdie studie bestudeer is, handel oor opinies en aanbevelings van vooraanstaande klavierpedagoë wat voortspruit uit die resultate van hulle empiriese navorsing. Sewe aanvangskursusse is ontleed en die aktiwiteite en metodes waarvolgens vaardighede onderrig word om musieknotasie te leer lees en speel, is gemeet aan die aanbevelings van vooraanstaande klavierpedagoë, navorsers op die gebied, asook die navorser se eie ervaring met die boeke. Gedurende die studie is daar ontdek dat daar meesal nie aandag geskenk word aan die ontwikkeling van 'n assosiasie tussen 'n toonhoogtesimbool en ooreenstemmende klawer op die klavier nie en glad nie aan die proses van vooruitlees nie. Om hierdie tekortkominge te oorkom het die navorser 'n stel aanvullende en progressiewe oefeninge saamgestel wat maklik genoeg uitvoerbaar is vir die 7- tot 9-jarige beginner. Duidelike beskrywings van die oefeninge, elkeen se spesifieke doel, en aanwysings vir effektiewe uitvoering daarvan word verskaf. / Art History, Visual Arts & Music / M.A. (Musicology)

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU) / Cette recherche propose la description panoramique du style mélodique du compositeur québécois Claude Vivier (1948-1983) d’un point de vue qualifié d’endogénétique. L’entreprise repose sur l’analyse de seize (16) œuvres, composées entre 1973 et 1982 et allant de Chants à Samarkand. Il s’agit, en les considérant dans l'ordre chronologique de leur composition, de déterminer quels traits stylistiques mélodiques sont propres à chacune des œuvres, comment ils sont transformés d’une œuvre à l’autre, et quels traits stylistiques nouveaux apparaissent. Dans certains cas, une de ces caractéristiques est utilisée comme moteur unique d'une œuvre : un élément utilisé parmi d'autres dans certaines œuvres – la mélodie principale, la construction mélodique par ajouts de hauteurs, les accords-couleurs – apparaît comme l’élément principal d'une œuvre spécifique, pour ensuite être réintégré dans une autre, mais en étant ramené à un rôle secondaire au profit d'un autre élément. L’ensemble donne lieu à une description dynamique du style de Vivier comme évoluant de façon hélicoïdale plutôt que de façon linéaire. La thèse est constituée de trois chapitres précédés d'une introduction, consacrée au parcours biographique du compositeur, à la revue critique de la littérature analytique qui lui a été consacrée et à la notion de style. Le premier chapitre présente le choix des œuvres analysées et la méthodologie suivie, en particulier les principes de l'analyse paradigmatique, utilisée systématiquement pour chacune des seize œuvres analysées. Les parcours analytiques des œuvres forment le chapitre central de la thèse et permettent la constitution de fiches stylistiques dont les résultats sont compilés dans un tableau synthèse servant de base à un chapitre final où l’évolution endogénétique du style mélodique de Vivier est synthétisée. La seconde partie de la thèse présente en annexe les analyses paradigmatiques des seize œuvres, auxquelles renvoient les parcours analytiques du deuxième chapitre. Cette recherche a notamment démontré des similitudes d'axes paradigmatiques entre les œuvres, ce qui a donné lieu à une dénomination uniforme des axes d'une œuvre à l'autre ; ils sont décrits avec précision au début du second chapitre. Bien que la méthodologie utilisée donne une importance première au paramètre mélodique, les autres paramètres musicaux sont également mis en lumière dans les parcours analytiques. / This research proposes the panoramic description of the musical melodic style of Quebec composer Claude Vivier (1948-1983) from a perspective identified as endogenetic. The endeavour is based on the analysis of sixteen (16) works composed between 1973 and 1982, from Chants to Samarkand. This entails considering them in their chronological order of composition, so as to determine which stylistic traits are present in each work, how these are transformed from one work to the next, and what new stylistic melodic traits appear. In some cases, a single trait is used to propel an entire work: thus, an element that is one among many in certain works–the mélodie principale (principal melody), additive melodic construction based on pitch, accords-couleurs (colour-chords)–appears as the principal element of a particular work, to then be reintegrated into a subsequent work, this time in a subordinate role to some other element. Taken as a whole, these analyses lead to a dynamic description of Vivier’s style as having evolved in spirals rather than in a linear fashion. This dissertation is comprised of three chapters preceded by an introduction that is dedicated to the biographical elements of Vivier’s life, to a review of analytical literature devoted to the composer, and to a discussion of style as a concept. Chapter One presents the selection process of the works chosen for analysis and the methodology applied, in particular the fundamentals of paradigmatic analysis, used systematically for each of the sixteen works analyzed. The analytical overview for each of the works forms the core of the central chapter of the dissertation, facilitating the production of style index cards whose results are compiled in a summary chart that provides the foundation for the final chapter, where a synthesis of the endogenetic evolution of Vivier’s melodic style is presented. In the second part of the dissertation, an annex contains the paradigmatic analyses of all sixteen works, as referred to in Chapter Two during discussion of the analytical overview. In particular, this research has demonstrated the presence of similar paradigmatic axes between works, which has resulted in a standardization of the naming structure of these axes from one work to another; these are explained in detail at the beginning of the second chapter. Although the chosen methodology allots particular importance to the melodic parameter, the other musical parameters are also brought to light during the analytical overviews.

The study substantiates common strategies and theories regarding the teaching of sight-reading. The literature study done on sight-reading at the keyboard consists of opinions and recommendations resulting from empirical findings of well-known piano pedagogues. Seven beginner courses were analysed in order to assess their presentation of a well-structured development of piano sight-reading against the opinions and recommendations of well-known piano pedagogues and authors in this field as well as the personal experience of the researcher. During this process it was discovered that insufficient attention was paid to the development of the association between a note symbol and its corresponding key on the piano. However no attention was paid to the act of playing while reading ahead. The researcher compiled additional progressive exercises for the 7 to 9 year old beginner, to address the above-mentioned discrepancies. The exercises and their individual purposes are clearly explained with instructions regarding their performance. / Hierdie studie bevestig algemene strategieë en teorieë aangaande die ontwikkeling van vaardighede om musieknotasie te lees en te speel. Die literatuur wat in hierdie studie bestudeer is, handel oor opinies en aanbevelings van vooraanstaande klavierpedagoë wat voortspruit uit die resultate van hulle empiriese navorsing. Sewe aanvangskursusse is ontleed en die aktiwiteite en metodes waarvolgens vaardighede onderrig word om musieknotasie te leer lees en speel, is gemeet aan die aanbevelings van vooraanstaande klavierpedagoë, navorsers op die gebied, asook die navorser se eie ervaring met die boeke. Gedurende die studie is daar ontdek dat daar meesal nie aandag geskenk word aan die ontwikkeling van 'n assosiasie tussen 'n toonhoogtesimbool en ooreenstemmende klawer op die klavier nie en glad nie aan die proses van vooruitlees nie. Om hierdie tekortkominge te oorkom het die navorser 'n stel aanvullende en progressiewe oefeninge saamgestel wat maklik genoeg uitvoerbaar is vir die 7- tot 9-jarige beginner. Duidelike beskrywings van die oefeninge, elkeen se spesifieke doel, en aanwysings vir effektiewe uitvoering daarvan word verskaf. / Art History, Visual Arts and Music / M.A. (Musicology)

This study investigates how different guitarists introduced saxophone-like phrasing into the improvisatory and compositional vocabulary of jazz guitar through their collaborations with saxophonists. This research presents a comparative analysis of phrasing, articulation, and melodic design in solo improvisations. The mixed approach to this study includes analysis of motives, voice leading, articulation, length of phrases, melodic contour, and the execution of bebop vocabulary on the guitar. The findings are based on original transcriptions from significant recordings by guitar-saxophone pairs. These highlight the similarities between and adaptations of musical devices from saxophonists Stan Getz, Jimmy Giuffre, and Joe Lovano into the jazz guitar styles of Jimmy Raney, Jim Hall, and John Scofield. This study supports the argument that the evolution of modern jazz guitar playing is directly connected to the adaptation of saxophone-like phrasing at an improvisatory and compositional level. It also shows that the concept of style in jazz flows between different instruments' lineages. Understanding these findings provides a more complex and accurate concept of the development of style in jazz.

Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions opposées de l’œuvre d’art : elle est par voie de conséquence le produit d’une culture (parce qu’elle est liée au contexte artistique qui la précède, au regard des éléments qui la constituent et qui sont facilement identifiables dans les œuvres du passé, toute œuvre peut être perçue et pensée comme une synthèse de différents modèles, une forme d’aboutissement culturel), mais aussi le fruit d’une individualité (une œuvre d’art est une élaboration unique, indépendante de toute autre production, au regard des facteurs d’unité qui la structurent ; toute œuvre peut alors être perçue et pensée comme une entité autonome).Cette étude nous permettra de mettre à jour un soubassement de l’activité psychique : l’estimation de la distance entre le fixe et le muable. / Nicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing.