Ce travail examine la façon dont l’écriture styronienne met en lumière la faille temporelle de l’existence. Utilisant le mode d’analyse défini par la narratologie, il commence par étudier les variations spatio-temporelles que créent les analepses styroniennes. Puis, il montre comment ces variations permettent de dépasser l’illusion référentielle de l’histoire pour découvrir l’univers opératif du récit styronien. Enfin, il révèle la façon dont ce récit se fait à travers les drames, toujours différents, que donne le théâtre de l’expérience humaine. Se référant aux théories énoncées par la psychanalyse, et plus particulièrement par la psychanalyse lacanienne, ce travail étudie ensuite comment les romans styroniens dévoilent l’aporie temporelle dans laquelle l’homme évolue. Puis, il montre la façon dont ils dépeignent l’effet de cette aporie, l’Autre en l’homme, puis l’homme lui-même, alors qu’il préfère souvent ignorer le Nom-du-Père pour ne pas entendre la loi primordiale de l’existence. La dernière partie de cette recherche examine la manière dont les romans styroniens s’introduisent dans le domaine de l’histoire. Elle met d’abord en lumière le mouvement ternaire qu’adoptent, pour se former, le récit historique et le récit de fiction styronien, et montre que ce dernier procède d’un travail de signifiance et non de « représentance ». Puis, elle analyse comment William Styron décrit les hommes préférer la mémorisation à la re-mémorisation et produire ainsi l’oubli dans leur âme. Apparaît, en conclusion, le rôle que cet auteur propose de faire jouer à l’écriture romanesque comme remède à l’oubli historique aussi bien qu’à son œuvre destructrice. / This work examines the way Styronian writing highlights the temporal gap of existence. Using the mode of analysis defined by narratology, it begins by studying the variations of time and space that are created by Styronian analepses. Then, it shows how those variations allow the reader to go beyond the referential illusion of the story to discover the operative universe of the Styronian narrative. Finally, it reveals how the latter is constructed on the ever-changing dramas staged in the theatre of human experience. Then, referring to the theories of psychoanalysis and more particularly of Lacanian psychoanalysis, this work explores how Styronian novels disclose the temporal aporia in which man evolves. It also shows the way they describe the effect of this aporia, the Other in man, then man himself often preferring to ignore the Name-of-the-Father so as not to hear the primordial law of existence. The last part of this research examines the way Styronian novels enter the field of history. It starts by highlighting the ternary movement that both the historical narrative and the fictional narrative of William Styron adopt to construct themselves, and shows that the latter proceeds from a work of significance and not of “representance”. Then, it analyses how William Styron describes men preferring memorization to re-memorization thus creating oblivion in their souls. To conclude, it reveals the part this author offers fictional writing to play as a remedy for historical oblivion as well as for its destructive consequences.

I föreliggande studie är syftet att få en djupare förståelse för hur instrumentalister i olika genrer arbetar för att memorera musik och vad som eventuellt skiljer sig mellan de valda metoderna, arbetssätten och verktygen som används. Detta undersöks utifrån ett sociokulturellt perspektiv. Bakgrundskapitlet tar upp tidigare forskning om det mänskliga minnet, hur vi minns saker generellt samt om skillnader mellan klassiska musiker och folkmusiker inom processen att minnas musik. Sedan presenteras metoderna som används i arbetet. Det är semistrukturerade intervjuer och tematisk analys tillsammans med en komparativ forskningsdesign. Därefter följer resultatet som visar att det förekommer både skillnader och likheter mellan de båda genrerna och även bland intervjupersonerna inom samma genre under processen att memorera musik utantill. Vidare framkommer även vilka de två mest använda verktygen för att memorera musik utantill är och om det är möjligt att memorera musik utan ett instrument närvarande. Slutligen diskuteras resultaten med kopplingar tillbaka till de tidigare kapitlen och det valda teoretiska perspektivet. / In the present study, the aim is to gain a deeper understanding of how the musicians in different genres work to memorize music by heart and what might differ in the chosen methods, procedures and tools that is used. This must be examined on the basis of a socio-cultural perspective. The background highlights earlier research about the human mind, how we remember things in general, and about the differences between classical musicians and folk musicians in the process that is memorizing music. Thereafter is the methods used in this study presented. They include semi-structured interviews and thematic analysis together with a comparative research design. This is followed by the result which shows that there are both similarities and differences between the two genres and even among interviewees within the same genre in the process of memorizing the music by heart. Further will the two most commonly used tools for memorizing music be presented, and the answer to whether it is possible to memorize music without using an instrument. Then the results will be discussed with links back to the previous chapters and the chosen theoretical perspective.

The aim of this study is to explore to what extent and how different jazz programs on the college level include repertoire memorization in their curriculums. By repertoire memorization I mean the study and memorization of a certain amount of standard jazz repertoire, which include songs from the so-called great American songbook and tunes by jazz composers that are commonly played by jazz musicians around the world.  Whether the schools include repertoire memorization in their official curriculum or course descriptions or leave the subject to the discretion of the individual instructors is explored. Methods for teaching the subject, methods of assessing the students’ memorization, and views of different jazz department heads regarding the importance of the subject are also investigated. A sociocultural perspective is adopted in the study to see if academia attempts to address or perhaps recreate some of the sociocultural contexts that jazz learning existed in before jazz was included in music conservatories and universities. Eleven jazz programs and one jazz educator were asked to be a part of the study and of those, four schools responded. The data was collected in email correspondence with the four different department heads that were from the United States, Finland and Sweden (two schools). The results showed that the programs in Finland and the United States placed great importance on the subject and use required repertoire lists that the students were tested on. One of the Swedish programs had suggested repertoire lists for students without formal testing and the other Swedish program left the subject up to the individual instructors although the subject did seem to be encouraged. One unexpected observation from the repertoire lists used from the schools in Finland and the United States was that there were a surprisingly large number of songs that were not in common to both lists.

Made available in DSpace on 2015-05-14T12:52:37Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2833524 bytes, checksum: 22d43cca815c9a91e9aeaf78fc3e7a02 (MD5) Previous issue date: 2014-02-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research tested two different applications of the performance cue s memorization model (CHAFFIN et al., 2002) in Robert Schumann s Abegg Variations. The aim of the first model s application was the memorized public performance of the piece with no memory lapses. The second application, otherwise, adopted a different view of the model and its aim was to improve musical interpretation through the utilization of the performance cues as points of attention during performance, and it purposes were: (1) to test expressive performance cues as points of attention during performance, and its influence in the resulting sound, and (2) to investigate the potentiality of timbre and timing as parameters of the expressive performance cues applied in the Abegg Variations s performances. The methodology was supported by two practice diaries and audio recorded tests of the applications in four public performances. In these performances the number of memory lapses was inexistent or almost inexistent. We also realized a comparative analysis of the timbre and timing in two recordings of these public performances, to verify the result of the use of performance cues projected in the sound. The results of this research confirmed the efficacy of the performance cue s memorization model in the Abegg Variations and also revealed the possibility of using the expressive performance cues in the refinement of the musical interpretation, mainly in the second application of the model. / Esta pesquisa testou duas aplicações do modelo de memorização através de guias de execução, proposto por Chaffin et al. (2002), nas Variações Abegg de Schumann. A primeira aplicação do modelo teve como fim a memorização da peça e a execução da mesma em público, visando uma performance sem falhas de memória. A segunda aplicação adotou uma visão diferenciada do modelo e buscou aprimorar a interpretação da peça através da utilização dos guias de execução como focos de atenção durante a performance, tendo como objetivos: (1) testar os guias de execução expressivos como focos de atenção durante a performance e a sua influência na produção do som e (2) investigar a potencialidade do timbre e da manipulação temporal como fonte de guias de execução expressivos nas Variações Abegg, de Schumann. A metodologia contou com o suporte de dois diários de estudo e testes das aplicações em quatro apresentações públicas. Nestas apresentações o número e falhas de memória por parte da intérprete e autora deste trabalho foi praticamente nulo. Realizamos também uma análise comparativa de aspectos de manipulação do tempo e timbre entre duas gravações de performances públicas das Variações Abegg, realizada através do software Sonic Visualiser, com o intuito de verificar o resultado sonoro efetivo da utilização dos guias. Os resultados desta pesquisa, além de comprovar a eficácia do modelo a partir de guias de execução na memorização da peça, revelaram a possibilidade de utilização dos guias expressivos no aprimoramento da interpretação musical, principalmente na segunda aplicação do modelo.

O presente trabalho avaliou o uso de guias de execução (Chaffin, 2012) com alunos iniciantes de piano com o objetivo de verificar se alunos iniciantes de piano apresentariam perfis similares de utilização de guias de execução, e se seria possível constatar o mesmo grau de aproveitamento observado em pesquisas anteriores. A amostra incluiu 14 alunos na faixa etária de 8 a 14 anos. Foi solicitado a cada participante a preparação de duas peças do seu repertório para gravá-las, em áudio e vídeo, executando-as de memória. A metodologia também incluiu a realização de entrevistas e anotações nas partituras dos alunos no decorrer de três encontros. Os resultados mostram que os alunos foram capazes de usar as quatro categorias de guias de execução propostas por Chaffin. Além disto, outros resultados foram corroborados tais como: a utilização de guias expressivos associada com os melhores desempenhos no teste oral e, a utilização de maior quantidade de guias básicos associada com maior ocorrência de lapsos nas gravações. / This study evaluated the use of Chaffin´s (2002) performance cues applied to beginner piano students in order to verify if an adaptation of this approach would profile similarly and show the equivalent results as in previous researches on this subject. The sample included 14 piano students ages eight to fourteen studying at the time with six piano teachers. Each participant was requested to prepare two pieces from their current repertoire to be played by memory and recorded both in audio and video. The methodology also included interviews and annotations made by students in their scores. The students and the researcher met three times for recordings, commentaries and interviews. Results show that the participating children were able to use all four categories of performance cues. Other results were verified such as the use of expressive cues associated with the best results in the oral test and the use of basics cues associated with higher rates of lapses on the recordings.

As of Spring 2013, this is the first research study of its type which has looked at and analyzed the results of qualitative interviews conducted with Kurdish Iraqi students studying abroad in the government's, Mhe-HCDP, foreign study abroad program. The study looks at student's actual experiences and perceptions about the program, as well as their recommendations for improving the program. The study also looked at the overall goals and acknowledged problems within the program as established by the Iraqi Mhe reports of 2010 and 2011. The study found a considerable amount of agreement between problems identified by the Mhe and problems recognized by the students in the program. Moreover, the research surveyed a considerable amount of literature in the field of study abroad programs which correlate directly too many of the problems identified by both the Mhe and the students. Several of the problems identified in this research pertain to the need for more ESL programs, more "pre-departure" orientation programs, more coordination between Iraqi universities and host universities, more cultural training, more emphasis on pedagogical structures related to critical thinking, reading, and writing, as well as the need for more education in the area of conducting advanced, post-secondary, research in western institutions and more programmatic support at host universities. The study presents the results of 25 qualitative interviews with students, 3 interviews with program administrators, and one interview with a former minister of the Mhe and lists the recommendations and observations all of them have about the existing study abroad program.

O presente trabalho avaliou a aplicabilidade do modelo de guias de execução de Roger Chaffin como estratégia para a memorização do segundo movimento da sonata para piano nº 2 de Dmitri Shostakovich. Foi realizado uma autorreflexão sobre o processo de aprendizagem no qual a própria autora é o sujeito do estudo. A metodologia incluiu o registro escrito das sessões de estudo, gravações em áudio e vídeo das apresentações públicas, confecção de planilhas e gráficos da ocorrência de falhas nas apresentações assim como a elaboração de outras estratégias para memorizar trechos específicos. Os resultados demonstram que o estudo deliberado apoiado nos recursos utilizados contribuiu para a recuperação da memória na execução. / The present dissertation evaluated the applicability of Roger Chaffin´s performance cues as a strategy for the memorization of the Second Movement of Shostakovich’s Second Piano Sonata. A case study was conducted in which the author is the subject of the study. The methodology included the written record of the practice sessions, audio and video recordings of public performances, use of spreadsheets and graphs showing memory failures during public performances, as well as the development of other strategies to memorize specific passages of the chosen work. The results show that deliberate practice supported by the selected resources contributed to the memory retrieval while playing.

O presente trabalho avaliou a aplicabilidade do modelo de guias de execução de Roger Chaffin como estratégia para a memorização do segundo movimento da sonata para piano nº 2 de Dmitri Shostakovich. Foi realizado uma autorreflexão sobre o processo de aprendizagem no qual a própria autora é o sujeito do estudo. A metodologia incluiu o registro escrito das sessões de estudo, gravações em áudio e vídeo das apresentações públicas, confecção de planilhas e gráficos da ocorrência de falhas nas apresentações assim como a elaboração de outras estratégias para memorizar trechos específicos. Os resultados demonstram que o estudo deliberado apoiado nos recursos utilizados contribuiu para a recuperação da memória na execução. / The present dissertation evaluated the applicability of Roger Chaffin´s performance cues as a strategy for the memorization of the Second Movement of Shostakovich’s Second Piano Sonata. A case study was conducted in which the author is the subject of the study. The methodology included the written record of the practice sessions, audio and video recordings of public performances, use of spreadsheets and graphs showing memory failures during public performances, as well as the development of other strategies to memorize specific passages of the chosen work. The results show that deliberate practice supported by the selected resources contributed to the memory retrieval while playing.

O presente trabalho avaliou o uso de guias de execução (Chaffin, 2012) com alunos iniciantes de piano com o objetivo de verificar se alunos iniciantes de piano apresentariam perfis similares de utilização de guias de execução, e se seria possível constatar o mesmo grau de aproveitamento observado em pesquisas anteriores. A amostra incluiu 14 alunos na faixa etária de 8 a 14 anos. Foi solicitado a cada participante a preparação de duas peças do seu repertório para gravá-las, em áudio e vídeo, executando-as de memória. A metodologia também incluiu a realização de entrevistas e anotações nas partituras dos alunos no decorrer de três encontros. Os resultados mostram que os alunos foram capazes de usar as quatro categorias de guias de execução propostas por Chaffin. Além disto, outros resultados foram corroborados tais como: a utilização de guias expressivos associada com os melhores desempenhos no teste oral e, a utilização de maior quantidade de guias básicos associada com maior ocorrência de lapsos nas gravações. / This study evaluated the use of Chaffin´s (2002) performance cues applied to beginner piano students in order to verify if an adaptation of this approach would profile similarly and show the equivalent results as in previous researches on this subject. The sample included 14 piano students ages eight to fourteen studying at the time with six piano teachers. Each participant was requested to prepare two pieces from their current repertoire to be played by memory and recorded both in audio and video. The methodology also included interviews and annotations made by students in their scores. The students and the researcher met three times for recordings, commentaries and interviews. Results show that the participating children were able to use all four categories of performance cues. Other results were verified such as the use of expressive cues associated with the best results in the oral test and the use of basics cues associated with higher rates of lapses on the recordings.

Le manuel scolaire évolue avec le développement du numérique et propose de nouvelles ressources. Les illustrations ne sont plus statiques comme dans les manuels imprimés, mais fondées sur l’interactivité. Ces animations, schémas et cartes interactives ont une influence positive sur la mémorisation et la compréhension des élèves. De nombreux chercheurs spécialistes de l’apprentissage sur document multimédia ont fait ressortir ces effets positifs. D’après J. Sweller, l’apprentissage est favorisé dès lors que les documents pédagogiques permettent d’alléger la charge cognitive. J. Sweller a étudié les relations entre les processus de traitement de l’information et la présentation de l’information dans le document pédagogique. Selon la théorie de R.E. Mayer, le multimédia a des effets positifs sur l’apprentissage des élèves lorsque le document combine du texte et des illustrations. Ces nouvelles illustrations font également changer le rôle de l’élève qui n’est plus spectateur de l’image mais utilisateur. L’élève contrôle sa ressource en lui donnant une action. Il a ainsi la possibilité de faire apparaître les éléments qu’il souhaite sur une carte, les faire disparaître ou encore de prendre le temps dont il a besoin pour comprendre le sujet. Le premier objectif de cette thèse est de comprendre comment les enseignants s’approprient les manuels numériques et les illustrations interactives. Pour cela, deux enquêtes permettront de découvrir leurs usages. Le deuxième objectif est de déterminer, à partir d’expérimentations, si les illustrations interactives favorisent la mémorisation et la compréhension des élèves par rapport à une illustration statique. / The textbook evolves with the development of digital technology and proposes new resources. The illustrations are no longer static as in printed manuals, but based on interactivity. These animations, diagrams and interactive maps have a positive influence on students' memorization and understanding. Many researchers specializing in multimedia learning have highlighted these positive effects. According to J. Sweller, learning is favored when learning materials reduce the cognitive burden. J. Sweller studied the relationship between information processing processes and the presentation of information in the curriculum document. According to the theory of R.E. Mayer, multimedia has positive effects on student learning when the document combines text and illustrations. These new illustrations also change the role of the student who is no longer spectator of the image but user. The student controls his or her resource by giving it an action. He has the possibility to show the elements he wishes on a map, to make them disappear or to take the time he needs to understand the subject. The first objective of this thesis is to understand how teachers take digital textbooks and interactive illustrations. For this purpose, two surveys will reveal their uses. The second objective is to determine, from experiments, whether the interactive illustrations favor the memorization and understanding of students in relation to a static illustration.