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Målet med mitt arbete har varit att utveckla min förmåga att analysera musik och sedan applicera min analys på mitt eget musicerande, närmare bestämt mitt basspel. Genom att analysera Chris Wolstenholmes (basisten i mitt favoritband Muse) basspel ur ett melodiskt, harmoniskt och rytmiskt perspektiv samt undersöka hur han använder effektpedaler har jag tagit ut de sex aspekterna som jag anser utmärker hans spelstil mest. Jag har sedan applicerat dessa aspekter på tre låtar av tre olika band och arrangerat om basgången i deras låtar i hopp om att de ska låta mer likt Muses basgångar.   Jag hoppas att detta arbete kan inspirera andra musiker till att fundera över och analysera musik de tycker om och samtidigt sträva efter att utveckla deras analytiska förmåga. Jag hoppas även att det kan inspirera andra basister att reflektera över rollen som basist och hur man kan ta mer plats i en rockensemble.

This study examines the phenomenon of contemporary a cappella music making found in high school settings as curricular and extra-curricular offerings. Past music and music education literature has focused exclusively on contemporary a cappella at the collegiate level. Through application of a descriptive phenomenological method and incorporation an educational-sociological lens, this study advances an understanding of the educational benefit and social value of membership in contemporary a cappella at the high school level. Six recent members from three regions of the United States provided data through individual open-form interviews in which questions were derived from the participants’ own speech. I incorporated phenomenological reductions and processes to negate researcher bias during data collection, analysis, and the formation of a general structure and constituent meanings of membership in high school contemporary a cappella. Participants utilized traditional music skills, individual talents, conceptions of popular culture and music, and in-group socialization to facilitate music making and reify membership. Expressing the value of group membership, individuals acted to benefit the group by cultivating social bonds, developing and fostering personal/shared connections to songs, identifying and purposing individual talents and skills, and gaining an understanding of each members’ unique contribution to membership. Discussion includes implications for music education and suggestions for future research.

Cette thèse entend interroger les œuvres chantées de deux interprètes de la chanson française de l’Entre-deux-guerres : Fréhel (1891-1951), l’une des meilleures représentantes de la chanson dite réaliste, et la très oubliée Yvonne George (1895-1930), adulée de l’intelligentsia parisienne du milieu des années vingt. Dans cette période nuancée (des années folles aux années trente), ces deux interprètes apparaissent elles-mêmes comme des figures de contraste pour la chanson réaliste française. Fréhel, en digne héritière de Bruant, s’impose comme le porte-voix d’un collectif de la marge, tout autant qu’elle incarne une voix féminine dolente et résignée, que le public aime a superposer avec sa propre personne, d’autant mieux que le cinéma des années trente en relaie l’image. Elle est aussi la figure d’un monde révolu : celui de la Belle Epoque. Quant à Yvonne George, son côté avant-gardiste et éclectique, confère à la chanson réaliste une nouvelle dimension novatrice. La subversion s’installe dans son univers, non plus dans les images convoquées mais dans le contenu du discours véhiculé : la prostituée n’est plus une victime passive mais au contraire, l’agent du malheur qu’elle revendique. Les choix d’interprétation audacieux d’Yvonne George, couplés à une maitrise parfaite du parlé-chanté, contribuent aussi à ce renouvellement, encore assuré par des collaborations musicales ou orchestrales avant-gardistes. Aussi, l’enjeu de ce travail a-t-il consisté à montrer en quoi Fréhel et Yvonne George purent toutes deux incarner la chanson réaliste dans sa pleine diversité et apparaître comme ses meilleures muses. / Our thesis examines songs by two performers of the popular French song during the inter-war period : Fréhel, one of the best representatives of the song we call ≪ realistic ≫, and the very-much forgotten Yvonne George, adored by Parisian intelligentsia in the mid-twenties. In this slightly different period (the roaring twenties to the thirties), these two performers appear as contrasted figures in the French ≪ realist song ≫. Fréhel, a worthy successor to Bruant has become the voice of a collective margin, as well as embodying a resigned, plaintive female voice, that the public likes to project on her, especially as the cinema of the thirties relieve this projection. As for boyish Yvonne George, her avant-garde and eclectic side, gives the song an innovative new realistic dimension. Subversion settles into her world, not conveyed by the images but by the content of the spoken text (the prostitute is no longer a passive victim but rather the agent of her own misfortune, that she has chosen for herself). Yvonne George’s choice to portray this boldly, coupled with a perfect command of spoken-songs, also contribute to this revival, accompanied by avant-gardist musical and orchestral collaborations. By means of a comparative study of songs sung by these two contrasting performers, this thesis shows how Fréhel like Yvonne George can both portray realist songs in their full diversity and appear both "traditional" muse and "avant-garde" muse.

The purpose of the present thesis is twofold; the first part comprises a theoretical analysis of the concept muse-ical in an attempt to describe similarities and differences between the concepts muse-ical and aesthetic and furthermore, to identify the distinguishing features of a muse-ical approach and a muse-ical program. The second part of the thesis reports on an empirical study among student teachers who have chosen to study the program Muse-ical Learning. They have been interviewed about their experiences and impressions of this new program. More specifically they have been given questions pertaining to museical, aesthetic, artistic, scholarly learning, sensory experiences, talent and finally how they conceive of the role of muse-ical learning in school and in society at large and what notions they have of their future work as teachers in the field. The first part is an analysis based on selected previous writings and research regarding the concepts muse-ical and aesthetic/esthetical. The approach taken to this reading is mainly hermeneutical. The second part of the thesis aims at describing how a group of student teachers experience museical learning. Data have been gathered by in-depth, semi-structured interviews. The aim of the analysis has been to emphasise qualitative differences in the ways the informants experience the phenomena actualised in the interviews. The approach in the analysis is, mainly, phenomenographic. The group of informants comprise 20 student teachers, which is about half of all students in the pioneer cohort of the program. Every student was interviewed individually in sessions that had a typical duration of 40-45 minutes. The interviews were transcribed in extenso by the author. In a historical perspective the origins of muse-ical can be traced back to antique Greece and the nine muses that were given to mankind by the gods. The ancient Greeks realised that artistic and intellectual activities are mutually dependent on each other. A further function of the muses, to care for the collective, social memory, seems also to have been forgotten in our time. Muse-ical activities also have to be combined with rhythm and harmony to get their ultimate form. This fact reflects the Greek conviction that order is a significant aspect of beauty. (Cosmos). Greeks aimed for a balance between the vivacious and engaging of Dionysus and the more strict and ordered of Apollo. One confusing circumstance in Plato´s texts concerning the word muse-ical is the translation of mousiké to mean music which is the case in Swedish, Danish, Norwegian and English. It makes a great difference whether our children are to be fostered in mousiké i.e. the arts of the muses and gymnastics or only in music and gymnastics. My conclusion is that Plato was of the opinion that the young should be fostered in mousiké and gymnastics. The word muse-ical appears in educational contexts during the mid 1920ies in Germany, when the sociologist Hans Freyer introduced the term. Muse-ical education is, in consonance with the ideas from ancient Greece, an integration of poetry, music and rhythmic movements. My conclusion from the theoretical analyses is that the muse-ical domain should be understood as an approach to learning that is based on: • A holistic attitude aiming at a balance between “hand, heart and brain”. • Time for reflection. • Muse-ical activities that give opportunities for applying different forms of expression, e.g. activities that comprise movement, sound, colour, form and drama. • Play is an important component. • The learner is the main actor. • The muse-ical perspective is superordinate to disciplinary categories of knowledge. • The muse-ical perspective should not be translated into a rigorous method. Teachers in all subject matter areas may take a muse-ical approach. Mathematics, history and chemistry for instance are as close to the muse-ical as music or drama. I prefer to regard the aesthetic and muse-ical as two different concepts, although with some overlap in meaning. There are common parts, some aspects are borderline cases and there are also, of course, distinct differences. Already the ancient Greeks stated that literary learning and sensory experience were mutually dependent on each other. The Swedish National Curriculum for the compulsory school also emphasises the importance of balancing these two modes of learning against each other. The results of the empirical study corroborate the conclusions of the theoretical analysis. The students repeatedly emphasise the importance of experience and involvement for the sake of their own learning. They do also stress the importance of connecting theory to practical components. Concerning integration of different areas of muse-ical learning there are different standpoints among the authors that I have referred to. The students’ arguments in favour of finding a common framework for all aesthetic areas are basically that they contain common creative aspects and that they all involve bodily and emotional aspects of learning. The students emphasise, in particular, two positive aspects of the aesthetic areas and muse-ical learning. Firstly, they have a general, facilitating impact on learning regardless of context and content. Secondly, they may contribute significantly to the students’ self-confidence and thereby give them the courage to enter new areas and aim for higher goals than otherwise. A majority of muse-ical activities take place in social settings, which gives rich opportunities for the students to train their social skills. Even though it has been a demanding task to express the essence of muse-ical learning, theoretically as well as empirically, one may perhaps be comforted by realising that the magic of museical learning might disappear were it possible to define it in a distinct way.

À frente de seu tempo e com dons excepcionais, Victor Brecheret trilhou um árduo caminho de sucesso. Mesmo com poucos recursos, nunca desanimou ou deixou de tentar, tendo estudado em diversas escolas de arte, inclusive em Paris, como bolsista. Nascido na Itália, veio para o Brasil quando ainda era criança, e cresceu entre os grandes e renomados nomes da arte. Morou em Roma, onde abriu seu primeiro atelier, mas foi em Paris que elevou e firmou seu estilo. Sua temporada parisiense é recheada pelo aprendizado das três fontes: ênfase ao volume geométrico das esculturas cubistas, ao tratamento sintético da forma de Brancusi e à estilização elegante do Art Déco. Além desses estilos, Brecheret trouxe da Europa os traços do modernismo. Durante toda sua carreira artística, desenvolveu diversos e diferenciados trabalhos, porém, é sempre lembrado por talhar seu cinzel em gigantesco bloco de mármore, dando forma a magníficas e esculturais obras. Seu maior trabalho, o mais reconhecido e citado, é, sem sombra de dúvidas, o Monumento às Bandeiras, na cidade de São Paulo, pelo qual deixou sua marca registrada, eternizando seu nome e firmando sua arte. Brecheret também deixou sua marca em obras tumulares que encantam os olhos e transformam a dor da morte em beleza e suaves lembranças de uma vida plena. Sua principal obra, dentre a arte tumular, é a Musa Impassível, que adornou com graciosidade o túmulo da poetisa Francisca Júlia, por mais de 80 anos (1923-2006) e, desde 2006, está alocada na Pinacoteca do Estado de São Paulo. Criada como uma homenagem póstuma a uma grande mulher, a Musa Impassível é a união da literatura com a arte, da poetisa com o escultor, da dor com a beleza, da morte com a eternidade; é a real certeza de que uma pessoa pode ser eternizada por meio de uma escultura, admirada entre infinitas gerações e lembrada pelas suas conquistas e grandiosidade. / Ahead of his time and exceptional gifts, Victor Brecheret walked a hard path of success. Even with few resources, never discouraged or stopped trying, he studied at several art schools, including in Paris with a scholarship. Born in Italy, he came to Brazil when he was a child and grew up among the great and renowned art names. He lived in Rome, where he opened his first atelier, but it was in Paris that he raised and formed his own style. His Parisian season is filled by learning from three sources: emphasis on geometric volume of cubist sculptures, synthetic treatment of form of Brancusi and the elegant Art Deco styling. In addition to these styles, Brecheret brought from Europe traces of modernism. Throughout his artistic career, he has developed on diversed and differentiated work; however, he is always remembered for his chisel carving in mammoth marble blocks, forming the magnificent and sculptural works. His greatest work, which is the most recognized and quoted, is undoubtedly the Monument to the Flags in the city of São Paulo, and for which he left his trademark, immortalizing his name and establishing his art. Brecheret also left his mark on tomb works. His funerary art is to delight the eyes and transform the pain of death in beauty and soothing memories of a full life. His main work, in the funerary art, is the Impassive Muse, which has been adorning with grace, the tomb of the poet Frances Julia for over 80 years (1923-2006), and since 2006, has being allocated in the Pinacoteca of the State of São Paulo. Created as a posthumous tribute to a great woman, the Impassive Muse is the union of literature with the art, the poet with the sculptor, pain with beauty, death with eternity; it is the real certainty that a person can be immortalized by a sculpture, admired along endless generations, and remembered for its achievements and grandeur.

'The virgin, the temptress and the godess' is a visual exploration of love, longing and beauty from the carnal though to the sublime. The narrative of the research has several subtexts: one that explores female archetypes, the muse as figurative source of inspiration and also beauty as a transcendental catalyst. I have sought to represent a comprehensive vision of the female muse that embraces both the spiritual and the sensual and explores the duality of corporeal and metaphysical yearning. This is done through photographic imagery; the journey that it evokes is an interior landscape that takes place in the purgatory that is longing and ascends to a sublime state of stillness and peace through the experience of the divine.

À frente de seu tempo e com dons excepcionais, Victor Brecheret trilhou um árduo caminho de sucesso. Mesmo com poucos recursos, nunca desanimou ou deixou de tentar, tendo estudado em diversas escolas de arte, inclusive em Paris, como bolsista. Nascido na Itália, veio para o Brasil quando ainda era criança, e cresceu entre os grandes e renomados nomes da arte. Morou em Roma, onde abriu seu primeiro atelier, mas foi em Paris que elevou e firmou seu estilo. Sua temporada parisiense é recheada pelo aprendizado das três fontes: ênfase ao volume geométrico das esculturas cubistas, ao tratamento sintético da forma de Brancusi e à estilização elegante do Art Déco. Além desses estilos, Brecheret trouxe da Europa os traços do modernismo. Durante toda sua carreira artística, desenvolveu diversos e diferenciados trabalhos, porém, é sempre lembrado por talhar seu cinzel em gigantesco bloco de mármore, dando forma a magníficas e esculturais obras. Seu maior trabalho, o mais reconhecido e citado, é, sem sombra de dúvidas, o Monumento às Bandeiras, na cidade de São Paulo, pelo qual deixou sua marca registrada, eternizando seu nome e firmando sua arte. Brecheret também deixou sua marca em obras tumulares que encantam os olhos e transformam a dor da morte em beleza e suaves lembranças de uma vida plena. Sua principal obra, dentre a arte tumular, é a Musa Impassível, que adornou com graciosidade o túmulo da poetisa Francisca Júlia, por mais de 80 anos (1923-2006) e, desde 2006, está alocada na Pinacoteca do Estado de São Paulo. Criada como uma homenagem póstuma a uma grande mulher, a Musa Impassível é a união da literatura com a arte, da poetisa com o escultor, da dor com a beleza, da morte com a eternidade; é a real certeza de que uma pessoa pode ser eternizada por meio de uma escultura, admirada entre infinitas gerações e lembrada pelas suas conquistas e grandiosidade. / Ahead of his time and exceptional gifts, Victor Brecheret walked a hard path of success. Even with few resources, never discouraged or stopped trying, he studied at several art schools, including in Paris with a scholarship. Born in Italy, he came to Brazil when he was a child and grew up among the great and renowned art names. He lived in Rome, where he opened his first atelier, but it was in Paris that he raised and formed his own style. His Parisian season is filled by learning from three sources: emphasis on geometric volume of cubist sculptures, synthetic treatment of form of Brancusi and the elegant Art Deco styling. In addition to these styles, Brecheret brought from Europe traces of modernism. Throughout his artistic career, he has developed on diversed and differentiated work; however, he is always remembered for his chisel carving in mammoth marble blocks, forming the magnificent and sculptural works. His greatest work, which is the most recognized and quoted, is undoubtedly the Monument to the Flags in the city of São Paulo, and for which he left his trademark, immortalizing his name and establishing his art. Brecheret also left his mark on tomb works. His funerary art is to delight the eyes and transform the pain of death in beauty and soothing memories of a full life. His main work, in the funerary art, is the Impassive Muse, which has been adorning with grace, the tomb of the poet Frances Julia for over 80 years (1923-2006), and since 2006, has being allocated in the Pinacoteca of the State of São Paulo. Created as a posthumous tribute to a great woman, the Impassive Muse is the union of literature with the art, the poet with the sculptor, pain with beauty, death with eternity; it is the real certainty that a person can be immortalized by a sculpture, admired along endless generations, and remembered for its achievements and grandeur.

Les galaxies de faible masse constituent la population de galaxies la plus nombreuse à tous les âges de l'Univers, et sont légitimement considérées dans un contexte cosmologique comme les "éléments fondamentaux" de la croissance des galaxies. Dans l'Univers local, les galaxies de faible masse se trouvent principalement dans des amas de galaxies où elles se forment à partir de processus complexes de formation in-situ et d'événements d' accrétion. Cependant, les détails de la formation des galaxies de faible masse et de leurs processus d'évolution, ainsi que leurs rôles exacts dans la formation des galaxies plus massives sont encore très peu contraints. Ceci est dû en particulier aux difficultés technologiques associées à leur observation. Après une introduction sur les connaissances actuelles des galaxies de faible masse, je présente l'étude d'un échantillon de huit galaxies compactes dans l'amas de la Vierge. À l'aide de leur cinématique et de propriétés telles que l'âge et la métallicité de leur population stellaire estimées avec les données du spectrographe intégral de champ (IFS) GMOS/Gemini, je démontre que les propriétés des populations stellaires évoluent de manière continue avec la taille des galaxies, leurs masses, ainsi qu'avec leurs environnements, et ceci à la fois pour les galaxies de faible et de grande masse. Cela suggère que l'ensemble des processus physiques qui contrôlent les caractéristiques des galaxies sont similaires quelle que soit la masse des galaxies, mais en revanche, leurs influences individuelles varient doucement suivant la taille et la masse des galaxies. J'estime ensuite les histoires de formation stellaire de ces huit galaxies compactes ainsi que celles d'un échantillon de 20 galaxies de faible masse, et présente une étude de leur dépandence par rapport à l'environnement et la masse des galaxies. Ainsi, grâce à cette étude, je mets en avant à la fois le rôle important de l'environnement mais également celui des galaxies les plus massives dans le contrôle de la formation et de l'évolution des galaxies de faible masse. Mais les processus d'évolution des galaxies sont complexes et les galaxies de l'Univers local sont seulement leurs produits finaux, ce qui ne donne que peu de contraintes sur l' évolution des galaxies au début de l'histoire de l'Univers. Je montre alors à l'aide d'observations de la galaxie NGC3115 obtenues avec l'IFS MUSE/VLT, que les cartes de cinématique et de populations stellaires de galaxies couvrant une grande surface et ayant une grande résolution spatiale sont des éléments clés pour révéler l'histoire d'assemblage de la masse des galaxies, et donc leur formation et leur évolution au cours de toute l'histoire de l'Univers. Pour mieux contraindre la formation des galaxies de faible masse, j'utilise donc les observations profondes de l'instrument MUSE/VLT dans le champ de Hubble (HDFS) pour étudier un échantillon de dix galaxies à des décalages spectraux intermédiaires. J' estime pour la première fois la cinématique stellaire de galaxies situées entre z ~ 0.2 - 0.7 et montre que le degré de rotation et de dispersion de vitesse stellaire est en accord avec les précédentes études portant sur la cinématique de leur gaz. De telles informations, confrontées aux modèles d'évolution de galaxies aideront ainsi à mieux comprendre la croissance en masse des galaxies ainsi que l'origine des galaxies de faible masse de l'Univers local. / Low-mass galaxies form the most numerous galaxy population in the Universe at all cosmic times, and are legitimately considered as the "building-blocks" of galaxy formation in a cosmological context. In the local Universe, low-mass galaxies are preferentially found in galaxy clusters where they form through a complex chain of in-situ formation and accretion events. However, the detailed formation and evolution processes of low-mass galaxies, and their exact roles in the formation of more massive galaxies are still poorly constrained, in particular due to challenging observations. After setting the scene with an introduction on our current understanding of low-mass galaxies, I present the study of a sample of eight compact low-mass galaxies in the Virgo cluster. I derive their stellar kinematics as well as the age and metallicity of their stellar content from GMOS/Gemini Integral Field Spectrograph (IFS) data, and demonstrate that the stellar population properties evolve smoothly with galaxy size, mass and environment over the full range of galaxy mass. This suggests that a similar set of physical processes is at play on both low- and high-mass galaxies, but the relative efficiency of each of these processes in shaping galaxies varies smoothly from the low- to the high-mass ends. I then derive their star formation histories as well as those of a sample of 20 more extended typical low-mass galaxies, and present a study of their dependencies on the environment and the mass of their host galaxy. As a result, I underline through this work that the environment as well as the most massive galaxies play an important role in controlling the formation and evolution of low-mass galaxies. But local galaxies only represent the end products of a complex evolution path, leaving ambiguity about the early evolution of galaxies. However, I then show with the help of IFS observations of the nearby galaxy NGC3115 obtained with MUSE/VLT, that two-dimensional maps of the kinematics and stellar populations of galaxies, with large spatial coverage and high spatial resolution, are keys to unveil their whole mass assembly history, and thus their formation and evolution through all cosmic times. Thus, to better constrain the evolution of low-mass galaxies, I use deep MUSE/VLT observations in the Hubble Deep Field South to study low-mass galaxies at intermediate redshift. I derive for the first time the spatially resolved stellar kinematics of a sample of ten galaxies at a redshift between z ~ 0.2 - 0.7, and show that the stellar rotation amplitude and velocity dispersion are in agreement with previous studies of their gas kinematics. Such information put into the light of current galaxy evolution models will help to better understand the growth of stellar mass in galaxies and the origins of today low-mass galaxies.

Medical mistakes made during the fatigue state result in the spread of infection, diagnostic error, psychological distress, poor patient outcomes, and ultimately, loss of life. Alarmingly, the fatigue-management systems put forth by government agency have failed to reduce the risks of fatigue in physicians. A shift from “one size fits all” approaches for fatigue management, to individualized fatigue assessment and training, is required. To date, no validated measures of fatigue are feasible for use as portable, on-site assessments. Here, I propose the use new portable EEG technologies recently validated for the collection of ERP data, as a basis for a portable fatigue assessment that is cost effective, portable, and efficient enough to be used in medical professionals. Over the course of three experiments I have provided data to support the use of the MUSE portable EEG headband, in combination with short oddball task to assess fatigue related neural impacts. Results of these experiments indicate that the P300 component is reduced in fatigued subjects in comparison to non-fatigued, and further that there is a strong correlation between subjective fatigue severity and P300 amplitude. / Graduate