Musical instruments are not static, unchanging objects. They are, instead, things that materially evolve in symmetry with human practices. Alterations to an instrument's design often attend to its ergonomic or expressive capacity, but sometimes an innovator causes an entirely new instrument to arise. One such instrument is the Chapman Stick. This instrument's history is closely intertwined with global currents that have evolved into virtual, online scenes. Virtuality obfuscates embodiment, but the Stick's world, like any instrument's, is optimally related in intercorporeal exchanges. Stickists circumvent real and virtual obstacles to engage the Stick world. Using an organology informed by the work of Heidegger and Merleau-Ponty, this study examines how the Chapman Stick, as a material "thing," speaks in and through a virtual, representational environment.

The socio-musical practice of sampling is closely associated with the re-use of pre-existing sound recordings and the technological processes of looping. These practices, based on appropriation and repetition, have been particularly common within the genres of hip-hop and Electronic Dance Music (EDM). Yet early digital sampling instruments such as the Fairlight Computer Musical Instrument (CMI) were not designed for these purposes. The technologists at Fairlight Instruments in Australia were primarily interested in the use of digital synthesis to imitate the sounds of acoustic instruments; sampling was a secondary concern. In the first half of the thesis, I follow digital sampling instruments like the Fairlight CMI and the E-mu Emulator by drawing on interviews with their designers and users to trace how they were used to sample the sounds of everyday life, loop sequenced patterns of sampled sounds, and sample extracts from pre-existing sound recordings. The second half of the thesis consists of case studies that follow the users of digital sampling technologies across a range of socio-musical worlds to examine the diversity of contemporary sampling practices. Using concepts from the field of Science and Technology Studies (STS), this thesis focuses on the ‘user-technology nexus’ and continues a shift in the writing of histories of technologies from a focus on the designers of technologies towards the contexts of use and ‘the co-construction’ or ‘mutual shaping’ of technologies and their users. As an example of the ‘interpretative flexibility’ of music technologies, digital sampling technologies were used in ways unimagined by their designers and sampling became synonymous with re-appropriation. My argument is that a history of digital sampling technologies needs to be a history of both the designers and the users of digital sampling technologies.

Cette thèse cherche à former les conditions d’une rencontre entre la matrice du processus d’individuation psychique et collective (IPC) et la discipline scolaire Éducation Physique et Sportive (EPS) afin de contribuer à l’épistémologie de cette discipline dans une perspective pédagogique. La théorie philosophique de l’IPC a été élaborée dans un premier temps par Gilbert Simondon. Elle a été reconfigurée par Bernard Stiegler en replaçant la technique au cœur du processus. Elle vise à mieux comprendre les tendances qui ont parcouru les sociétés humaines et à inscrire cet héritage dans une vision lucide de leur avenir. Une synthèse des principaux concepts de cette matrice a été proposée au cours de ce travail et un certain nombre d’entre eux ont été plus particulièrement explorés. Dans cette perspective, la méthode organologique, qui étudie conjointement l’histoire et le devenir des organes du corps, des organes techniques et des organisations sociales, a permis d’identifier le point de départ de l’étude des apports et des controverses au sein des conceptions passées et actuelles de la discipline EPS (1880-2016). Cette démarche a permis de montrer que la toile de fond épistémique, qui sous-tend les courants disciplinaires, a conduit majoritairement à une vision de l’activité de l’élève en termes d’« adaptation » et de « maîtrise ». Il a été proposé de lui substituer une approche en termes d’« apprivoisement » des conduites en « adoptant » des techniques (matérielles et mnémotechniques) pour former l’attention motrice des élèves. Cette attention se traduit par la formation de conduites motrices symboliques, en se réappropriant le concept élaboré par Pierre Parlebas, tout en prenant en compte les critiques faites à son endroit. Aussi, il a été élaboré une théorie qui cherche à rendre compte de la dynamique de ces conduites à partir de trois composantes articulées : la composante performative de la conduite, sa composante relationnelle, et sa composante métamotrice. L’étude de cas, basée sur la pratique scolaire du badminton avec une classe de quatrième, a cherché à mettre à l’épreuve cette théorie et à documenter les effets d’apprentissage d’une pédagogie fondée sur la formation de conduites motrices symboliques évolutives, envisagées comme des « faire-corps », en montrant les spécificités et les relations qui se sont tissées entre deux des trois composantes de la conduite : la composante performative et la composante métamotrice. / The purpose of this work is to create the conditions of an epistemological encounter between, on the one hand: the matrix of the psychic and collective individuation process, and on the other hand: physical education as a subject of learning and teaching. Gilbert Simondon first developed the philosophical theory of psychic and collective individuation process. Therefrom, Bernard Stiegler made it his own and rebuilt it while putting technics at its core. More precisely, for Stiegler, this theory rests on technics which is the main part of the process. Moreover, he shows that technics is, most of the time, excluded from epistemology. Throughout the concepts forged within this matrix, we can figure out the different patterns human societies went through. Moreover, understanding these patterns leads us to consider clearly their prospects and evolution. This work summarizes the main concepts seen as essential to define this matrix, while some of these concepts were given more attention. The organologic approach studies history and the prospects of body organs, technical tools, and social organizations. This approach brought to light the starting point for the topic concerning the contributions as well as the disputations within the past and present views of physical education (1880-2016). This process shows that the epistemic background mainly leads to consider the student action in terms of adjustment or in terms of mastering. We propose to turn this approach into a new one where the student will ease into new behavior using technics (such as physical ones or mnemonics) so that they can develop the motor attention. This view is based on the idea developed by Pierre Parlebas, seizing his work as well as the critical reviews of it. Therefore, we rely on the notion of forming symbolic motor behavior. This work also presents a theory attempting to report how the formation of these assets includes three major components: the performative component of the behavior, the relational component and the meta motor component. To test this theory, observations were made on a class of eighth graders practicing badminton. This case study points out two essential ideas: revealing the effects of an educational way of teaching based on the formation of a progressive and symbolic motor behavior (seen as "faire corps"), showing how two of the three components are specifically connected: the performative component and the meta motor component.

The pukl, commonly called dudy, is a bellow-blown bagpipe whose origin and development can be traced to older forms known as grosser Bock and polnischer Bock. The instrument is an important feature in the identity of Chodsko, an ethonographic region of West Bohemia. This thesis shows the significance of the pukl in Chodish tradition through its organology, pedagogy, performance practice, and history. Through the novel Psohlavci, Alois Jirásek offered a footing for reinforcement of Chodish traditions. The thesis argues that a succession of makers, performers, teachers, institutions, and events have woven a web of tradition in which the pukl holds a significant position. Supporting evidence is shown from artworks that are visible to the public as well as decoration on the instrument. Selected from the Chodish canon, the beloved song, ‘Zelený hájové’, illustrates the use of the dialect and ornamentation as being indicative of the region. Two DVDs, The Call of Dudy and Zelený Hájové …, and a glossary of Chodish terms together with a catalogue of field recordings are included. / Accompanied by 2 DVDs which are available through Interloan.

AND KEYWORDS The dissertation The Harmonic Flute and Its Derivatives in the Carpathian Regions of the Czech Republic - an organological hologram contains the summary, analysis and syntheses of data obtained through the research of little-known instrumental kind in this area of the Czech Republic. Most of the data is published for the first time in this range. In three chapters - Harmonic flute, Tradition, Present - the musical instrument is viewed from many perspectives. The harmonic flute is displayed as a part of worldwide and Carpathian instrumentary; its acoustic and playing features are explained, archaic manufacturing methods are shown and the possible influence on musical thinking of the area is discussed. The theses also investigates the harmonic flute and its derivatives as disappeared musical instruments of the local traditional music and tries to map contemporary revival of its manufacturing and playing. The dissertation is based on analysis of written, audio and visual documents, comparisons, experimental reconstructions, empirical evaluation of objects in museums and private collections and interviews with informants. The theses includes an extensive photo documentation and a CD with audio samples discussed in the text. This theses was inspired by models formulated by...

Submitted by Cristhiane Guerra (cristhiane.guerra@gmail.com) on 2017-01-05T16:47:19Z No. of bitstreams: 1 arquivototal.pdf: 10020318 bytes, checksum: 8f7fba9e7921be97e4ae58cff88c4655 (MD5) / Made available in DSpace on 2017-01-05T16:47:20Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 10020318 bytes, checksum: 8f7fba9e7921be97e4ae58cff88c4655 (MD5) Previous issue date: 2016-03-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work seeks to dialogue with musicologist and ethnomusicologist studies on artisan technology applied to the construction of instruments of popular rural culture. Especifically, it intends to contribute to the the theme of Brazilian fiddle (rabeca), having Antônio Trajano de Pontes, or Mr. Atônio Merengue, inhabitant of the city of Rio Tinto, State of Paraíba, Brazil, as protagonist. Empirical research prevails, since it involves active observing participant field work done by interactionist researcher who describes the techniques for manufacturing the instrument, taking note on emic discourse, and on idiosyncrasies of the researched master. Rabeca (or fiddle), while being the main object of this work, is investigated in its organologic aspects, forms of construction, tuning and native taxonomies. The research approaches the confecction of rabeca and the interaction master/apprentice-researcher which is constructed as the instrument is manufactured. One observes that Mr. Antônio Merengue's learning process took place via orality, observation and immitation, for his creativity when searching for his own solutions, reason why his instruments feature peculiarities. / Este trabalho busca dialogar com os estudos musicológicos e etnomusicológicos sobre tecnologia artesanal na construção de instrumentos da cultura popular rural. Especificamente, pretende contribuir na temática sobre a rabeca brasileira, tendo como protagonista Antonio Trajano de Pontes, ou Sr. Antônio Merengue, morador da cidade de Rio Tinto, PB. Prevalece a análise empírica, pois envolve um trabalho de campo de observação participante ativa por parte do pesquisador interacionista que descreve as técnicas da manufatura do instrumento, anotando o discurso êmico, ou idiossincrasias do mestre pesquisado. A rabeca, como principal objeto deste trabalho, é investigada em seus aspectos organológicos, formas de construção, afinações e taxonomias nativas. A pesquisa contempla a confecção da rabeca e a interação entre mestre/aprendiz-pesquisador que se constrói à medida em que manufaturam o instrumento. Observa-se que o aprendizado do Sr. Antônio Merengue se deu pela oralidade, observação e imitação, por sua criatividade na busca das próprias soluções, razão pela qual seus instrumentos apresentam peculiaridades.

La concertina portugaise est un accordéon diatonique principalement fabriqué en Italie de manière industrielle. Depuis le Revival dans l’Alto-Minho portugais, cet instrument est devenu incontournable dans toute l’interprétation de la culture locale. Daté des début des années 1990, le Revival a vu la culture régionale se développer en partie avec l’aide de la concertina qui a su s’adapter, évoluer et influencer le répertoire local. La question centrale de cette recherche est de comprendre comment un instrument aussi répandu que l’accordéon diatonique a pu s’imposer dans une culture locale et singulière comme celle de l’Alto-Minho. Ce travail de recherche déploie une étude minutieuse du processus organologique qui a permis à l’accordéon diatonique de devenir une concertina portugaise, ainsi que l’analyse du répertoire joué par ce dernier en incluant les modes de jeux, les notions d’esthétiques des genres, les caractéristiques propres aux interprétations, aux performances et à leurs lieux d’exécutions. Il apparaît que tout le processus d'accordage qui semble aujourd'hui stabilisé est unique dans sa conception et que toutes les modifications visuelles à travers des symboles fortement identitaires sont profondément enracinées dans l’image de l’instrument. La concertina est devenue au long des années un atout culturel majeur pour la région de l'Alto-Minho. Au début adaptable, aujourd'hui adaptée, elle est passée du statut d'instrument autrefois « pratique » à « caractéristique » aujourd'hui. / Since the Revival in the Portuguese Alto-Minho, Portuguese concertina became inescapable in any interpretation of the local culture. Dated from the early 1990s, the Revival period has seen the development of the local culture with the help of the concertina which was able to adapt, evolve and affect the local repertory. The central question of this research is to understand how such an usual instrument like the diatonic accordion was able to compose with a local and singular culture such as the one from Alto Minho. This research study adresses organological question of the careful process which allowed the diatonic accordion to become a Portuguese concertina. It examines and analyses the repertoire performed by the concertina including the questions of playing techniques, aesthetics, genres, the unique characteristics of interpretations, performances in relation to their conditions and places. It appears that all the tuning process, which seems stabilized today, as well as the unique design and all its visual changes through strong symbols of identity are deeply rooted in the instrument's image. The concertina has become over the years a major cultural asset for the region of Alto-Minho. At start adaptable, now adapted, it increased instrument status from “practical” to “characteristic” today.

Si dans son aspect physique l’arc musical est simple, à l’issu de notre étude, nous nous rendons compte qu’il n’est plus indiqué de le qualifier comme tel. Car dans sa forme fondamentale (branche arquée maintenue dans cette position par une lanière), il renferme une complexité qui se dévoile à nous par les liens qui existent entre les différents éléments qui composent l’arc. Sa complexité est également apparente dans la variété des arcs musicaux, dans le jeu propre à chaque arc et dans la divergence des techniques et circonstances de jeu. L’analyse acoustique des sons de cet instrument en révèle d’avantage sa complexité à travers la variété de la nature des sons puis leur fluctuation que nous avons eu le temps de constater. Enfin, dans la signification que les populations donnent à cet instrument, la complexité de l’arc musical se fait plus flagrante car elle laisse se dévoiler un aspect de l’identité sociale des peuples aussi bien ceux qui l’observent dans les musées que ceux chez qui sont collectionnés ces instruments. Car si pour les uns il est instrument de divertissement, pour les autres, il est objet de rituel, instrument parleur et médiateur, objet chargé d’une profonde et riche histoire des peuples d’Afrique. Nous espérons enfin que notre étude permettra une bonne collaboration entre le nord et le sud, pour une connaissance plus juste de l’autre, une connaissance fondée sur des valeurs et non des préjugés. / If the mouthbow appears simple in its physical aspect, the research we have undertaken proves the opposite. In its basic form (a hooked branch held together by a strip), it contains a complex reality which could only be understood by considering the links which exist between the different elements which make up the bow. Its complexity can equally be perceived in the variety of musical bows, the uniqueness of each bow as well as the divergent techniques and circumstances under which they are played. The acoustic analysis of the sounds of this instrument reveals even more its complexity through the variety of the nature of the sounds, as well as their fluctuation that we have been able to observe through our study. Finally, through the meaning that the people give to this instrument, the complexity of the musical bow is even more blatant in the sense that it brings to bare an aspect of the social identity of the people to those who observe this instrument in the museums as well as those who keep them as private objects. If for some it is a simple instrument for entertainment, for others, it is a ritual object, a talking and mediatory instrument which encloses a deep and rich history of the people of Africa. It is our hope that our research will call for a deeper collaboration between the North and the South in such matters, a real desire to know the other based on values and not on prejudices.

Ancêtre du rebec médiéval, emblème de la musique arabo-andalouse ou encore instrument favori des bédouins arabes pour l’accompagnement de leurs récits et de leurs poèmes, le rebab, sous ses différentes variantes joue encore plusieurs fonctions et rôles qui diffèrent d’un peuple à l’autre et d’une région à une autre. Cette thèse a pour but l’étude approfondie des rebabs de l’Afrique du nord et du Moyen-Orient. Chaque variante de cet instrument est étudiée sur plus d’un plan : historique, organologique, musical et même acoustique. La classification et la muséologie de cet instrument, avec ses différentes variantes, sont aussi abordées dans ce travail. L’intérêt de cette thèse, réside dans l’étude approfondie des différents types de cet instrument, ainsi qu’aux liens existants entre eux, car nous pensons qu’aujourd’hui, tout comme pour le sujet du ‘ūd ou tout autre instrument, il faudrait avoir une approche scientifique globale sur le sujet du rebab. / Ancestor of the medieval rebec, the emblem of the Arab-Andalusian music or the favorite instrument of the Arabics Bedouins for the accompaniment of their narratives and their poems, the rebab, under its various variants, still plays several roles and functions which differ from each people and each region. This thesis aims at the in-depth study of the rebabs of North Africa and the Middle East. Every variant of this instrument is studied on more than a plan: history, organology, musical and even acoustic. The classification and the museology of this instrument, with its various variants, are also approached on this work. The interest of this thesis, lives in the in-depth study of the various types of this instrument, as well as in the existing links between them, because we think that today, as for the 'ud or any other instrument, it would be necessary to have a global scientific approach about the rebab.

Clara Schumann’s 1850 tour of northern Germany with her husband officially ended with a successful concert in Altona where Jenny Lind made a surprise appearance. Immediately thereafter, one more concert featuring the pianist, singer, and Robert’s music was added at the last minute to take place in Hamburg. This too was a success. But a detail that made it especially memorable was Lind’s position behind the piano lid so that, as Clara recounted in her diary, many audience members could hardly catch a glimpse of her. This paper explores the rationales and implications of this singular and fleeting moment, and teases out aspects of the two star performers’ relationship both on and off the stage. In the process, the paper draws attention to hitherto neglected variables in the performance practice of Lieder and seeks to expand our lines of inquiry with regards to the 19th-century Lied as cultural practice.