Étude du syncrétisme de l’assiko à travers le geste et le foyer socioculturel d’un guitariste Bassa

Ce mémoire porte sur le rôle du geste musical dans le développement de styles musicaux devenus syncrétiques. Il s’attarde à définir dans le détail le style de guitare populaire assiko propre aux Bassa du Cameroun du Sud lequel est représenté internationalement par le guitariste et percussionniste traditionnel Atna Njock. Grâce à une approche dialogique et participative, les techniques du jeu assiko sont explorées et comparées à des exemples de jeu de guitare européenne, afro-américaines et africaines. Les influences qui définissent le jeu d’Atna découlent de la culture Bassa et de son histoire marquée par l’influence coloniale et missionnaire, mais sont aussi alimentées par la «philosophie» (voire la spiritualité) et le passé musical de l’artiste. L’approche participative fournit une perspective émique, c’est-à-dire interne à la culture, de la gestuelle et de la structure du jeu assiko même si nous confrontons les propos du musicien à notre propre regard analytique. La comparaison avec divers instruments de percussion auxquels Atna a été initié montre comment ceux-ci ont forgé son jeu guitaristique. Son rôle de « garant » de la tradition musicale Bassa influence son approche et se manifeste par une préoccupation particulière pour l’« authenticité » dans la reproduction des rythmes d’un « langage » musical donné. Ses liens avec la culture Bassa, s’expriment notamment par le biais de sa reproduction du style de jeu de son maître, Jean Bikoko « Aladin ». La contribution particulière d’Atna à la technique de guitare de Bikoko est comprise comme un ajout à la lignée ancestrale. Une analyse d’un morceau du répertoire assiko issu du plus récent album d’Atna illustre d’ailleurs comment son incorporation de styles « modernes » reproduit les processus traditionnels en intégrant des éléments culturels étrangers.

Phase Locked Loop and Modulo Games, The Dogma Loops; and “Finding Ibrida”

This dissertation consists of two independent musical compositions and an article detailing the process of the design and assembly of an electric guitar with particular emphasis on the carefully curated suite of embedded effects.

The first piece, 'Phase Locked Loop and Modulo Games' is scored for electric guitar and a single echo of equal volume less than a beat away. One could think of the piece as a 15 minute canon at the unison at the dotted eighth note (or at times the quarter or triplet-quarter), however the compositional motivation is more about weaving a composite texture between the guitar and its echo that is, while in theory extremely contrapuntal, in actuality is simply a single [superhuman] melodic line.

The second piece, 'The Dogma Loops' picks up a few compositional threads left by ‘Phase Locked Loop’ and weaves them into an entirely new tapestry. 'Phase Locked Loop' is motivated by the creation of a complex musical composite that is for the most part electronically transparent. 'The Dogma Loops' questions that same notion of composite electronic complexity by essentially asking a question: "what are the inputs to an interactive electronic system that create the most complex outputs via the simplest musical means possible?"

'The Dogma Loops' is scored for Electric Guitar (doubling on Ukulele), Violin and Violoncello. All of the principal instruments require an electronic pickup (except the Uke). The work is in three sections played attacca; [Automation Games], [Point of Origin] and [Cloning Vectors].

The third and final component of the document is the article 'Finding Ibrida.' This article details the process of the design and assembly of an electric guitar with integrated effects, while also providing the deeper context (conceptual and technical) which motivated the efforts and informed the challenges to hybridize the various technologies (tubes, transistors, digital effects and a microcontroller subsystem). The project was motivated by a desire for rigorous technical and hands-on engagement with analog signal processing as applied to the electric guitar. ‘Finding Ibrida’ explores sound, some myths and lore of guitar tech and the history of electric guitar distortion and its culture of sonic exploration.

Event-Code Interaction Directed Test Cases

The Graphical User Interface (GUI) is an integral component of contemporary computer software. A stable and reliable GUI is necessary for correct functioning of software applications. Comprehensive verification of the GUI is a routine part of most software development life-cycles. The input space of a GUI is typically large, making exhaustive verification difficult. GUI defects are often revealed by exercising parts of the GUI that interact with each other. It is challenging for a verification method to drive the GUI into states that might contain defects. In recent years, model-based methods, that target specific GUI interactions, have been developed. These methods create a formal model of the GUI’s input space from specification of the GUI, visible GUI behaviors and static analysis of the GUI’s program-code. GUIs are typically dynamic in nature, whose user-visible state is guided by underlying program-code and dynamic program-state. This research extends existing model-based GUI testing techniques by modelling interactions between the visible GUI of a GUI-based software and its underlying program-code. The new model is able to, efficiently and effectively, test the GUI in ways that were not possible using existing methods. The thesis is this: Long, useful GUI testcases can be created by examining the interactions between the GUI, of a GUI-based application, and its program-code. To explore this thesis, a model-based GUI testing approach is formulated and evaluated. In this approach, program-code level interactions between GUI event handlers will be examined, modelled and deployed for constructing long GUI testcases. These testcases are able to drive the GUI into states that were not possible using existing models. Implementation and evaluation has been conducted using GUITAR, a fully-automated, open-source GUI testing framework.

Image summarisation: human action description from static images

Dissertação de Mestrado, Processamento de Linguagem Natural e Indústrias da Língua, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve, 2014

Colombian Jazz dance suite : a synthesis of the music of the colombian andes and modern jazz

This thesis is an attempt to unite two distinct and dissimilar musical genres, the music of the Colombian Andes and modem jazz. The compositions to be analyzed in this thesis are meant to function as parts of a whole. Thus, they will be linked by thematic and rhythmic material. In their entirety the pieces will form a suite of dances not unlike those of Baroque composers, with titles that denote the name of the particular air being employed by the composer, who is also the author of this thesis. These individual dances are orchestrated for a jazz ensemble consisting of piano, string bass, drums, alto saxophone, and guitar. The rhythmic underpinning of this work is inspired by the folk music of Colombia and the harmonic content will be derived from the jazz idiom. The purpose of this thesis is to demonstrate the possible product of the fusion of musical disciplines that are on the surface in no way related. This thesis will also attempt to show an example of how cultures can meld socio-artistically.

Relatório da prática de ensino supervisionada realizada no Conservatório Regional de Évora: abandono do estudo da guitarra no final do 3.º ciclo: principais fatores

Resumo I (Prática de Ensino Supervisionada) O presente relatório tem como objetivo dar a conhecer o trabalho pedagógico realizado no Conservatório regional de Évora Eborae Mvsica, no âmbito do Mestrado em Ensino da Universidade de Évora, no qual serão abordados diversos temas: caracterização da escola e do meio envolvente, aulas assistidas e aulas lecionadas, metas de aprendizagem, tipos de avaliação, repertórios, finalizando com uma conclusão que espelha as várias reflexões sobre a prática letiva. Resumo II (Investigação) A Investigação apresenta inicialmente uma contextualização e definição dos agentes envolvidos no processo ensino-aprendizagem bem como a sua devida caracterização. Na investigação propriamente dita, são descritas as várias etapas do projeto de investigação, dentro de um determinado contexto, expondo igualmente várias abordagens e fatores que possam contextualizar o abandono da aprendizagem de guitarra no final do 3.º ciclo e as consequentes ilações. Como possível solução para esta problemática, elaborei um modeloguia para o professor; Abstract I (Teaching) The following report aims to let know the pedagogical work carried out at the regional conservatory of Évora Eborae Mvsica within the Master in Teaching at the University of Évora, in which various topics will be addressed: characterization of the school and the surrounding environment, assisted lessons and lessons taught, learning goals, types of evaluation, repertoires, ending with a conclusion that considerate the various reflections on teaching practice . Abstract II (Research) The investigation presents, initially, a context and definition of the agents involved in the teaching-learning process and their proper characterization. In the investigation itself, the various stages are described of the research project, within a given context, also exposing various approaches and factors that may contextualize the guitar learning abandonment at the end of the 3rd cycle and the resulting conclusions. As a possible solution to this problem, I prepared a guide model for the teacher.