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This study evaluates the geological attributes of rocks within the Abu Ghalaga area using spatial, geochemical, and petrographic approaches. ASTER and Landsat imagery processed using band ratio and principal component analysis were used to map hydrothermal alterations, while a regional tectonic evaluation was based on automated extraction of lineaments from a digital elevation model. Geochemical and petrographic analyses were then employed for discrete scale evaluation of alteration patterns of rocks across the study location. Based on satellite image processing, alteration patterns across the study area are widespread, while evidence from lineament analysis suggests a dominant NW–SE tectonic trend accompanied by a less dominant ENE–WSW direction. The different rock units exposed in the studied district are arranged chronologically from oldest to youngest as arc metavolcanic group (basalt and rhyolite), arc metagabbro–diorite, gneissose granite (granodiorite and tonalite), and dykes (aplite and felsite). Various types of igneous and metamorphic rocks have propylitic, phyllic, and argillic zones. Geochemical data indicate that the studied rocks are classified into granite, granodiorite, gabbroic diorite, and gabbro. Geochemically, the rocks have a sub-alkaline magma type. The granodiorite–tonalite is derived from the calc–alkaline magma nature, while gabbro and diorite samples exhibit tholeiitic to calc–alkaline affinity. The tectonic setting of the studied rocks trends toward volcanic arc granite (VAG). Based on petrographic, geochemical, and remote analyses, sericitization, chloritization, epidotization, kaolinitization, carbonatization, and silicification are the main alteration types present in the study area. As a result of lineaments analysis, the existing fractures and structural planes form valid flow paths for mineral-bearing hydrothermal solutions. © 2022 by the authors. Universitatea 'Dunărea de Jos' Galați, UDJG The APC is funded by “Dunarea de Jos” University of Galati, Romania. H.A.A. is funded by a scholarship under the Joint Executive Program between Egypt and Russia. The APC is funded by “Dunarea de Jos”, University of Galati, Romania.

Anlam bilimi açısından temel birim sorunsalı temelde bir dilbilim sorunsalı olmasına rağmen, yirminci yüzyılda diğer birçok alan gibi müzik estetiği ve müzikal göstergebilim alanları için de bir tartışma konusu olagelmiştir. Ferdinand de Saussure ve Charles Peirce öncülüğünde gelişen göstergebilim, dil modelini sosyal bilimlerin psikoloji, antropoloji, felsefe, edebiyat bilimi, anlatı bilim gibi alanlarına ve resim, sinema, tiyatro ve müzik gibi sanat alanlarına uygulanmıştır. Ancak bir gösterge sistemi olarak dilde, gösterenin temel biriminin fonem/sesbirim olduğu, gösterilenin temel biriminin ise monemöne sürülebilecekken ,görece daha yeni bir alan olan müzikal göstergebilim söz konusu olduğunda böylesi bir birimin varlığı halen tartışmalı bir konudur. Müzikal göstergebilim alanında şimdiye kadar yapılan öncü çalışmalar bu sorunsalı çeşitli bakımlardan ele almış, ancak tartışma Klasik Batı Müziği ekseninde sürdürülmesine rağmen temel birim sorunsalı için tatmin edici bir uzlaşı sağlanamamıştır. Bu çalışmada müzikal göstergebilimde temel birim sorunsalı temel göstergebilim kuramları açısından sorgulanacak ve müzikal göstergebilimde olası bir temel birimin varlığına dair bir tartışma yürütülecektir. Bu bağlamda öncelikle F. de Saussure, C. Peirce ve R. Barthes gibi göstergebilim alanının öncülerinin göstergebilim kuramlarınakısaca değinilecek ve bu kuramların olası bir uygulamasının müzikal göstergebilime sağlayabileceği katkılar J. Molino, M. Baroni, J. J. Nattiez ve N. Ruwet gibi müzikal göstergebilim alanında çalışan uzmanların görüşlerine başvurularak soruşturulacaktır. Tartışmayı takiben, N. Ruwet’nin“tepeden dibe doğru” ya da “dipten tepeye doğru” olarak adlandırdığı iki ayrı yolla, söz konusu sorunsala yönelik alternatif bir fenomenolojik uygulama önerilecektir. Öte yandan, eldeki mevcut kısıtlı literatür, tartışmayı Klasik Batı Müziği ekseninde sürdürmüş olduğundan, çalışmanın evrensel kümesinin Klasik Batı Müziği olarak kısıtlanması tercih edilmiştir. Although the question of basic unit is a question of linguistics in principle, it has been a question of musical aesthetics and of musical semiotics in twentieth century likewise of many other disciplines. Developed under the pioneering roles of Ferdinand de Saussure and Charles Peirce, semiotic studies have applied the language model to the disciplines of social sciences such as psychology, anthropology, philosophy, literary science, narratology, and artistic disciplines such as painting, cinema, theater and music.While it could be argued that the basic unit of a signifier is phoneme or of a sign is moneme, the question of basic unit is still an arguable question in musical semiotics, a relative new discipline. Pioneering studies in musical semiotics have dealt with this problematic in various aspects, but although the discussion has continued on the axis of Classical Western Music, a satisfactory consensus has not been achieved for the basic unit problematic.In this paper, the question of basic unit in musical semiotics will be examined in regard to the major semiotics theories and an inquiry on the existence of a possible basic unit in music will be performed. In this context, a brief summary of the semiotics theories of F. de Saussure, C. Peirce and Barthes; and the possible contribution of a possible application of these theories to the musical semiotics will be discussed by referring to J. Molino, M. Baroni, J. J. Nattiez and N. Ruwet. Following the discussion, an alternative phenomenological application to the question will be suggested by using the two ways as N. Ruwet names “from top to bottom” and “from bottom to top”. On the other hand, since the limited literature at hand has continued the discussion on the axis of Classical Western Music, the universal set of this study was intentionally limited to Classical Western Music.

Dans cet entretien, la compositrice française Pascale Criton retrace les grandes lignes qui sous-tendent son écriture et sa pensée musicales. Passionnée par le continuum sonore, ses rencontres avec Ivan Wyschnegradsky, Gérard Grisey – mais aussi avec le philosophe Gilles Deleuze – dans le courant des années 1970, confirment son intérêt pour les micro-intervalles et la variabilité du son. La compositrice livre les enjeux qui mobilisent son attention au fil des oeuvres qui jalonnent son parcours, des années 1980 à aujourd’hui. L’idée d’interaction écosensible émerge avec l’emploi de scordaturas en 1/4, 1/12e et 1/16e de ton associées à la synthèse du son (Thymes, 1988), ou en référence à des comportements acoustiques (Artefact, 2001) qui renouvellent l’écriture du geste (Objectiles, 2002). Pascale Criton interroge aussi bien les techniques instrumentales que la notation et l’interprétation (Circle Process, 2012). Son utilisation des petites différences vise l’élargissement de la perception et s’étend aujourd’hui à une écoute sensible aux phénomènes acoustiques et perceptifs (Wander Steps, 2018)., In this interview, the French composer Pascale Criton traces the underlying strands of her musical writing and thinking. Passionate about the sound continuum, her encounters with Ivan Wyschnegradsky, Gérard Grisey—and with the philosopher Gilles Deleuze—in the 1970s, confirmed her interest in micro-intervals and the variability of sound. The composer discusses the preoccupations she was working though in her pieces from the 1980s to the present. The idea of eco-sensitive interaction emerges with the use of scordaturas in 1/4, 1/12th and 1/16th of a tone associated with sound synthesis (Thymes, 1988), or in reference to acoustic behaviours (Artefact, 2001), which bring back gestural writing (Objectiles, 2002). Pascale Criton questions not only instrumental techniques, but also notation and interpretation (Circle Process, 2012). Her use of small differences aims to increase perception and now extends to a sensitive hearing of acoustic and perceptual phenomena (Wander Steps, 2018).

Les propos recueillis auprès du compositeur montréalais Michel Gonneville (né en 1950) pour constituer ce texte sous forme d’entretien proviennent d’une correspondance ayant eu cours durant l’automne 2018 et visent à offrir quelques perspectives sur les principaux axes d’origine et de développement de l’aspect microtonal dans la démarche du compositeur. Dans le contexte d’un langage musical déjà empreint de sérialisme et de thématisme, Gonneville aborde la microtonalité tantôt de manière coloriste, tantôt de manière structurelle, incluant l’intégration d’éléments spectraux doublée d’une recherche sur l’intonation juste et l’exploration de la rencontre de ces univers non tempérés avec les tempéraments égaux en demi-, quarts ou seizièmes de tons., This text, based on a correspondence from Fall 2018 with Montreal-based composer Michel Gonneville (b. 1950), offers an overview of the origin and development of his microtonal approach. In the context of a musical language already marked by serialism and thematism, Gonneville approaches microtonality at times in a colouristic way, other times structurally, and includes the integration of spectral elements with research on just intonation and the confrontation of these non-tempered universes with equal temperaments in semi-, quarter- or sixteenth-tones.

Cet article aborde la question de l’ergonomie dans l’écriture des répertoires microtonaux au violoncelle, à travers le prisme de l’expérience de l’auteure en tant que violoncelliste et compositrice. Des pistes de réflexion y sont proposées afin d’aborder cet aspect à partir de différents éléments d’analyse perceptive mettant en relation le son et la physicalité de l’instrumentiste., This article addresses the question of ergonomics in the microtonal repertoires for cello through the lens of the author’s experience as both a cellist and a composer. Several ways of approaching this ergonomic aspect are proposed, considering a variety of perceptive standpoints, linking sound to the physicality of the instrumentalist.

Interpretations of Rb–Sr and Sm–Nd data from the Grunehogna Granite demonstrate that anatexis of and mixing with Hogfonna Formation sedimentary rocks, caused by hot basic sills of ~1100 Ma Borgmassivet Suite, are consistent, with the granite eNdeSr100Ma data, partially overlapping Borgmassivet Suite data and are marginally displaced toward published data from the Hogfonna Formation. Upper intercept LA-ICPMS U–Pb data from the Grunehogna Granite and Borgmassivet Suite zircons are within error at 1088 ± 17Ma and 1088 ± 68Ma, and are consistent with with unpublished data for the gabbro of 1107Ma. Interpretations of syn-depositional anatexis of semi-consolidated sediments under, high pH2O, are consistent with deposition at ~1130-1107Ma for the Hogfonna Formation. Sm–Nd data define an age of 3058 ± 116Ma for the Annandagstoppane Granite, consistent with a reported U–Pb zircon age of 3067± 8Ma. Rb–Sr data for the Annandagstoppane Granite define an errorchron of 2252 ± 82Ma. Differences between Rb–Sr and Sm–Nd data suggest that Rb–Sr systematics in many samples from all units have experienced open system behaviour in contrast to Sm–Nd systematics from which no disturbance is apparent. Localised tonalitic partial melts of gabbro yield an upper intercept LA-ICPMS U–Pb age from zircon of 1114 ± 47Ma.

The scheme of geodynamic process during the production of granite-greenstone area (GGA) of the Middle Dnieper mega-block (MDMB) of the Ukrainian Shield has been presented. It reflects the change of the lithosphere thickness during activation lasted from 3.2 to 2.8 Ga ago. Composition of fluids accompanied melts differentiation within the mantle and crust has also been described. Special features of chemical and mineral composition of the greenstone rocks structures of the Middle Dnieper mega-block are wide development of magnesia silicates and high content of iron. Peculiarities of composition of superposed alterations reflect the activity of oxidized fluids carbonate, aqueous and silicate ones. These special features are inherent to all GSS of the Archean without any exclusion and practically are never repeated later. It is possible to explain this fact by high oxidation potential at the depths of more than 100 km and water and chloride ions activity at higher levels. Granitoids and ferruginous rocks are formed during integrated geodynamic process with volcanogenic rocks of the greenstone rocks structures.

In Archean greenstone belts, magmatism is dominated by intrusive and volcanic rocks with tholeiitic affinities, as well as tonalite- and granodiorite-dominated large-volume batholiths, i.e., tonalite&ndash, trondhjemite&ndash, granodiorite (TTG) suites. These intrusions are associated with poorly documented mineralization (Cu-Au porphyries) that, in the Neoarchean Abitibi Subprovince (&gt, 2.79 to ~2.65 Ga), Superior Province, Canada, are associated with diorite bearing plutons, i.e., tonalite&ndash, diorite (TTD) suites. The importance of TTG versus TTD suites in the evolution of greenstone belts and of their magmatic-hydrothermal systems and related mineralization is unconstrained. The aim of this study was to portray the chemistry and distribution of these suites in the Abitibi Subprovince. The study used data compiled by the geological surveys of Qu&eacute, bec and Ontario to evaluate the chemistry of TTG and TTD suites and uncovered two coeval magmas that significantly differentiated (fractional crystallization mostly): 1) a heavy rare earth elements (HREE)-depleted tonalitic magma from high pressure melting of an hydrated basalt source, and 2) a hybrid HREE-undepleted magma that may be a mixture of mantle-derived (tholeiite) and tonalitic melts. The HREE-depleted rocks (mostly tonalite and granodiorite) display chemical characteristics of TTG suites (HREE, Ti, Nb, Ta, Y, and Sr depletion, lack of mafic unit, Na-rich), while the other rocks (tonalite and diorite) formed TTD suites. Tonalite-dominated magmatism, in the Abitibi Subprovince, comprises crustal melts as well as a significant proportion of mantle-derived magmas and this may be essential for Cu-Au magmatic-hydrothermal mineralizing systems.

Bu makale,Paul Sacher’in 70. doğum günü onuruna bestelenen ‘12 Hommages à Paul Sacher’eserlerinden biri olan, Witold Lutoslawski’nin 1975 yılında bestelediği ‘SacherVaryasyonu’ adlı eserini kompozisyon tekniği açısından ele alarak, eserinperdesel organizasyonu ve biçimsel kurgusunda kullanılan ilkeleriaçıklamaktadır. Analizin ‘12 Hommages à Paul Sacher’ eserleri ile yapılacakkarşılaştırmalı analizlere de zemin hazırlaması amaçlanmaktadır. Böylelikle on iki bestecinin müzikalmalzemeyi ele alışlarındaki teknik ve estetik farklılıklarla birliktebenzerlikler de açığa çıkarılarak, hem tek tek bestecilerin kompozisyonanlayışlarına, hem de 70’lerin ikinci yarısında Avrupa’daki müzikal beklenti vearayışlara ışık tutulması mümkün olacaktır. Görülecektir ki, eserinde diziseltekniklere yer vermeyerek perde malzemesini son derece sınırlı tutanLutoslawski, kurduğu mekanik sistem ile biçimsel gelişimi sağlamakta,organizasyon ile birlikte serbestliği de biçimsel bir öğe olarakkullanmaktadır. Eser, ayrıca Lutoslawski’nin müziğinin bazı önemlikarakteristik özelliklerini açık bir şekilde gözler önüne sermesi bakımından dailgi çekicidir., This article discusses Witold Lutoslawski’s ‘Sacher Variation’ of 1975,one of ‘12 Hommages à Paul Sacher’ composed in honor of Paul Sacher’s 70thbirthday, from the point of the composition technique and explains theprinciples used in the pitch organization and the formal construction. It isintended the analysis also to provide a basis for the further comparativeanalyses of the works of ‘12 Hommages à Paul Sacher’, which will make itpossible to shed light on the approach of each of the composers and also on themusical expectations and quests of Europe in the second half of the 70’sthrough exposing the similarities and differences in the handling of themusical material by technical and aesthetic aspects. It will be seen thatLutoslawski, who excludes serial techniques and works with extremely limitedpitch material, provides the formal development through a mechanical system andalso uses the looseness as a formal element beside the organization. The workis also interesting in that it clearly reveals some important characteristicfeatures of Lutoslawski’s music.

Cet article s’intéresse au vécu de la vulnérabilité chez les personnes âgées en institution gériatrique. Les expressions « rester sans voix » et « faire silence » rendent compte, du point de vue phénoménologique, de l’épreuve que constitue la découverte de soi comme être vulnérable, parce que vieux, et de l’installation du sentiment de vulnérabilité. Le recours à la notion d’ambiance permet d’envisager la tonalité des « présences » – traduction du terme Dasein que préconise Binswanger – et d’interroger les facteurs d’ambiance dans les trois dimensions qui se conjuguent dans le silence vécu : spatialité, temporalité et altérité. Ces facteurs propres à l’institution sont-ils susceptibles de « mettre au silence » les résidents ? This article looks at the experience of vulnerability among elderly people in geriatric institutions. In the point of view of the phenomenological perspective, the terms « remain speechless » and « stay in silence » express the hardship of discovery of the self as a vulnerable being, because of old age, and the instilling sense of vulnerability. The use of the notion of ambiance allows for the consideration of the tone of « presence » – translation of Dasein that Binswanger proposed - and to question atmospheric factors in all three dimensions that we find combined in the lived silence: spatiality, temporality and otherness. Are these specific factors of the institution capable of « putting to silence » the residents?

Cet article se propose d’étudier les relations entre les figures et les registres discursifs définis comme des matrices d’écriture qui conditionnent la tonalité des discours. Nous verrons d’abord comment, par leur saillance et leur densité informative, les figures donnent une portée accrue à la mise en texte des registres. Nous nous interrogerons par ailleurs sur les motivations qui incitent les figures à s’intégrer dans les registres. Si certaines d’entre elles offrent une forte affinité avec ces derniers (comme l’hyperbole avec le registre épidictique), d’autres figures – telle la métaphore – ne doivent leur présence dans les registres qu’à des facteurs contextuels. Nous examinerons ensuite comment les figures participent à la construction ou à la déconstruction d’effets-registres dans le déroulement des textes, avant d’analyser l’influence des genres dans l’interaction entre figures et registres. Au bout du compte, cet article confirme la nature pragmatique des figures, dans la mesure où leur fonctionnalité provient en partie des rapports qu’elles entretiennent avec leur cadre tonal et illocutoire constitué par les registres. This paper studies the relations between figures and the discursive registers which are defined as matrixes of writing that determine discourse tonality. First, we will see how figures, through their visibility and their informative density, give a greater impact to the textual production of registers. Moreover, we will examine the motivations that incite figures to get integrated into registers. Some figures show a strong affinity with registers (such as hyperbole with the epidictic register), whereas others – such as metaphor – are present in registers only thanks to contextual factors. We will then analyze how figures contribute to the construction or to the deconstruction of effects-registers in the development of texts. Our paper will also study the influence of genres in the interaction between figures and registers. All things considered, we can confirm the pragmatic nature of figures: their functionality comes partially from the relations that exist between them and their tonal and illocutive frame, which is constructed by the registers.

Michael Jackson est un artiste dont les multiples expressions vocales constituent le premier jalon d’une identité paroxystiquement pop. Les références esthétiques éclectiques qui ont échafaudé et nourri sa vocalité se sont trouvées systématiquement réappropriées, réinvesties et assimilées en une seule et même personnalité vocale. L’identité sonore de Michael Jackson, outre ses constituants mélodiques et rythmiques, est construite de façon audible et tangible sur un phénomène de physicalité qui fait la part belle au bruitisme buccal, guttural, respiratoire ou corporel d’un chanteur dansant même en studio. Soucieux de restituer avec transparence cette identité, l’ingénieur du son Bruce Swedien a opté pour des approches techniques et des stratégies de studio visant à conserver fidèlement les expressions premières du chanteur : micros, prises de son analogiques, techniques d’enregistrement des larges prismes vocaux, élaboration d’espaces acoustiques naturels, champ stéréophonique converti en un espace sonore tridimensionnel jouant sur les early reflections, plywood, Monstercable ou encore Tubetraps ont fait l’objet, dans la quête d’authenticité de Bruce Swedien, de choix délibérés convoquant conjointement ou tour à tour tradition et technologie. Michael Jackson was an artist whose many vocal expressions made up the first ground of an eminently pop identity. The aesthetical and eclectic references which inspired and built his vocality had been systematically re-appropriated, re-invested and assimilated in a single vocal personality. Michael Jackson’s sound identity, besides its melodic and rhythmic constituents, was built in an audible and tangible way, upon a phenomenon of physicality favoring the oral, guttural, respiratory bruitism of an irrepressible singer, dancing even during the recording sessions. Very concerned about a transparent rendition of this identity, the sound engineer Bruce Swedien opted for some technical approaches and studio strategies aiming at keeping as truly as possible the singer’s intimate and natural expressions : mikes, analogic recordings, special techniques elaborated to design vocal prisms, creation of natural acoustic spaces, conversion of stereophonic fields in tri-dimensional sound spaces playing with early reflections, plywood, Monstercable or Tubetraps – each element was deliberately chosen, serving Bruce Swedien’s quest of authenticity, including and mixing alternately tradition and technology.

New whole-rock geochemical analyses (major and trace elements) of three tonalite plutons and high Mg/Fe granodiorites and diorites, termed sanukitoid suites, are presented from Neoarchaean Kuhmo district, eastern Finland. The 2.83 Ga and 2.78 Ga tonalites display only moderate fractionation of LREE/HREE thus demanding only minor or no residual garnet in their respective source regions. However, the more prominent HREE depletion in the 2.75 Ga tonalites requires more significant garnet residue. The relatively wide compo sitional variation in the tonalites implies that Archaean TTG (tonalite-trondhjemite-granodiorite) magmatism was derived in general from sources that exhibited considerable mineralogical heterogeneity. The ~2.70 – 2.74 Ga high-Mg/Fe granodiorites and diorites are characterised by strong fractionation of LREE/HREE, relatively high Ba and Sr, and elevated abundances of Cr and Ni as well systematic depletions in P and Ti, which are all typical features of Archaean sanukitoid suites. Some of the granodiorite plutons contain compositionally intermediate high-K enclaves, which share these geochemical characteristics, implying a contribution of mafic-intermediate LILE- and LREE- enriched source for the magma. The geochemical characteristics of the studied plutonic rocks demonstrate the role of contrasting sources for the tonalites and sanukitoid suites in the Kuhmo district.

Between 1945 and 1970, the beacon of opera in France, the Paris Opera House, a.k.a. Palais Garnier, had become a bastion of musical conservatism. Meanwhile, the Opéra-Comique, the “other” Paris opera house, a.k.a. Salle Favart, devoted to the production of those lyrical works of so-called “lighter fare” that Garnier neglected due to their own particular status and history, seemed to enjoy a burst of renewed creativity. Within that time frame, twenty six new works were first performed at Favart. Sixteen by French-speaking composers, among them Poulenc’s Mamelles de Tirésias and Voix humaine, respectively after Apollinaire and Cocteau, were given their first worldwide production. Of the remaining ten works by foreign composers given their first French performances, some were historically important and were finally granted a much belated hearing : Erwartung, Kát’a Kabanova, Fire Angel and Lulu. One needs to remember that these works were all performed in French. The goal of this paper is to examine their various lyrical genres and the literary sources of their libretti when the libretto was not an original one. The case of such composers-cum-librettists as Berg, Dallapiccola, Janáček, Menotti and Prokofiev and the directions taken by their libretti will also be looked into. Entre 1945 et 1970, la scène-phare de la vie lyrique française – l’Opéra de Paris – fut marquée par un grand conservatisme. Mais qu’en est-il alors de l’« autre » scène parisienne – l’Opéra-Comique – qui, par son statut et par son histoire, produit les répertoires lyriques que l’Opéra Garnier néglige (à savoir : les genres lyriques dits « légers »). Lors de cette cette période, l’Opéra-Comique présenta 29 nouveaux ouvrages : 17 ouvrages francophones en première représentation mondiale [dont Les Mamelles de Tirésias (Poulenc & Apollinaire) et La voix humaine (Poulenc & Cocteau)] ; et 12 ouvrages étrangers en première représentation française [la plupart consista en d’importants rattrapages historiques : Erwartung ; Kát’a Kabanova ; L’ange de feu ; Lulu]. Après avoir rappelé que tous les ouvrages furent chantés en langue française, cette communication s’attachera à étudier : les genres lyriques employés ; les sources littéraires sollicitées (lorsque le livret n’est pas original) ; et le cas des compositeurs-librettistes (Berg, Dallapiccola, Janáček, Menotti, Prokofiev) et les axes de leur travail littéraire.

[ES] Las tonalitas de Villarejo de Montalbán son rocas ricas en biotita en las que se observan segregados más félsicos con abundante titanita. Los datos geoquímicos e isotópicos de roca total ((87Sr/86Sr)300 = 0,7084-0,7089; εNd = -4,79, -4,80) sugieren que el magma tonalítico se formó por fusión de rocas metaígneas de composición básica/intermedia (anfibolitas o granulitas). A su vez, los segregados félsicos parecen haberse formado por acumulación del magma residual diferenciado a partir de una matriz formada sobre todo por plagioclasa y biotita. Las condiciones de cristalización estimadas por geotermobarometría del anfíbol indican temperaturas de 890- 920ºC, y presiones de 1,3-2,4 kbar, las cuales implican niveles aproximados de emplazamiento cercanos a los 5-10 km de profundidad. [EN] The tonalites of Villarejo de Montalbán are biotite-rich rocks showing felsic segregates with abundant titanite. Whole-rock geochemical and isotopic data ((87Sr/86Sr)300 = 0.7084-0.7089; εNd = -4.79, -4.80) suggest that the tonalitic magma was formed by melting of metaigneous rocks of basic/intermediate composition (amphibolites or granulites). At the same time, the felsic segregates seem to have formed through the accumulation of a differentiated residual magma after crystal fractionation of plagioclase and biotite. Crystallization conditions estimated according to amphibole geothermobarometry indicate temperatures between 890 and 920ºC, and pressures in the range 1.3-2.4 kbar, which is in accordance with an approximate emplacement level close to 5-10 km deep.

Après avoir fini mon Doctorat en musique à l’université d’Ankara en Turquie, j’ai travaillé en tant que Maitre de conférences à l’université de Nevşehir. J’ai alors été contacté par le Conservatoire Claude Debussy, situé dans le 17eme arrondissement de Paris, afin d’effectuer une recherche comparative sur le Jazz et la musique folklorique Turque. Dans ce contexte j'ai participé aux cours de jazz de Philippe Poussard avec mon instrument authentique turc nommé "bağlama". Avec ce dernier nous avons joué des chansons folkloriques Turques, et j'ai ressenti que lui et ses étudiants ont été impressionnés par la musique que nous avons jouée ensemble, enimprovisant. Nous avons ensuite discuté de différents sujets à propos des musiques Turque et Occidentale. J'ai alors constaté que les étudiants de ce conservatoire n'ont aucune connaissance sur la musique Turque en générale. J'ai alors décidé d’effectuer une analyse théorique sur les questions fondamentales de la musique Occidentale etde la musique Turque. Je pense qu'il est important de donner des informations sur la théorie de la musique dans les établissements scolaires occidentaux. Ceci est important pour la communication entre les deux cultures musicales. En rédigeant mon article j'ai utilisé la méthode d'analyse de documents. J'ai aussi utilisé mes expériences personnelles acquises au Conservatoire pour faire un travail de comparaison appliquée. J'ai constaté qu'en termes de gamme, rythme et tonalité il y avait beaucoup de différences mais également des similitudes dans la musique Turque et Occidentale. L'objectif de cet article est de comparer les théories musicales Turque et Occidentale c’est à dire étudier leurs aspects similaires et différents en terme de gamme, rythme et de tonalité.

El plutón de Santa Eulalia (Alto Alentejo, Portugal) constituye un complejo intrusivode edad tardi-varisca emplazado en el límite septentrional de la zona de Ossa-Morena. Está formadopor dos facies graníticas: (i) granito externo, de textura equigranular, con feldespato potásicopredominante y biotita y (ii) granito central, de textura equigranular, biotítico y con escasa moscovita. También aparecen una serie de cuerpos ígneos gabro-dioríticos y granodioríticotonalíticos, dispuestos en configuración anular y mayoritariamente incluidos en el granito externo.Aparecen enclaves de considerables dimensiones formados por metasedimentos provenientesdel encajante. Considerando los datos previos y el estudio de campo, petrográfico y geoquímicorealizado, se propone que las diferentes unidades ígneas que integran el plutón son contemporáneasen su emplazamiento pero independientes petrogenéticamente. Se propone que las rocas gabrodioríticas derivan de un manto enriquecido y presentan escasa contaminación cortical. Procesos de fusión parcial en la corteza inferior-media afectando litologías ígneas máficas y neísicas pudieron formar las rocas granodiorítico-tonalíticas del plutón. Estos mismos procesos afectandoa litologías ígneas de composición intermedia y metasedimentos pudieron dar origen a las rocasgraníticas. El emplazamiento de los magmas gabro-dioríticos y granodiorítico-tonalíticos pudoocurrir primero, aunque fue aproximadamente simultáneo con la intrusión del granito externo.De forma contemporánea, aunque ligeramente más tardía se emplazaría el granito central desplazando las rocas previamente emplazadas hacia la periferia del plutón, generándose así laconfiguración anular observada. The Santa Eulalia batholith (Alto Alentejo, Portugal) is a plutonic complex of lateVariscan age located in the Northern part of the Ossa-Morena Zone. This pluton is made up of granites grouped in two facies: (i) the external granite, formed by granites showing equigranulartexture, dominant K-feldspar and biotite as the main mafic mineral, (ii) the central granite, has equigranular texture and a biotite ± muscovite asociation. Several gabbro-diorite and granodioritetonaliteigneous bodies also occur. The external granite shows a ring-type outcrop pattern, and includes most of the gabbro-diorite and tonalite-granodiorite rocks as well as large metasedimentary country rocks. The central granite forms a circular outcrop and is totally surrounded by the external granite. The data available suggest that all of the igneous units formingthis batholith are coeval although petrogenetically independent. We propose that the gabbrodioriterocks derive from an enriched mantle source. These rocks show no or little crustal contamination. Partial melting in the low-middle crust of mafic/gneissic lithologies and intermediate igneous/metasedimentary lithologies generated the tonalite-granodiorite rocks and the granite rocks of the pluton respectively. The emplacement in the upper crust probably startedwith the gabbro-diorite and tonalite-granodiorite igneous magmas, being followed almostsimultaneously by the external granite. The central granite might have intruded shortly after the extenal granite, pushing aside all of the previous units and thus generating the annular outcroppattern.

The quartz dioritic Quottoon Igneous Complex (QIC) is a major Paleogene (65-56 Ma) magmatic body in NW British Columbia and SE Alaska that was emplaced along the Coast shear zone (CSZ). The QIC contains two different igneous suites that provide information about source regions, magmatic processes and evolving tectonic regimes that changed from a dominantly convergent to a dominantly strike-slip regime between 65 to 55 Ma. Heterogeneous suite I rocks (e. g. along Steamer Passage) have a pervasive solid-state fabric, abundant mafic enclaves and dikes, metasedimentary screens, and variable color indices (25-50). The homogeneous suite II rocks (e. g. along Quottoon Inlet) have a weak (to absent) fabric developed in the magmatic state (aligned feldspars, melt filled shears), and more uniform color indices (24-34) than in suite I. Suite I rocks have Sr concentrations 750 ppm, avg. LaN/YbN = 23.1, and initial 87Sr/86Sr ratios that range from 0.70617 to 0.70686. This study proposes that the parental QIC magma (initial 87Sr/86Sr = 0.706) can be derived bypartial melting of an amphibolitic source reservoir at lower crustal conditions. Geochemical data (Rb, Sr, Ba and LaN/YbN) and initial 87Sr/86Sr ratios preclude linkages between the two suites by fractional crystallization or assimilation and fractional crystallization (AFC) processes. The suite I rocks are interpreted to be the result of magma mixing between the QIC parental magma and a mantle derived magma. The samples do not lie along a single mixing line due to continued evolution through fractional crystallization/AFC processes subsequent to magma mixing. The suite II rocks may be generated by AFC. Initial 87Sr/86Sr ratio data suggests that similar processes to those that affected the QIC may also have operated during the generation of other portions of the Great Tonalite Sill of southeast Alaska. Master of Science

[Abstract] The Santa Elena stock has been classically considered as belonging to the magmatic association ofthe Los Pedroches Batolith. The stock is intrusive into psammo-pelitic materials Ordovician to Carboniferousin age. The Santa Elena stock is composed of biotite granodiorite to tonalite with gabbro-diorite as enclaves ofvariable size outcropping in northern sectors ofthe intrusion. Pelitic xenoliths ofvarious sizes, likely related to magma stopping, are common through the massif. The Santa Elena stock is intruded by a dike complex made of aplite and ore-bearing quartz veins. The two main lithological units exhibit different geochemical features with local evidence ofmagmamixing between acid and basic types. The granodioritetonalite is chemically homogeneous regarding the content of major and trace elements, including REE. These rocks correspond to mildly peraluminous terms ofan alumino-cafemic association ofcalc-alkaline character.The gabbrodiorite enclaves are meta-aluminous and clearly deviate from the geochemical trend defined by granodiorite and tonalite. The rocks from the Santa Elena stock are very different from the common granodiorite types ofthe Los Pedroches Batolith. It appears from the petrological and geochemical data that the Santa Elena stock corresponds to an independent and different magmafrom that at the origin ofthe Los Pedroches to which it had been classically associated.

A tonalite-granodiorite-granite suite emplaced during the late Archaean D3 deformational phase yields a six point isochron age of 2,500 ± 270 Ma and an initial 87Sr/86Sr of 0.7044 ±0.0018. A rapakivi-type granite suite emplaced after the late Archaean episode and before the emplacement of early Proterozoic Jatulian dolerites yields a six point isochron age of 2,290 ± 110 Ma and an initial 87Sr/86Sr of 0.7036 ± 0.0085. Both ages are c. 150‒200 Ma younger than corresponding U-Pb mineral ages for the same rock: the difference is interpreted as representing continued isotopic homogenization prior to uplift although the mechanism for such large scale, fluid phase mass transfer is not well understood.

The generation of the continental crust may be connected to mantle plume activity. However, the nature of this link, and the processes involved, are not well constrained. An obstacle to understanding relationships between plume-related mafic material and associated silicic rocks is that later tectonic movements are liable to obscure the original relationships, particularly in ancient greenstone belts. Studies of younger analogous regions may help to clarify these relationships. On the island of Aruba in the southern Caribbean, a sequence of partly deformed mafic volcanic rocks intruded by a predominantly tonalitic batholith is exposed. The mafic lavas show geochemical and isotopic affinities with other basaltic, picritic and komatiitic rocks that crop out elsewhere in the Caribbean - these are well documented as belonging to an 88-91 Ma plume-related oceanic plateau, which is allochthonous with respect to the Americas, and is thought to have been formed in the Pacific region. The ~85 to ~82 Ma tonalitic rocks share some geochemical characteristics (high Sr and Ba, low Nb and Y) with Archaean tonalite-trondhjemite-granodiorite (TTG) suites. Field relationships suggest that deformation of the plateau sequence, possibly related to collision with a subduction zone, was synchronous with intrusion of the Aruba batholith. New incremental heating 40Ar/39Ar dates, combined with existing palaeontological evidence, show that cooling of the batholith occurred shortly after eruption of the plateau basalt sequence. Sr-Nd isotopic data for both rock suites are uniform (87Sr/86Sri≈0.7035, εNdi≈+7), whereas Pb isotopes are more variable (Plateau sequence: 206Pb/204Pb=18.6-19.1, 207Pb/204Pb=15.54-15.60, 208Pb/204Pb=38.3-38.75; Aruba batholith: 206Pb/204Pb=18.4-18.9, 207Pb/204Pb=15.51-15.56, 208Pb/204Pb=38.0-38.5). This suggests that there has been a minor sedimentary input into the source region of the batholith. However, the limited time interval between basaltic and tonalitic magmatism makes a normal subduction-related origin for the tonalites improbable. Instead, models involving derivation of tonalite from partial melting of the plateau sequence, or alternatively, genesis in an unusual subduction zone environment, are investigated.