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Kayas, Lucie. "André Jolivet (1905-1974) : regards croisés sur l'oeuvre et sur la vie." Tours, 2007. http://www.theses.fr/2007TOUR2048.
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- André jolivet. Portraits, ouvrage collectif sous la direction de Lucie Kayas et Laetitia Chassain-Dolliou, Arles, Actes Sud, 1994, 193 pages. - Portrait(s) d'André Jolivet, sous la direction de Lucie Kayas, Paris, Editions de la Bibliothèque nationale de France, 2005, 166 pages - Lucie Kayas, André Jolivet, Paris, Fayard, 2005, 604 pages. - Lucie Kayas, Catalogue raisonné de l'oeuvre d'André Jolivet, inédit. - André jolivet. Portraits offre les témoignages de personnalités ayant connu Jolivet, des reflexions sur ses écrits, sa spiritualité, ses oeuvres de jeunesse et un article sur le langage musical. -Portrait (s) d'André Jolivet, commande de la Bibliothèque nationale de france, propose une approche pluridisciplinaire par des historiens de l'art et de la danse, un spécialiste de littérature comparée et des musicologues, complétée par une riche iconographie. La biographie critique, à la fois chronologique et thématisée, rend compte de l'ensemble des domaines dans lesquels Jolivet a été actif : enseignement général, direction de la musique à la Comédie-Française, enseignement de la composition, politique culturelle et musicale, et bien sûr la composition. Tissant des liens entre les champs historique, social, politique et musical, nourrie de nombreux documents d'archives inédits, elle intègre l'analyse de l'oeuvre et retrace le parcours d'un musicien-instituteur, élève de Le Flem et Varèse, membre du groupe Jeune France, dont la musique oscille entre primitivisme et classiscisme. Le catalogue raisonné de l'oeuvre de Jolivet (263 numéros), classé par ordre chronologique, donne pour la première fois localisation et description détaillée des manuscrits conservés<br>-André Jolivet. Portraits, ouvrage collectif sous la direction de Lucie Kayas et Laetitia Chassain-Dolliou, Arles, Actes Sud, 1994, 193 pages. - Portrait(s) d'André Jolivet, sous la direction de Lucie Kayas, Paris, Editions de la Bibliothèque nationale de France, 2005, 166 pages - Lucie Kayas, André Jolivet, Paris, Fayard, 2005, 604 pages. - Lucie Kayas, Catalogue raisonné de l'oeuvre d'André Jolivet, inédit. -André Jolivet. Portraits contains memories by artists who met Jolivet, reflections on his writings, spirituality, youth works and an article about his musical language. Portrait (s) d'André Jolivet (a commission from the Bnf) offers a multidisciplinary approach by specialists in arts, dance, literature and music together with a rich iconography. At the junction of history, sociology, politics and music, the biography designs the career of a former primary school teacher who became a pupil of both Le Flem and Varèse before joining the group Jeune France, becoming music director of the Comédie-Française and later have a composition class at the Paris Conservatory. Life and Analysis of works oscillating between primitivism and classicism are mixed in his study making the best of primary sources and archives documentation. The catalog of Jolivet's works (263 published or unpublished items) follows the chronology and provides for the first time all information about the sources and their localisation
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Doležal, Jakub. "Henri Tomasi, André Jolivet, Eugene Bozza a jejich tvorba pro trubku." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391619.
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Master's thesis Henri Tomasi, André Jolivet, Eugene Bozza and their
compositions for trumpet, are devoted to three important 20th century
musicians. The work in the first chapter deals with the development of the
french composition and trumpet school, at the beginning of this century. In
addition, is about each of the three personalities in each chapter. There is
always a CV with a focus on the contribution to the development of the
trumpet repertoire and the analysis of one of the author's compositions.
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Parker-Harley, Jennifer Carol. "Magic and Evocation in the Cinq Incantations pour Flûte Seule by André Jolivet." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116251581.
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Guarnuccio, Bryan Arthur. "André Jolivet’s Chant de Linos (1944): A Sentential Analysis." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1151003196.
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Fernandes, Joana Maria de Oliveira Moreira. "A influência de Teilhard de Chardin nas obras para flauta de André Jolivet: espiritualidade e filosofia em Ascèses, Pipeaubec e Une minute trente." Master's thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/18380.
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A problemática inerente ao presente Trabalho de Projeto prende-se com a análise das obras para flauta de André Jolivet, posteriores a 1967, e o estudo da influência do padre jesuíta Pierre Teilhard de Chardin nessas mesmas obras. São igualmente analisados os pontos comuns entre os dois autores em matéria de espiritualidade e filosofia. A análise de Ascèses (1967), Pipeaubec (1971) e Une minute trente (1972) concentra-se no parâmetro formal e nos elementos extra – musicais que comporta a influência de Teilhard de Chardin; ABSTRACT: The influence of Teilhard de Chardin in the works for flute of André Jolivet: spirituality and philosophy in Ascèses, Pipeaubec and Une minute trente. The present Project focuses on the analysis of the works for flute of André Jolivet, written after 1967, and analyses the influence of father jesuit Pierre Teilhard de Chardin upon those works. It consists of the study of the spirituality and philosophy, both in André Jolivet and Teilhard de Chardin, analyzing the common points between them. The analysis of Ascèses (1967), Pipeaubec (1971) and Une minute trente (1972) is centered on the formal aspect of those pieces and on extra – musical contents that carry the influence of Teilhard de Chardin.
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Tucker, Benjamin Scott. "Atonality, modality, and incantation in two works for trumpet by André Jolivet, with a discussion of his technical and aesthetic principles." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186692.
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This document presents the most salient features of Jolivet's mature musical style as exemplified in two of his major solo works for trumpet. The two works which serve as the musical focus of the document are one of his latest works, Arioso Barocco (1968) for trumpet and organ, and a work situated near the center of his compositional output, the Second Concerto (1954) for trumpet and a thirteen-member chamber ensemble. Following an exposition of Jolivet's life and musical development, we begin by examining five technical principles of harmony, texture, melody, and rhythm, which Jolivet set forth in a 1946 article. His aesthetic principles as stated in this and other articles by the composer are also examined. The most important of these aesthetic principles holds that music is by nature incantatory or has an incantatory mission--that is, it has the power to connect man with the cosmos, eternity, or that which is greater than man himself. At the heart of this incantatory aesthetic ideal is Jolivet's belief in the primacy of expressive melody, free of the harmonic restraints of traditional tonality. The musical analysis proceeds by identifying in Arioso Barocco the specific application of Jolivet's technical and aesthetic principles to the music, as well as considering formal structure and thematic process. The Second Concerto is then examined in the same way, and a stylistic and technical comparison is drawn between the two works. The study concludes that while both works serve the same underlying atonal and incantatory musical aesthetic, they are markedly different in many significant technical characteristics and stylistic traits. In view of the fact that both works come from what is considered Jolivet's third and final creative period, these findings give cause for further research into Jolivet's compositions from this period to determine whether they do in fact constitute one creative period or two separate and distinct periods.
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Murray, Christopher. "Le développement du langage musical d’Olivier Messiaen : traditions, emprunts, expériences." Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20073.
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Les recherches entreprises sur Olivier Messiaen présentent encore de nombreuses lacunes bien que cet artiste figure parmi les compositeurs les plus connus et les plus influents du XXe siècle. Puisant à des sources primaires négligées dans les Archives nationales, la Médiathèque du CNSMDP, la fondation Sacher et des collections privées, cette thèse se penche sur trois aspects mal connus de cette figure phare de la modernité : la formation musicale de Messiaen au Conservatoire national de Paris pendant les années 1920 et les liens de sa musique avec les traditions pédagogiques de cet établissement, le développement de sa technique d’emprunt, de transformation et de juxtaposition des musiques préexistantes dans son œuvre pendant les années 1930 et 1940 et, enfin, ses expériences dans les domaines de la musique microtonale et de la musique concrète. Ce travail met en évidence plusieurs œuvres oubliées du compositeur et reconsidère notre compréhension de sa manière de composer<br>Despite his place of privilege among the best-known and most influential composers of the twentieth century, the state of current research on Olivier Messiaen leaves much room for development. This study focuses on three understudied aspects of this major modern figure drawing from neglected primary sources in the French National Archives, the Mediathèque of the Paris Conservatory, the Sacher Stiftung, and private collections, notably 1º Messiaen’s eductation at the Paris Conservatory during the 1920s and the relationship of his music to the institutions pedagogical traditions, 2º the development of Messiaen’s technique of borrowing, transforming and juxtaposing pre-existing music in his compositions during the 1930s and 1940s, and finally, 3º Messiaen’s experimentation in the domains of microtonal music and musique concrète. The current study brings to light many of the composer’s forgotten or lesser-known works and reconsiders our understanding of how he composed
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Chen, Hui-Mei. "Les sources d’inspiration et les influences dans la musique de Yoshihisa Taïra." Paris 4, 2007. http://www.theses.fr/2007PA040085.
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Le style personnel et original du compositeur japonais Yoshihisa Taira (Tokyo 1937 - Paris 2005) montre un exemple parfait d’une fusion de deux cultures, orientale et occidentale. Après une présentation de l’histoire du développement de la composition musicale occidentale au Japon, du parcours personnel du compositeur et de quelques aspects caractéristiques de sa musique, nous étudierons plus profondément cette musique, verrons en quoi elle se différencie et en quoi elle est comparable à la musique d’autres compositeurs. C’est autour des sources d’inspirations et des influences observées dans la pensée et la musique de Y. Taira que nous tenterons de répondre à ces questions. À travers une analyse de détail centrée principalement sur trois des oeuvres les plus représentatives de ses trois époques créatrices, nous en examinerons les particularités et en soulignerons les sources musicales ou extra-musicales. Cette recherche a pour but de fournir quelques clés d’accès à cette musique afin d’en faciliter la compréhension et la réception<br>The original style of the Japanese composer Yoshihisa Taira (Tokyo 1937 - Paris 2005) demonstrates a perfect example of the fusion of two cultures - Eastern and Western. The present work is organized into three sections : the first examines the musical and personal background of Taira, both in Japan and in France, after a brief presentation of history context of the Western music composition in Japan ; the second is devoted to the exploration of the sources of inspiration and influences for this composer, both musical and extra-musical, after showing some characteristic elements of his musical language, trying to find where the original and personal style of this music came from. In the concluding section, three of Taira’s major works in different representative and creative periods will be analyzed. Specific and peculiar aspects of these works will be underlined while taking in account external musical sources as well as relevant extra-musical ones. This dissertation aims at shedding light on Taira’s style and thus contribute to its approach, understanding, and reception
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Cherciu, Alexandra. "La figure de Jeanne d'Arc dans la musique européenne d'opéra et d' oratorio de 1938 à nos jours : une étude des sources littéraires, des livrets et des transpositions musicales, en regard des références historiques mises à jour." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H325.
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Cet ouvrage s’est proposé de découvrir et d’analyser la relation texte-musique de quatre œuvres scéniques de notre temps, peu connues ou inédites, inspirées de la vie de Jeanne d’Arc : Scènes de la vie de Jeanne d’Arc de Walter Braunfels (1938-1942), La Vérité de Jeanne d’André Jolivet (1956), Triomphe de Jeanne d’Henri Tomasi (1956) et Sainte Jeanne d’Arc d’Alexandra Cherciu (2009-2014). Les trois parties qui le structurent, comportent un regard sur les circonstances de la composition, les sources littéraires et historiques utilisées, les livrets et la dramaturgie musicale. Cela permet de comprendre comment la musique est au cœur même du processus narratif, en particulier du fait de la densité thématique, tout en se réservant une grande liberté dans les choix concernant son langage harmonique, formel et orchestral<br>The purpose of this thesis was to discover and to analyze the relation between the text and the music of four scenic works of our time, less known or new, inspired by the life of Joan of Arc : Szenen aus dem Leben der Heiligen Johanna by Walter Braunfels (1938-1942), La Vérité de Jeanne by André Jolivet (1956), Triomphe de Jeanne by Henri Tomasi (1956) and Sainte Jeanne d’Arc by Alexandre Cherciu (2009-2014). The three parts of that structure it follow the circumstances of the composition, the literary and historical sources, the librettos and the musical dramaturgy. This approach shows how music is in the heart of the narrative process because of its thematic density, preserving in the same time great liberty in its harmonic, formal and orchestral langage
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Parker-Harley, Jennifer C. "Magic and evocation in the Cinq incantations pour flute seule by Andre Jolivet." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1116251581.
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Vallespir, Mathilde. "L'exorcisme produit par des oeuvres poétiques et musicales de la guerre et du direct après-guerre : 1939-1945." Paris 4, 2003. http://www.theses.fr/2003PA040211.
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L'objet de la thèse est de circonscrire un agencement d'art particulier : l'exorcisme produit sur un récepteur actuel par des œuvres musicales et poétiques de la guerre et du direct après-guerre de R. Char, H. Michaux, O. Messiaen et A. Jolivet. En consommant ces œuvres, le récepteur exorcise la violence propre à la guerre en opposant à la négation de l'autre propre à Auschwitz, lequel emblématise la guerre, l'avènement d'une entité autre surgissant de la perception conditionnée par ces œuvres. Une telle " altérisation " perceptive repose sur un fonctionnement contradictoire de la perception, qui s'effectue tout en s'auto-déconstruisant, et qui brouille la réception. Après avoir en une première partie posé les fondements théoriques de l'approche, et cerné la spécificité de la musique et du langage en s'appuyant sur une critique des rapprochements effectués entre eux, on analyse l'agencement d'exorcisme à proprement parler, en décrivant, en une deuxième partie, sa manifestation fondamentale, le brouillage. On détermine les sources sémiotiques spécifiquement langagières et musicales de ce brouillage, et on montre son pouvoir de déstructuration de la perception et de désimplication sur le récepteur. Le brouillage est ainsi défini comme agencement monstrueux. La dernière partie réinsère cet agencement local dans l'agencement général d'exorcisme. Ce brouillage peut en effet se muer en altérisation, la lecture de la métaphore se transformant en création d' hétéro-univers de croyance, le paradoxe en hétéro-doxe, quand l'écoute s'opère selon des repères marginaux par rapport aux attentes. S'ensuit enfin une modélisation générale de l'agencement d'exorcisme comme mécanisme de substitution de l'autre à soi, comme contre-violence à l'Histoire<br>The objective of this work is to circumscribe an "agencement" (arrangement) of specific art: the exorcism produced on a receiver by musical or poetical works from the Second World War and the immediate after-war period by R. Char, H. Michaux, O. Messiaen et A. Jolivet. When encountering these works, the receiver exorcises the war-related violence by confronting the negation of the other characterising Auschwitz with the advent of another entity rising from the perception conditioned by these works. Such a perceptive "alterisation" rests on a contradictory functioning of perception, which de-constructs itself whilst happening, and which blurs perception. In a first part, we set the theoretical basis for our approach, by encircling the specificity of music and language based on a criticism of association usually made between both of them. We then analyse the mere "agencement" of exorcism by describing its fundamental manifestation - the process of "brouillage" (confusion) - in a second part. We define the semiotic sources for this process which are specific to language and music, as well as its manifestation more distinctively perceptive in both systems, through its power of de-construction and des-involvement. That way, we manage to define the "brouillage" as a monstrous "agencement". The last part of this work is dedicated to the reinsertion of this "agencement" into the more general "agencement" of exorcism. We show how the "brouillage" can change to "alterisation", with the reading of metaphor itself changing into the creation of a hetero-universe of belief, and the paradox into "hetero-dox", when listening operates along benchmarks which are marginal compared to expectations. To conclude, we propose a general modelling of the "agencement" of exorcism as a way of substituting to the other, as a challenge to the violence of History
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Klinefelter, Katherine Lee. "An examination of Andre Jolivet’s Concertino for trumpet, Oskar Bömhe’s Concerto for trumpet in F minor, Tomoso Albinoni’s Sonata á 6 con tromba, and Manuel de Falla’s Suite of old Spanish dances." Kansas State University, 2011. http://hdl.handle.net/2097/8613.
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Master of Music<br>Department of Music<br>Gary Mortenson<br>This Master’s report focuses on analyzing the four works performed on the author’s Master’s recital on April 10, 2011, from a biographical, historical, theoretical, and technical standpoint. These works include André Jolivet’s Concertino for Trumpet, Oskar Böhme’s Concerto for Trumpet in F Minor, op. 18, Tomaso Albinoni’s Sonata á 6 con Tromba, and Manuel de Falla’s Suite of Old Spanish Dances.
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Chao, Chia-Ying, and 趙家穎. "A Research of André Jolivet´s Chant de Linos." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/3t6nfy.
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碩士<br>臺北市立大學<br>音樂學系碩士在職專班<br>103<br>André Jolivet (1905-1974) was one of the most important French composer in twentieth century. French music was pluralism, composers who had to purchase their own ideals of music patterns, such as neo-classicism, serialism, electronic music, etc. Jolivet thought that music should return to the original meaning─ritual music, and should be expressive and present life rather than complex. Therefore, his music associated with magic, incantation and ancient-rituals.
André Jolivet founded the group“La jeune France”with Messiaen (Olivier Messiaen, 1908-1992) and other composers. They were friends and popularized their musical ideals. Due to explore the essence of music, Jolivet had unique way of musical expression and orchestration. He also extended his talent to many kinds of art; in addition to the creation of instrumental music, he directed ballet, worked as music director and a conductor of the opera as well as a professor in composition at the Paris Conservatoire. Jolivet influenced the French music deeply.
“Chant de Linos” was the commisioned piece of final examination of the Paris Conservatoire. Because of its difficult passages, strong rhythms of dance and strange acoustics, this work became classics either exams or recitals. In 1945, Jolivet adapted it to the chamber music version for flute, violin, viola, cello and harp.
Analysis and interpretation of “Chant de Linos” discussed by the historical data and analysis of this work. First, introduce the background and materials of “Chant de Linos”. Second, analyze the structure in detail. Thirds, probe the playing and the interpretation. Analysis and interpretation of the paper explore the interpretations of “Chant de Linos” as a reference, when the player can closer the exact style of the song´s original ideas.
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Chen, Ying-Hsuan, and 陳盈璇. "The Analysis and Interpretation of “Cinq Incantation”by André Jolivet." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/62072027438460869473.
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Chen, Hsueh-Ling, and 陳雪綾. "The Analysis and Interpretation of André Jolivet\'s Concertino for Trumpet and Piano." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/5z8gt4.
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碩士<br>國立臺灣師範大學<br>音樂學系<br>107<br>Jolivet’s Trumpet Concertino is one of the important modern music in twentieth century. This piece is the famous music for Jolivet. He use the modern technic to compose this piece, but it until has traditional spirit in the music work.
The paper is divided into five chapters. The first chapter is an introduction, and it includes research motivation and research methods. The second chapter introduces the origin of Jolivet's creation, and including the characteristics of his life and his musical style. The third chapter is use to introduce detailed analysis of the music for the concerto. The fourth chapter is use to compares from three trumpet players’ recording (Andre, Aubier, and Friedrich), and explanation my opinion of practice and performance interpretation . The final chapter is conclusion.
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Hurt, Ariana. "La Spirale, Le Zodiaque, and Mana : the convergences between Georges Migot and André Jolivet (1932-1937) = La Spirale, Le Zodiaque, et Mana : les convergences entre Georges Migot et André Jolivet (1932-1937)." Thesis, 2019. http://hdl.handle.net/1866/24565.
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Ce mémoire porte sur la convergence des compositeurs français Georges Migot (1891-1976) et André Jolivet (1905-1974) au cours des années 1930 sur le plan de leurs idées en esthétique musicale, de leur démarche compositionnelle, et de leur implication administrative sur la scène musicale parisienne. Ceci a pour but de mieux comprendre l’amitié spéciale entre Migot et Jolivet, mesurer son influence sur leurs personnalités musicales, observer son impact sur leur engagement commun au sein de la société de concert La Spirale, et, plus globalement, évaluer sa portée sur l’ensemble de la scène musicale française. Actuellement, Stravinsky, Ravel et le Groupe des Six prennent une grande place dans les histoires de la vie musicale française de l’entre-deux-guerres. Ultimement, cette étude cherche à favoriser une meilleure compréhension de la variété des manifestations musicales dans le Paris des années 1930.
Le premier chapitre de ce mémoire examine les idées esthétiques respectives de Migot et Jolivet et discute leurs similitudes. Le deuxième chapitre se penche sur l’engagement des deux compositeurs au sein de la société de concert La Spirale (1935-1937). Relativement peu étudié, cet organisme est néanmoins connu pour avoir servi d’incubateur au groupe La Jeune France (1936-1942), une association réunissant Olivier Messiaen, Daniel-Lesur, André Jolivet et Yves Beaudrier. À travers l’examen des activités de La Spirale, ce mémoire propose non seulement une liste revue et corrigée de toutes les œuvres présentées dans ses concerts, mais rend également compte de la nature de l’engagement de Jolivet et Migot en son sein.
Finalement, le troisième chapitre propose une analyse comparative d’une sélection de mouvements tirés de deux recueils pour piano solo de Migot et Jolivet, respectivement Le Zodiaque (1931-1932) et Mana (1935). Les analyses se concentrent sur les structures de hauteurs et l’organisation motivique (pratiques modales ou sérielles, constructions accordiques inspirées par la série des harmoniques, procédés motiviques) et sur les proportions temporelles. Dans certains mouvements, les événements structurels semblent être gouvernés par des notions mathématiques telles que le Nombre d’or ou les nombres de la suite de Fibonacci.<br>This Master’s thesis explores the convergences between the French composers Georges Migot (1891-1976) and André Jolivet (1905-1974) during the 1930s, in terms of their respective musical aesthetics, compositional techniques, and involvement in the Parisian music scene. The aim is to provide a clearer picture of the relationship between Migot and Jolivet, to evaluate its influence upon their musical ideas and shared interest in the development of the concert society La Spirale, and to assess its significance in the wider sphere of French music. Currently, music history of this period is saturated with writings on Stravinsky, Ravel, and the Groupe des six. This study seeks to provide a better understanding of the other various musical manifestations in 1930s Paris.
The first chapter of this thesis consists of an examination of Migot and Jolivet’s respective aesthetics ideas and a discussion of their similarities. The second chapter explores a shared project of the two composers: the concert society La Spirale (1935-1937). While largely un-studied, this organization is known for having given rise to the group La Jeune France (1936-1942), an association formed by Olivier Messiaen, Daniel-Lesur, André Jolivet, and Yves Beaudrier, as the first three also took part in the executive of the former society. Through an exploration of La Spirale’s activities, this thesis not only provides a complete and revisited list of all works performed at its concerts, but also qualifies the involvement of Jolivet and Migot.
Finally, this research will conclude with a comparative analysis of select movements from solo piano collections by Migot and Jolivet, Le Zodiaque (1931-1932) and Mana (1935), respectively. While Migot uses a more modal language to convey his lyrism, Jolivet employs an emancipated post-tonal idiom. This analysis will take into consideration pitch and motivic structure (modal and serial practices) and temporal sequences. Moreover, it will provide an examination of the use of the Golden Mean and the Fibonacci series in some pieces.
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葉秋眉. "An Analysis and Interpretation of André Jolivet’s 《Chant de Linos》." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/61809325454657569117.
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碩士<br>臺北市立教育大學<br>音樂學系碩士班<br>100<br>André Jolivet, (1905-1974) was a total liberalist in music creation. He sought to make music to recover its ancient meaning of the original. By using the original way, through the creation and interpretation of a musician, he had made a reflection of the great universe.
In this dissertation, Chant de Linos is divided into five chapters. The first chapter illustrated the motivation, purpose and methods of this study. The second chapter describes the life, composing style and creation origins of Andre Jolivet. There is detailed analysis and interpretation of composition of the music in chapter three. Chapter four would address on the content of the music, such as speed, strength, style and how different performers gave varied interpretation of the music itself. Chapter five would be an overview of Chant de Linos and personal point of view from the arthor. The ultimate intention of the study is to help worldwide flutes players to be able to have deeper sight into the creation and content of this musical artwork, and more importantly, to provide others to develop unique playing styles of their own.
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Lin, Yi-Han, and 林怡函. "The Analysis and Interpretation of André Jolivet’s Sérénade pour Hautbois et Piano." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/kj7uce.
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碩士<br>國立臺灣藝術大學<br>音樂學系<br>103<br>André Jolivet (1905-1974) is a composer of France in 20th century. He aims to return music to its original meaning. He composed with many mysterious characteristics. Serenade (Sérénade) was composed in 1945. There are two editions. One is for woodwind quintet : flute, oboe, clarinet, bassoon, horn; the other is for oboe and piano, which was dedicated to Pierre Bajeux (1899-1961), the oboe professor at the Paris Conservatory(CNSMP). Serenade displays the rich tonal quality and great skills of oboe performers. It is not only one of the most important works of the French oboe repertoire, but also a common set piece in international music competitions.
The purpose of this thesis is to illuminate Jolivet’s entire life and the background of his composition firstly. In order to reach an understanding closer to the original ideas of Jolivet, this thesis delves into the meanings expressed by the composer throughout the piece. Five chapters are included in this thesis. Chapter 1 is the introduction, which explains the motivation, purpose, methods and scopes of the research. Chapter 2 studies the background of modern French music, Jolivet’s whole life, the style of his compositions, and presents the compositional background of Serenade. Chapter 3 focuses on the analysis of this work by investigating the titles and structures of different movements, their styles and characteristics respectively. Bases on the previous chapters, chapter 4 discusses the interpretation of Serenade’s performance, such as handling the tone, alternation of strength, use of fingers, controlling the atmosphere of the work, and phrasing suggestions, etc. Finally, chapter 5 is the conclusion.
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Chiang, Yi-Fang, and 姜懿芳. "A Discussion of Creative Background, Methodology andStyle of André Jolivet’s Chant de Linos." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/81657521405252319631.
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碩士<br>國立臺南藝術大學<br>音樂表演與創作研究所<br>96<br>André Jolivet(1905-1974) is a music composer who proposed that music should return to its very original meaning in order to show the different phases and mystic styles. The French Flute School, 1860-1950 had became the development role model of modern flute schools by following the old Conservatoire National Superieur de Musique de Paris. Chant de Linos is the end out come under this important system. The music style of Jolivet had been influenced by his growing experience which contained the power of the origins. This power had pushed Jolivet to keep his music going and powerful. One example from Chant de Linos’s work, Jolivet had created a music which contained many elements. Within this music, Jolivet had blended the ancient Greek music for funeral and Greek legends into his music background. With full understanding and thinking, it is possible to differentiate music styles and forms by deeply analyzing the musical elements thought by the original composer.
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Chen, Syuan-Ning, and 陳萱寧. "A Study and Interpretation of “Chant de Lions” by Andre Jolivet (1905-1974)/Syuan-Ning Chen Flute Recital." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/hx75h5.
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碩士<br>東吳大學<br>音樂學系<br>100<br>Being a composer in the early 20th century, when a transition from Romantic to Modernism contributed to a great change in contemporary music thought, Andre Jolivet (1905-1974)’s composing is deeply influenced by his predecessors and the impact of World War, combining many features of Modernist and hence playing a key role in French compositions. “Chant de Lions” serves as not only an indication of Jolivet’s shifting from classical to synthetic form but also a pioneer of returning into mystic style.
This thesis aims to study the background of this composition and reconstruct the rituals of aboriginal sacrifices and Greek funerals, hoping to enable players to integrate into their performances the understanding of composers and his concept and thus make the song more imaginative. This thesis is organized as follows. Chapter 1 introduces the research subject, motivation, methods and references of this work. Chapter 2 describes Jolivet’s life and music, his music thought and stages of composing, the influence of Modernist on him, and his contribution to flute music. Chapter 3 discusses the composing of Chant de Lions and its background of myths and ancient Greek funerals. Chapter 4 focuses on the analysis and interpretation of Chant de Lions, where the 1st section puts emphasis on its music structure and application of melodies, and the 2nd, 3rd and 4th section on its tunes and playing. Chapter 5 presents the comparison between several versions of Chant de Lions, including that written for flute and piano, and that modified into chamber music in 1945 which incorporates flute, violin, viola, cello and harp. Chapter 6 gives a conclusion. / Syuan-Ning Chen Flute Recital
1.J.S. Bach: Flute Sonata BWV 1034
2.C.M. Widor: suite for Flute and Piano op.34 3.Paul Taffanel: Grande Fantaisie sur Mignon
4.Sigfrid Karg-Elert: Sinfonische Kanzone 5.Olivier Messiaen: Le Merle Noir
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Lin, Fu-Yu, and 林馥郁. "Is There Spiritual World in Music?—André Jolivet’s “Chant de Linos” and the Funeral Ritual in Ancient Greek." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/66896823722983992241.
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碩士<br>國立交通大學<br>音樂研究所<br>95<br>This paper is focused on the ritual lament in ancient Greek and the music of the French composer André Jolivet, as demonstrated in “Chant de Linos” for flute and piano (1944). This paper documents the aesthetic origins and compositional philosophy of Jolivet’s music, accompanied with a detailed analysis of the musical structure and stylistic practice, which is inspired by the ritual in Greek tradition.
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Cheramy, Michelle A. "Dwelling in the secret: Andre Jolivet's "Asceses" in the context of his life and philosophy." Thesis, 2006. http://hdl.handle.net/1911/18881.
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This document presents a case for viewing Asceses (1967) for solo flute/clarinet as a paradigmatic work in the compositional output of Andre Jolivet, reflective of his aesthetic and philosophical ideals as they had developed by the 1960s. As such, the work serves as a touchstone for a deeper understanding of the aesthetic and philosophical stance from which Jolivet was working during the last decade of his life.
Many aspects of Asceses suggest this interpretation of the work. The piece bears many striking similarities to one of Jolivet's self-identified paradigmatic works of the 1930s, the Cinq Incantations for solo flute. In addition, the unaccompanied monophonic medium is one in which Jolivet did not work for thirty years, making his return to it in the 1960s particularly striking.
The document positions Asceses within the biographical context of the final fifteen years of Jolivet's life and suggests that Jolivet's activities of this time in his life and career support a reading of Asceses as a defining composition. The document also thoroughly explores the state of Jolivet's aesthetics and philosophy by the 1960s, presenting a unified model of Jolivet's philosophy from which Asceses can be seen to have sprung, and suggesting ways in which Asceses reveals the strength of certain later influences on Jolivet's thought. The extra-musical materials of the work are considered for the ways in which they confirm and expand the understanding of Jolivet's worldview as presented. The document concludes with a detailed consideration of the ways in which Jolivet translates his late aesthetic ideals into compositional practice, and the ways in which Asceses reflects, at a deep structural level, the most important of them.
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Hsu, Ya-Chu, and 許雅筑. "An Analysis and Interpretation of Andre Jolivet’s Concerto for Bassoon, Strings, Harp and Piano, 1954." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/4t6zs5.
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Kao, Ning-Er, and 高寧兒. "NING-ER KAO FLUTE RECITAL WITH A SUPPORTING PAPER: ANALYSIS AND INTERPRETATION ON ANDRÉ JOLIVET’S SONATE POUR FLUTE ET PIANO." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/527c7u.
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碩士<br>國立交通大學<br>音樂研究所<br>107<br>French composer André Jolivet (1905-1974) composed several important works for the flute repertoire, pushing the limits of the flute’s technical and expressive capabilities. His unique musical style and philosophy are distinct from that of French compositional trends in the twentieth century.
The Sonata for flute and piano represents a synthesis of Jolivet’s two earlier style-periods, magic period and traditional period. This work is seldom performed and analyzed.
Jolivet was able to travel extensively, discovering the exotic music style during this time, so that the music style of this work seems to be influenced by the Japanese music-Noh.
This thesis is divided into five chapters: The first chapter introduces the research motivations and methods. The second chapter describes Jolivet’s life and the style of his compositions. The third chapter focuses on the analysis of this work by investigating the structures in the different movements, his writing techniques and characteristics respectively and application of music materials. The fourth chapter presents the interpretation of this work, employing music elements of Jolivet’s Sonata and Noh’s music aspects to offer valuable insight into the performance of this composition. Lastly, the fifth chapter is a conclusion to expressing my reflection and final thoughts on this research project.