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1
Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo: With Three Recitals of Works by Mussorgsky, Brahms, Bartok, Durilleux, and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935608/.
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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work. In comparison to the classical model of the late-eighteenth and early-nineteenth centuries, the French sonatina of the twentieth century exhibits four new features. First, it is more expansive in length and has greater philosophical depth. Second, there is an emphasis on unity at the motivic and thematic levels in which the development of material, based on the techniques discussed, occurs throughout a movement instead of being limited to a "development" section. Third, the formal structures are more flexible, allowing for cyclic quotations and the accommodation of varying styles. Fourth, the advanced technical skills indicate that these compositions are intended not as pedagogical pieces but as concert works. Chapter I introduces the topic, stating the purpose and need of the study. Chapter II presents a brief history of the sonatina, with particular attention given to the sonatina line France, and background information on each of the five composers. Chapters III through VII are each devoted to an analytical discussion of one of the five sonatinas. Conclusions based on the analyses are given in Chapter VIII. Appendices included an annotated listing, by composer, of all French sonatinas which were involved in the research and a selected discography.
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Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.
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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
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Berman, Nancy. "Primitivism and the Parisian avant-garde, 1910-1925." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38149.
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At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). Relying on primary sources such as reviews, other historically relevant documents, as well as the art historical literature, I trace the evolution of the cultural role of primitivism in pre- and post-World War 1 French culture.French critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism.
Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.
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Samball, Michael L. (Michael Loran). "The Influence of Jazz on French Solo Trombone Repertory." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331843/.
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This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory.
Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed and examined.
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Cheng, Chi-Suen. "Yves Daniel-Lesur and le canique des cantiques: nonconformism and humanism in a mid-twentieth-century choral work." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/310.
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In 1936, André Jolivet (1905-1974), Yves Baudrier (1906-1988), Olivier Messiaen (1908-1992), Jean-Yves Daniel-Lesur (1908-2002), and Pierre Schaeffer (1910-1995) founded the group Jeune France. They initiated this group under the influence of politically nonconformist movements in France which had started in the 1920s. The ideology of Jeune France was to revive in music 'true human qualities', free from 'extreme political domination'. At a time when some composers, associated with a revolutionary Left wing, were exploring avant-garde ideas in music that included atonalism, serialism, and other advanced techniques out of the common practice, other composers fell into a nationalistic Right wing, recalling the French Catholic traditions, and promoting an exclusive and true 'French' music. In contrast to these polarizing trends, Jeune France tried to trace back its art to its origins, and the goal of Jeune France was to re-establish music composition as something less 'abstract' than the Left, and more 'human' than the Right. The most powerful sound that can reflect the tenets of humanism in music is probably the human voice, especially multiple voices in a choral setting. Thus unaccompanied choral works, in particular, came to be a hallmark of many major composers of the 20th Century. The prevailing social and political environment of the pre-World War Two era also played an important role in contributing to the revival of unaccompanied choral music as a major genre. To demonstrate how these general social and political forces operated in the particular in France at this time, I have used Daniel-Lesur's Le Cantique des Cantiques (1952) to show how these affected a composer at this time. The goal of this research has been to look in depth at both Daniel-Lesur and his most famous work, about which little has been written in English; and to add to a growing body of literature which explores the rise of unaccompanied choral compositions as an important genre in the early 20th Century, a shift that is tied to political, cultural, and social conditions as well as musical ones. Taking Le Cantique des Cantiques as a token of a type, I show how this work reflects these issues as well as the aesthetics behind Jeune France. Finally, I have tried to show just how the experience of Jeune France influenced Daniel-Lesur as a composer as it did his more famous contemporary, Messiaen.
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Nardout, Elisabeth. "Le champ littéraire québécois et la France, 1940-50 /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72078.
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The decade 1940-1950 represents a decisive stage in the evolution of the relations between the Quebec literary scene and France. Whereas before the war, literary discourse keeps on upholding, in a dogmatic way, the superiority of French culture and literature, the next period is characterized, on the contrary, by a reassessment of this postulate.The historical circumstances justify the setting up of exceptional institutional conditions. Some French writers and critics, in exile in North America, partake, to varying degrees, in the French Canadian literary scene. The backing of these intellectuals is not unrelated to the process of modernization and autonomization undertaken at that time by the major sectors of the Quebecer literary apparatus.
A conflict of interest in the publishing sector as well as ideological differences spark a controversy between Robert Carbonneau and some members of the Comite National des Ecrivains. This "quarrel", to quote Charbonneau, is an unprecedented example of direct confrontation between Quebecer and French literary agents. On this occasion, Robert Charbonneau redefines French Canadian literature outside of France's sphere of influence, France being a country whose status he wishes to limit to that of just one foreign reference among many.
This desire for autonomy can also be found in literary texts which, using means available to them, bear witness to an appreciable decline of the French literature. But whereas literary discourse attempts to resist annexation to French literature, the literary apparatus is subject, upon the Liberation, to a material and symbolic domination by the French authorities, a domination it cannot fight. In this respect, the conditions of literary production in the fifties are paradoxical since the text, while voicing its rejection of the French institution and its French Canadian identity, continues to receive its ultimate consecration from France.
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Leung, Tai-wai David, and 梁大偉. "Memory, aesthetics and musical quotation: four case studies in 20th century music." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39733919.
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Trochimczyk, Maja. "Space and spatialization in contemporary music : history and analysis, ideas and implementations." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116333.
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Note: Pages have been removed from this digital copy due to copyright restrictions. A print copy is available in the McGill Library.This dissertation presents the history of space in the musical thought of the 2Othcentury (from Kurth to Clifton, from Varèse to Xenakis) and outlines the development of spatialization in the theory and practice of contenlporary music (after 1950). The text emphasizes perceptual and temporal aspects of musical spatiality, thus reflecting the close connection of space and time in human experience. A new definition of spatialization draws from Ingarden’s notion of the musical work; a new typology of spatial designs embraces music for different acoustic environments, movements of performers and audiences, various positions of musicians in space, etc. The study of spatialization includes a survey of the writings of many composers (e.g. Ives, Boulez, Stockhausen, Cage) and an examination of their compositions. The final part of the dissertation presents three approaches to spatialization: Brant’ s simultaneity of sound layers, Xenakis’s movement of sound, and Schafer’s music of ritual and soundscape.
Cette thèse présente l’histoire de l’espace dans la pensée musicale du vingtième siècle (de Kurth à Clifton, de Varèse à Xenakis) et retrace le développement de la spatialisation dans la théorie et la pratique de la musique contemporaine (après 1950). Le texte souligne les aspects perceptuels et temporels de la spatialisation musicale, reflétant ainsi le lien étroit entre temps et espace t!ans l’expérience humaine. Une nouvelle définition de la spatialisation tire son origine de la notion de l’oeuvre musicale d’Ingarden; une nouvelle typologie des plans spatiaux prend en considération des musiques pour différents environnements acoustiques, diverses positions des musiciens dans l’espace de même que le mouvement de ceux-ci et des auditeurs, etc. L’étude de la spatialisation inclut un survol des écrits de plusieurs compositeurs (Ives, Stockhausen, Boulez et Cage, par exemple) de même qu’un examen de leurs oeuvres. La dernière partie de la thèse présente trois approches compositionnelles de la spatialisation: la simultanéité de strates sonores ,:hez Brant, le mouvement du son chez Xenakis et la musique du rituel et l’écologie sonore chez Schafer.
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Vendrix, Philippe Pierre 1964. "Quelques aspects de l'historiographie musicale en France a l'epoque baroque (French text)." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276706.
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L'historiographie musicale trouve dans la France de l'epoque baroque un champ ideal de developpement. Ce phenomene est lie a la conjonction de differents facteurs: le modele fourni par l'histoire generale, l'heritage humaniste, les mouvements polemiques, les tentatives de refonte de l'histoire de l'Eglise. Les musicographes, de Salomon de Caus (1615) a Jacques Bonnet-Bourdelot (1715), etablissent les fondements d'une critique historique et l'appliquent dans des ouvrages qui annoncent l'expansion de la musicologie a l'age des Lumieres.
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Bhimani, Nazlin. "Kaikhosru Sorabji’s critical writings on British music in The New Age (1924-1934)." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25348.
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This thesis examines the music criticism of Kaikhosru Shapurji Sorabji (1892- ), a well known composer and music critic active in England from the early 1920s to the late 1940s. Although many authors have referred to Sorabji's music and criticism, neither has been treated in a substantive manner. The present study focuses on Sorabji's contributions to The New Age, a weekly journal, and particularly on his articles therein dealing with contemporary British composers. It is of interest that Sorabji's criticism deals with a vibrant period of music history, known as the English Renaissance.
An examination of Sorabji's writings, published articles and private correspondence reveals him to be a highly complex personality. His marginal position in English society, based partly on his racial background and his negative views of the British, led him to view the musical scene from a perspective differing from that of other critics. Not fully admitted into the inner circles of the musical establishment, Sorabji surrounded himself with a small, elite group of friends and admirers, which included well known composers and literary figures such as Bernard van Dieren, Peter Warlock, William Walton, John Ireland, Sacheverall Sitwell, Hugh McDiarmid and Cecil Gray. It is within this context that Sorabji redefined the role of the music critic and criticism to suit his personal values and style which were much influenced by his involvement in the mystical tradition of Tantric Hinduism. A detailed discussion of Sorabji's writings on the British composers Delius, Elgar, Bax, Vaughan Williams, Hoist, Ireland, van Dieren, Walton, Lambert, Smyth, Berners, Bush, Warlock, Howells, Bliss, Boughton, Scott, Goossens and Britten reveals that the critic's musical affinities were conservative throughout his career as music critic for The New Age. An analysis of these writings shows a clear-cut pattern of likes and dislikes. Sorabji praised highly the musical styles that appealed to him and wrote in a harsh and negative manner about music that he found distasteful. While this emotionalism tainted many of his reviews, it also encouraged the support of those who shared his opinions. Nonetheless, Sorabji's use of harsh and blunt language often turned the tide of public opinion against him. Yet, it is this particular style, which can sometimes be humourous and racy and other times harsh to the point of cruelty, that distinguishes Sorabji writings from the mainstream of music criticism.
An appendix lists Sorabji's writings in The New Age during the period 1915 to 1934.Arts, Faculty of
Music, School of
Graduate
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Fahmy, Miriam. "Le discours sur la fin de la littérature en France de 1987 à 1994 /." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79937.
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The "essai crepusculaire" was one of the most popular literary genres during the 1980's and 1990's in France. Among those, the essays warning of the impending end of French literature offer a view of the world which idealises the past while condemning a shameful present in order to justify the return of lost values.Our project consists of an analysis of the argumentative rhetoric contained in the four essays of our corpus, which together form the Discourse on the death of French literature. We studied how the authors set up an argumentative construct likely to convince the reader that French literature has fallen into decay. By analysing the rhetorical processes as well as locating the tacit discourse, we sought to single out the ideology which they promote and to make out the contours of the literary ideal which they delineate. In light of these observations, we ended with the broad outline of a typology of the genre, liable to exemplify all "essais crepusculaires".
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Lang, Xiaoming. "He Zhanhao and Chen Gang: "The Butterfly Lovers" violin concerto." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185865.
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Musical study of The Butterfly Lovers violin concerto by He Zhanhao and Chen Gang. Tracing its cultural background in China, analyzing in terms of the concerto's form, melody, scale, mode, harmony, and orchestration and discussing the more unusual technical demands of violin playing made by this concerto.
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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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Powell, Steven. "Dread rites : an account of Rastafarian music and ritual process in popular culture." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55647.
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Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form." University of Western Australia. School of Music, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0052.
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This thesis focuses on a group of keyboard pieces composed in the first half of the twentieth century entitled ‘prelude’, and explores the issue of genre, investigating the significance in the application of this generic title, and the development of the piano prelude in this period. The application of a generic title often invokes the expectation of its generic features its conventional and formal characteristics. Though the prelude is one of the oldest genres in the history of keyboard music, it has relatively few conventions, and hence, with the abandonment of its primary function the prefatory role in the nineteenth century, it has been considered an indeterminate genre. Rachmaninoff, however, asserted that a generic title should carry with it appropriate generic manifestations, which parallelled similar generic concepts in literature. This expectation of generic traits is like setting up a ‘generic contract’, offering an invitation to either conform or reform, and thus affecting its course of development. A survey of the prelude’s historical development points to six rather consistent generic conventional and formal characteristics: (i) tonality, (ii) pianistic/technical figuration, (iii) thematic treatment and formal structure, (iv) improvisatory style, (v) mood content, and (vi) brevity. Though these general characteristics may overlap with other genres, it is their collective characteristics that have contributed to the genre’s unique identity. These features form the basis for an exploration of the conformity to, or further evolution of, these characteristics in the preludes of the early twentieth century. From the substantial number of piano preludes composed in this period, selected sets, representative of the various stylistic manifestations of the period, are analysed in relation to the identified generic characteristics. The examination reveals that these preludes, though apparently diversified in style and outlook, exhibit affinity in one form or another to the generic characteristics. Each example exhibits different treatments of the generic characteristics reflective of twentieth-century developments, whilst retaining its generic identity. The prelude is thus an amalgamation of a tonal, technical and affective piece, which may be considered a combination of a tonal essay, a study/toccata, and a character piece; and collectively, a sequence of tonalities, a collection of pianistic technical studies, and a compendium of musical styles/genres in miniature.
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Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.
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Stein, Eric 1973. ""Living right and being free" : country music and modern American conservatism." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21267.
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The rising popularity of country music in the United States since WWII is a cultural phenomenon intimately related to the ascendance of conservative values, leaders, and movements over the same period. By routinely celebrating themes like heterosexual love, the patriarchal nuclear family, hard work, individualism, freedom, patriotism, religion, and small-town life, country music provided the soundtrack for the insurgent conservatism of politicians like George Wallace, Richard Nixon, and Ronald Reagan. In the sixties and seventies, while other forms of popular music (rock, folk, soul) articulated the values of liberals, socialists, hippies, war protestors, feminists, and civil rights activists, country music alone stood for the "traditional" values cherished by the so-called "silent majority" that powered the rise of the Right. The spread of both country music and conservatism is also a reflection of the "southernization" of America---the diffusion across the nation of cultural and political traits long associated with the South.
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Parker, Mark M. (Mark Mason). "Transposition and the Transposed Modes in Late-Baroque France." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.
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The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.
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Guillaumier, Christina. "From piano to stage : a genealogy of musical ideas in the piano works of Sergei Prokofiev (1900-c.1920)." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/6451.
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This thesis is a study of Prokofiev's musical ideas as they emerge in his early writing for piano. It is concerned with elucidating the connections between Prokofiev's pianistic technique and his compositional technique. In doing so, the study explores the genealogy of composer's musical gestures and thematic ideas. Both his playing and his compositional styles have been labelled as distinctive: the thesis attempts to deconstruct that distinctiveness by pinpointing the origins of the composer's playing and compositional styles, tracing their gradual evolution into a mature idiom. The first chapter is concerned with Prokofiev's juvenilia (1898 to c. 1906). Drawing upon a large amount of previously unpublished archival resources, this chapter uncovers the original gestures and thematic ideas which characterize Prokofiev's early style. The next chapter focuses on Prokofiev's period at the St Petersburg Conservatory, tracing his development into a virtuoso pianist, examining the nature of that virtuosity and chronicling the creation of Prokofiev's performing persona. The gestures and idea- types identified in the first chapter are then examined within the context of Prokofiev's works for solo piano, his early works with orchestra and his first two major operas. Conclusions are then drawn about the nature of Prokofiev's distinctiveness, his compositional legacy and about his current position as a major twentieth-century composer.
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Whitney, Kathryn. "Determining indeterminacy : vision and revision in the writings of Pierre Boulez." Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:1ff0a118-6df6-4352-a567-303b2235ce31.
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This study is framed by questions about the wider implications of a belief in Boulez's independent indeterminate aesthetic for divergent trends such as Europeanism vs. Americanism, modernism vs. postmodernism and serial structure vs. non-serial structure. In conclusion it suggests that an ongoing tendency toward historical revisionism in Boulez's texts may be a function of the difficulty in articulating an intentional indeterminate aesthetic in light of the serial inheritance.
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Longwell, Ann E. "France, man and language in French Resistance poetry." Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/13376.
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The Second World War witnessed what was recognised at the time as a poetic revival in France. The phenomenon of Resistance poetry in particular commanded literary attention throughout the war. Immediately afterwards, however, this large corpus of poetry was widely dismissed as an unfortunate aberration. Viewed as ephemeral poetry of circumstance with only a documentary value, as tendentious poésie engagée, as propaganda or as conservative patriotic verse, it was thought unworthy of consideration as poetry. Marked by the reputation it gained just after the war, Resistance poetry has been given short shrift in critical studies, and has only rarely been the focus of academic attention. This study reexpounds in detail and with a wide range of reference the debate concerning Resistance poetry, and draws attention to a number of poets who are not widely known, or who are not known as Resistance poets. It demonstrates through a thematic and formal analysis of a selection of Resistance poetry that it is in fact no different from poetry as implicitly understood by critics who have dismissed it. A description of commitment in Resistance poetry is followed by a thematic study of its three related objects, namely France, man and language. Detailed examinations of these three major concerns in the poetry challenge the received view that Resistance poetry is conservative in its patriotism, dogmatic or essentialist in its commitment, and reactionary in its use of language. This thematic study is complemented by illustrative analyses of individual poems or parts of poems, and by a concluding commentary.
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Pinson, Guillaume 1973. "Fiction du monde : analyse littéraire et médiatique de la mondanité, 1885-1914." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102151.
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This work proposes a double analysis of the mundane society representations between 1885 and 1914, in the press and the novel. This analysis separates these two categories of media to insist on their particularities, and tries to think of them in terms of an interaction.A first part explores the organisation of the topics and the main genre of the mundane society in the press, applying the social discourse theory. The analysis is based on the perusal of a set of representative daily newspapers (Le Gaulois, Le Figaro) and of weekly and monthly publications (Le Grand monde, La Vie parisienne, Femina notably, as well as around thirty other titles). It shows that the mundane society in the newspaper is constrained by a poetics stemming from the characteristics of press writing: collective writing, periodicity of the publication, text length limitation and reference to reality. Some texts are tempted by fiction, even though they keep a reality-based referential, whereas other texts that are openly fictitious, fit the mundane fiction into the newspaper.
The second part is based on the general conclusion of the first part: the mundane society in the newspaper is a represented society, made of for a distant and anonymous public. With the advent of the medias in the 19th century, the mundane society has entered into the era of mediations and "industrial writing". Some writers, from Bourget to Proust, take these upheavals into account and present the mundane society as a metaphor of the mass media society. This is done following three main axes: the temptation of withdrawal of the fiction into a closed world (psychological and mundane movement impulsed by Goncourt with Cherie, prolonged by Bourget and Hervieux notably); the games of exchange between the novel and the newspaper (Maupassant, Toulet, Legrand, amongst others); and finally, the isolation of the mundane world and the aesthetic work on mediations (Rolland, Colette, Mirbeau, Lorrain et Gide notably). All these writings address the question of sociability at the era of the triumph of mediations: what room is left for the mundane society, for direct encounter, for exchange, in a world of mediation and mass media coverage? for immediate connections in a society of mediated ties? The epilogue proposes a journalistic reading of A la recherche du temps perdu, synthesis-work which inaugurates a modern and sociological perception: it is in the world of the imagined mundane society, distant and represented in the mass media, that the narrator draws the resources for his observation of the world.
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Bach, Edward Stanley. "A performance project on selected works of five contemporary composers : Malcolm Arnold, Robert Henderson, Stan Friedman, John Elmsley, Lucia Dlugoszweski." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32135.
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The principal objective of this dissertation is to discuss music for unaccompanied trumpet and trumpet and tape composed after 1965. The discussion of these works will emphasize a method of preparation for each work. New techniques and effects that modern-day trumpet players will need to master will be pursued with relationship to each composition under consideration.
Each chapter is dedicated to one composition. The introductory chapter discusses the execution of difficult leaps which is one of the most common challenges in the majority of modern trumpet music. Technique books and general suggestions in the improvement of this technique are emphasized.
Chapter II features comments on Malcolm Arnold's Fantasy for Flat Trumpet which is the most "traditional" composition of the five works being surveyed.
In Chapter III, Robert Henderson's Variation Movements, 1967 is discussed. The work has components of serialism which give way to tonally motivic material. The piece lends itself to a detailed analysis, although, for this purpose, a rather general discussion with some detail will make the musical decisions clearer.
The fourth chapter discusses Stan Friedman's Solus. This composition features the use of pedal tones, aleatoric events, the open-tubing technique, tremolos, and slide glissandi. Some analysis as
well as practice and performance suggestions are included in this chapter.
Chapter V focuses on a work by John Elmsly entitled Triptych for trumpet and tape. In addition to some analysis of the work there are performance suggestions to enable synchronization between trumpet and tape.
Chapter VI features Lucia Dlugoszewski's Space is a Diamond, the most experimental composition of the five being discussed. Innovative techniques utilized in the work include percussive bubble, glissando, flutter-tonguing, ricochet glissando, flap-tonguing, and whistle tone. New notational indications are also discussed.
The examination of these compositions demonstrates increased technical demands and analytical skills that will be required by trumpet playersArts, Faculty of
Music, School of
Graduate
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Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.
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During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Britain. Despite this, there are few documented accounts of working practices, or of the experiences of those involved in recording at this time, and the subject has received sparse coverage in academic publications. This thesis studies the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964. It begins by considering the current literature on recording, the cultural history of the period in relation to classical music, and the development of recording in the 1950s. Oral history informs the central part of the thesis, based on the analysis of 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s. The thesis concludes with five case studies, four of significant recordings - Tristan und Isolde (1952), Peter Grimes (1958), Elektra (1966-67), and Scheherazade (1964) - and one of a television programme, The Anatomy of a Record (1975), examining aspects of the recording process. The thesis reveals the ways in which musicians, producers, and engineers responded to the challenges and opportunities created by advances in technology, changing attitudes towards the aesthetics of performance on record, and the evolving nature of practices and relationships in the studio. It also highlights the wider impact of recording on musical practice and its central role in helping to raise standards of musical performance, develop audiences for classical music, and expand the repertoire in concert and on record.
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Stanek, Mark C. "Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285408.
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This dissertation is a study of the use of guitar in opera. Ten operas were chosen from the early nineteenth century to the middle of the twentieth century as a representative cross section of operas that use the guitar. The operas studied are: The Barber of Seville by Gioachino Rossini, Oberon by Carl Maria von Weber, Don Pasquale by Gaetano Donizetti, Beatrice and Benedict by Hector Berlioz, Otello and Falstaff by Giuseppe Verdi, La vida breve by Manuel de Falla, The Nightingale by Igor Stravinsky, Wozzeck by Alban Berg, and Paul Bunyan by Benjamin Britten. The study examines the technical aspects of each guitar part and how the guitar relates to the libretto and to the other instruments of the orchestra.The study finds that, with some exceptions, the guitar parts are idiomatic and not difficult to execute. There is some need on the part of the guitarist to edit the parts for technical and historical reasons and editorial suggestions are made by the author. The guitar is often related to the libretto and often appears onstage, yet it is almost always used as a prop and the performing guitarist is placed offstage or in the orchestra pit. There are significant problems found concerning the guitar's lack of volume. Composers tend to limit the number of instruments in use with the guitar. They do not, however, tend to give the guitar louder dynamics when other instruments are used at the same time. The guitar is generally used in outdoor scenes, to evoke a folk idiom, or when specifically referred to in the libretto. The use of the guitar is found to be mostly limited to simple accompaniments which do not utilize the full resources of the instrument.School of Music
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Yang, Shu-mei. "Piano Music of Native Chinese Composers, with Particular Focus on the Piano Works Since 1950: a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, L.v. Beethoven, S. Prokofiev, F. Chopin, R. Schumann, J. Brahms, M. Ravel, and A. Skryabin." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc331819/.
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This documents aims at the identification of the sources of influence upon the styles of selected 20th century Chinese composers. Personal influences are reflected as well as those general influences specific to the different stylistic periods discussed. Most important, however, is the description of the methods by which these composers employ contemporary compositional devices to project musical gestures that are uniquely Chinese: elements of culture which are fundamentally programmatic and intimately related to the lives of the Chinese people. The introduction of Western music and musical instruments to China in the early 17th century and cultural exchanges with Japan served to gradually westernize the musical environment and training. The establishment of decidedly Western schools was accomplished at the beginning of this century, with the founding of Peking University and Shanghai National Conservatory. Music theory was taught, as well as history and composition, but with an emphasis on the practices of the 18th and 19th centuries. Compositions from this period reflect Western techniques from these eras, with some use of the pentatonic scale. In the 1930's, nationalism arose, a mirroring of the 19th-century European nationalistic trends. This philosophical conception has remained essentially unchanged to the present, as composers have aimed to utilize Western techniques to create artistic works and compositional styles which are uniquely Chinese. The musical works examined are limited to works for piano solo, as it is believed these are often more immediately revealing of compositional techniques and stylistic idioms.
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Perry, Shirley Mercedes. "Selected Psalms, Old Verses and Spiritual Songs of the Canadian Doukhobors: Transcription and musical analysis." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185897.
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The purpose of this research was to select songs specific to the Doukhobor song repertoire which were not previously notated and to record, notate and analyze the melodies for use in music education. The first limitation of the study was to focus on the sacred repertoire which is comprised of three genre of song, namely the Psalms, the Old Verses and the Spiritual Songs. A comparison of the song titles of Old Verses and Spiritual Songs which are found in the two major Canadian Doukhobor song text collections was made with other Russian song text collections to determine a subset of songs unique to the Doukhobor tradition. The second limitation of the study was then applied, which was to select those Old Verses and Spiritual Songs believed to exist prior to the beginning of the twentieth century. Forty-five melodies, comprised of 11 Psalms, 18 Old Verses and 16 Spiritual Songs were included in the study. The notation of each example is accompanied by one verse of Russian text and transliteration and by documentary information stating the genre, the Doukhobor song text collection reference number, the singers' names, and a tape source in the researcher's private collection. Full and/or partial translations of the texts are provided.
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Beckman, Seth. "The traditional and the avant-garde in late twentieth-century music : a study of three piano compositions by Frederic Rzewski (1938- )." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026705.
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Frederic Rzewski (1938- ) is a composer and pianist fluent in the styles of traditional pianism as well as the contemporary avant-garde. His musical breadth is most clearly demonstrated through his piano compositions, which are often large-scale, virtuosic, and tonal. For these reasons, they are frequently compared to works of the Romantic era. Furthermore, his pieces also display experimental, avant-gardistic leanings and thereby demonstrate complexity and eclecticism. The thread of continuity in Rzewski's works may be found through his incorporation of programmatic associations, which embrace controversial and universal socio-political themes.This study examines three of Rzewski's compositions for piano that typify the composer's diverse yet communal approach to composition: 36 Variations on "the People United Will Never Be Defeated!, the North American Ballads, and De Profundis. Through the integration of a predominantly tonal musical language with bold, contemporary techniques, all three pieces represent a melding of the past with the present. Thus, they celebrate the complex nature of the human experience through the realm of musical expression.Frederic Rzewski was interviewed by this author, as was pianist Ursula Oppens (a strong advocate of contemporary works generally and Rzewski's pieces specifically). Their insights appear throughout the document, on topics ranging from the generally relevant to specific items connected to the above-mentioned compositions. Related issues of prominent educational influences, the contemporary avant-garde movement, critical review, extant dissertations, improvisation, neo-tonality, and the trend of political music were researched for their invaluable associations with the above-mentioned pieces.This study contends that, through these works, Frederic Rzewski demonstrates a commanding ability to weave varied musical and programmatic components into compelling, cohesive compositions. Furthermore, these pieces offer keen insights into compositional style and practice for piano in the latter half of the twentieth century and thereby present pianists and pedagogues with the opportunity for the introduction to (and immersion in) essential, idiomatic writing as related to late twentieth-century piano composition.School of Music
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White, Bob Whitman. "Modernity's spiral : popular culture, mastery, and the politics of dance music in Congo-Kinshasa." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0020/NQ44627.pdf.
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Lan, Ping-Ting. "New Resources in Twentieth-Century Piano Music and Richard Wilson's Eclogue (1974)." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2632/.
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This dissertation draws some of the innovative composers from the early 1900's to the 1960's into the spotlight to highlight their new musical and pianistic ideas. These composers, including Debussy, Schoenberg, Webern, Bartók, Cowell and others, brought new creative forces into piano music, generating many distinctive features of modern music. The discussion of new resources in harmonic language, timbre, texture, form and concept of time has a direct bearing on aspects of Richard Wilson's Eclogue itself as well as aspects of performance problems. American Composer, Richard Wilson, has written three substantial piano solo works, Eclogue, Fixations, and Intercalations. Eclogue, from 1974, is a one-movement work. The detailed analysis of Eclogue covers aspects of form, harmonic language, timbre and texture, and rhythm and time. In addition, essential issues of performance problems such as notation, rhythmic control, extended techniques, hands distribution, and pedaling are also discussed.
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Ledbetter, David. "Harpsichord and lute music in seventeenth-century France : an assessment of the influence of lute on keyboard repertoire." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:525956f0-fd49-4649-94e5-c52ad46221cb.
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The view that the lute exercised an important influence on the formation of French harpsichord style in the seventeenth century is a commonplace of musicology which has not until now been thoroughly investigated. This thesis is an attempt to determine the nature of that influence taking into account as much of the available relevant material as possible. The first chapter outlines the status and function of stringed keyboard instruments, particularly in the late sixteenth and early seventeenth centuries, using a wide variety of non-musical sources whether literary, archival, or documentary. It also charts the relative standing of the two instruments and the interrelationship of their repertoires as viewed by contemporaries throughout the seventeenth century. The second chapter provides a survey of the evolution of French lute style based on a detailed study of most of the French lute sources from the period cl600-cl670 and including the more important sources from cl670-cl700. The third chapter presents detailed comparisons of individual works existing in versions for both lute and keyboard. These are based on numerous parallel transcriptions presented in the second volume. The material for this section is provided by a concordance file for virtually all French seventeenth-century lute sources designed to be usable in conjunction with Gustafson's keyboard catalogue. The final chapter is an attempt to define the degree of affinity existing between particular features of the central harpsichord style and that of the lute on the basis of principles established in the previous discussions. This thesis contains the first detailed discussion of the works of the principal seventeenth-century French lutenists in the context of a survey of the general development of the lute style. Numerous illustrative examples of hitherto unpublished lute music are included in the second volume. The final chapter also discusses some new sources of French harpsichord music dating from the late sixteenth and early seventeenth centuries, with transcriptions. Also discussed for the first time is the Premier Livre (1687) of Elizabeth Jacquet de la Guerre, and a transcription of a suite supposedly written in imitation of the lute is given. A comprehensive concordance of pieces existing in versions for both lute and harpsichord is given in Volume II.
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Clayden, Mark John. "Music, timbre, colour in fin-de-Siècle Vienna : Zemlinsky, Schreker, Schoenberg." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:73c4d92f-5754-43d0-b07d-31975ad0539c.
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Timbre and orchestration are neglected parameters in analytical writing, partly because analysis traditionally privileges pitch organisation as the primary structural parameter in music, but also because timbre appears more resistant than pitch to theoretical abstraction and systematisation. Yet, in the music of early twentieth-century Viennese composers such as Schreker, Zemlinsky and Schoenberg, timbre often assumes a pre-eminent place in musical design and formal architecture. In such works, timbre often moves from what Robert Hopkins (1990) describes as a 'secondary parameter' to the forefront of a listener's consciousness. Conventional analytical approaches - including Schenkerian, Neo-Riemannian or pitch-class set theories - arguably have little to offer at such moments. This thesis begins by examining the 'crisis of response' to timbre in fin-de-siècle Austro-Germanic circles and, in particular, to the increasingly complex timbral constructions of many Viennese composers, such as Franz Schreker and Arnold Schoenberg. The crisis of response appeared to stem from an inherited nineteenth-century view of orchestration as ornamental in function, as well as the lack of an appropriate analytical framework and meta-language with which to critique the growing importance of timbre as a musical parameter. This thesis contributes to the discussion as to the how the area of timbral analysis might develop: firstly, by treating timbre as an 'emergent' property rather than an absolute analytical category (i.e., that timbre often results from a complex interaction of multiple musical parameters); secondly, by considering the effect of timbre's spatial properties within the auditory scene on subject-position through examination of contemporary and more recent theories on the convergence of the visual and auditory arts; and thirdly, through timbre's ability to function as an agent of immanent musical critique through disjunctive juxtapositions, or by historically-contextualized responses to codified orchestral tropes as found in Alexander Zemlinsky's 'Der Zwerg'. Timbre certainly was not always the secondary parameter some fin-de-siècle critics suggested it was, or wanted it to be. The joint purpose of this thesis is to offer historically-engaged analytical readings of neglected works from twentieth-century Vienna (alongside a few better-known works whose timbral construction had been left unanalyzed), and to reflect on the benefits of applying recent research to contemporary theories of timbre. These two aims are set in productive counterpoint rather than a straightforward synthesis, with the adoption of recent cognitive research and theories of subject-position feeding into analyses of historical work in order to try to mediate the gap between theory, text, and musical practice.
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Bray, Michael Robert. "The liturgical canticle settings for chorus and organ of Ralph Vaughan Williams." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186253.
Full textAbstract:
Within the sacred choral music of composer Ralph Vaughan Williams, little is known regarding his subset of works intended for liturgical use. This study focuses on the canticle settings for choir and organ, written by Ralph Vaughan Williams for use in Anglican Worship. The compositions in this study include: Magnificat and Nunc dimittis (Village Service), Te Deum in G, Service in D Minor and Te Deum and Benedictus. This study provides a discussion of the structure and history of the Anglican service and a description of how canticle settings traditionally function in liturgical worship. Each work in this study is analyzed with particular attention given to form and structure, harmonic language, text derivation and declamation, melodic tendencies and the role of the organ accompaniment. Evidence gathered from this study demonstrates that, although the liturgical canticle settings for choir and organ are diverse in function and style, they contain many common characteristics in such compositional areas as: structural form, voicings, consistent use of thematic material, and the effective application of text to music. Suggestions for performance options of the settings are also included in the results of this study. It is hoped that, through differentiating between these works with regard to function and style, this study will help close the lacuna in the choral literature concerning Vaughan Williams' smaller liturgical works and serve as an introduction to modern choral conductors.
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Deruchie, Andrew. "The French symphony at the fin de siècle style, culture, and the symphonic tradition /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115596.
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This dissertation examines the symphony in late nineteenth- and early twentieth-century France by way of individual chapters on the period's seven most influential and frequently performed works: Camille Saint-Saens's Third Symphony (1885-86), Cesar Franck's Symphony in D minor (1887-88), Edouard Lalo's Symphony in G minor (1886), Vincent d'Indy's Symphonie sur un chant montagnard franrcais (1886) and Second Symphony (1902-03), Ernest Chausson's Symphony in B-flat (1890), and Paul Dukas's Symphony in C (1896). Beethoven established the primary paradigm for these works in his Third, Fifth; and Ninth Symphonies, and the principal historical issue I address is how French composers reconciled this paradigm with their own aesthetic priorities within the musical and cultural climate of fin-de-siecle France.Previous critics have viewed this repertoire primarily with limited structuralist methodologies. The results have often been unhappy: all of these symphonies are in some ways formally idiosyncratic and individual, and their non-conforming aspects have tended to puzzle or disappoint. My study draws on recent methods developed by Warren Darcy, Scott Burnham, and others that emphasize the dynamic and teleological qualities of musical form. This more supple approach allows a fuller appreciation of the subtle and sophisticated ways in which individual works unfold formally, and the spectrum of procedures French composers employed.
My study demonstrates that the factors shaping the French symphony in this period included imperatives of progress as well as the popularity of the symphonic poem. Some of the earlier symphonists covered in this study also felt the need to confront Wagner's influential theoretical writings: mid -century he had famously proclaimed the death of the symphony. As many writers have argued, the archetypal heroic "plot" that Beethoven's symphonies express embodies the subject-laden values---notions of individual freedom and faith in the self---that prevailed in his time. Different inflections of this plot by French symphonists, I argue, reflect the variegated ways fin-de-siec1e French culture had received these values.
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Card, Patricia Pierce. "The influence of klezmer on twentieth-century solo and chamber concert music for clarinet with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others /." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/card%5Fpatricia/index.htm.
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Thomson, Matthew Paul. "Interaction between polyphonic motets and monophonic songs in the thirteenth century." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:4230a588-2359-4ac3-bd87-59c0e4ce775a.
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Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century have been characterised in a number of different ways. Mark Everist and Gaël Saint-Cricq have focused on motets' use of textual and musical forms usually thought of as typical of song. Judith Peraino, on the other hand, has explored the influence of motets on a range of pieces found in manuscripts that mainly contain monophonic songs. This thesis re-examines motet-song interaction from first principles, taking as its basis the 22 cases in which a voice part of a polyphonic motet is also found as a monophonic song. The thesis's analysis of this corpus has two central themes: chronology and quotation. In addressing the first, it develops a music-analytical framework to address the compositional processes involved in these case studies, arguing that in some of them a monophonic song was converted into a motet voice, while in others a motet voice was extracted from its polyphonic context to make a song. It also emphasises, however, that chronology is often more complicated than these two neatly opposed categories imply, showing that different song and motet versions can relate to each other in ways that are dynamic, complex, and often hard to recover from the extant evidence. The conversion of song material for motets and vice versa is placed within a larger context of musical quotation and re-use in the thirteenth century, showing that many of these case studies play with the pre-existence of their song or motet material: some transfer their voice parts from one medium to another in a way that consciously foregrounds their previous incarnations, whereas others mask the pre-existence of the voice part by absorbing it into new textual and musical structures. The thesis closes with a consideration of the wider implications of the motet-song interaction it analyses. It examines the generic boundary between songs and motets and suggests a model of generic analysis that centres on the complexities of manuscript transmission. Finally, it considers the use of refrains within its corpus of motets and songs, demonstrating that these short passages of music and text are often quoted in ways similar to those analysed in motets and songs earlier in the thesis.
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Witen, Michelle Lynn. "Perceiving in registers : the condition of absolute music in James Joyce's Ulysses and Finnegans Wake." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669882.
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Soderberg, Karen Amelia Phillips. "A survey of selected contemporary Swedish choral composers and literature." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185410.
Full textAbstract:
This study presents a survey of selected Contemporary Swedish Choral Composers and Literature representative of the trends in contemporary Swedish choral music. The varied compositional styles and techniques of composers Sven-David Sandstrom, Thomas Jennefelt, Karin Rehnqvist and Andres Hillborg exemplify these trends. Little information is readily available about the current generation of choral composers outside of Sweden. Most of the available materials concentrate on the music of composers of the 1940s Monday Group such as Sven-Erik Back and Ingvar Lidholm and Karl-Birger Blomdahl, the works of Gunnar Bucht of the 1950s who reacted against modernism, the 1960s avant-garde styles of Bengt Hambraeus, Sigfriend Naumann, Arne Mellnas and Folke Rabe. This survey discusses the life, career and musical styles of each of the composers and analysis of an a cappella work illustrative of their musical styles. Fundamental to the growth and musical development of the representative composers is an examination of the historical background, foundation and tradition of choral singing in Sweden. The select bibliography, list of works by the composers, catalogs of choral music, list of institutions and organizations, and publishers, is intended to serve as a reference guide.
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Mulvey, Margaret N. "The School Fugue: Its Place in the Organ Repertoire of the French Symphonic School, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, D. Buxtehude, C. Franck, P. Eben, F. Mendelssohn, R. Schumann, M. Reger and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278639/.
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This study focuses on the central role which fugue d'ecole, as defined and taught by the post-revolutionary Conservatoire de Paris, played in re-establishing standards of excellence in organ composition and aiding the development of the French Symphonic Organ School. An examination of counterpoint and fugue treatises by Cherubini, Dubois, and Gedalge reveals the emergence of a specific school fugue form, intended for academic purposes only, as a means to instilling discipline and honing the technical skills required in all forms of musical composition.
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Smith, Jeffrey B. 1957. "Parallels in the Development of Electronic and Percussion Music and an Examination of Performance Problems in Lejaren Hiller's Machine Music for Piano, Percussion and Two-Channel Tape Recorder with Three Recitals of Selected Works of Rolnick, Kessner, Xenakis, Winsor, Niimi, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279115/.
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This study traces the significant developments in the late nineteenth and early twentieth centuries which led to the development of electronic music and increased writing for percussion. Whether by coincidence or premeditation, the field of percussion in Western culture and electronic music share many parallel aspects in their history. Carlos Chavez, Edgard Varese and John Cage foresaw a time when electronic
music would allow composers to realize compositions with ease, provide new sounds to the spectrum of possible material for pieces and aid in the conception of works. Significantly, these same composers were important figures in the development of percussion composition. In many ways, Lejaren Hiller's Machine Music can be seen as a culmination of the developments which had been taking place in the history of electronic music and percussion music. A product of the innovations in both fields, it poses some formidable problems for the performers. This study will give some background into its composition, examine its structure and deal with its performance problems.
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Hebda, Paul Thomas. "Spółka Nakładowa Młodych Kompozytorów Polskich (1905-1912) and the Myth of Young Poland in Music." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331366/.
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This study deals with the four-composer Polish musical association, Young Polish Composers' Publishing Company, which became commonly known as the group Poland in Music. Young Poland in Music is considered by Polish and non-Polish music historians to be the signal inaugurator of modernism in Polish music. However, despite this most important attribution, the past eighty-odd years have witnessed considerable confusion over the perceptions of: 1) exactly who constituted the publishing company, 2) why it was founded, 3) what the intentions of its members were, and 4) the general reception its members' music received. This paper addresses and resolves this multiple confusion. Chapter I presents an introductory survey of the political, socio/cultural, and musical developments of Poland between 1772 and c1900, the period of the Polish Partitions through the beginnings of the "Young Poland" era. Chapter II presents a discussion of the facts surrounding the founding of the publishing company, as well as a discussion of the eighty-odd years of historical misinterpretations that have developed about the composers' company and its relationship to "Young Poland in Music." Chapter III discusses the interpersonal relationships of the composers and other persons directly involved with them and their company, and the impact that these relationships had on the publishing company. Additionally, the chapter brings into focus the specific relationships between the musicologist, Adolf Chybiński, the company, and its individual members. The chapter concludes with a discussion of the actual publishing activities of the company. Chapter IV examines the three concerts sponsored by the company and their critical receptions in Warsaw and Berlin through the surviving reviews and comments of leading contemporary music critics, the concert participants, the composers' close colleagues, and the composers themselves. Finally, Chapter V contains a brief discussion of the music presented on the three concerts, characterizing the works within the context of their initial critical reception.
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Bozelka, Kevin John. ""Getting beyond" : SPIN magazine in the late 1980s." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82688.
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The Eighties were a time in Western popular music that seemed to exist only by virtue of it coming after something else---namely, the 1960s counterculture and the punk rock of the 1970s. Inheriting both the failure of permanent cultural revolution and the intense cynicism that is punk's strongest legacy, youth cultures in the 1980s found it increasingly difficult to live in the present. This thesis labels this historical dilemma postmodern. It will show how SPIN magazine attempted to move past this dilemma in order to assert a unique identity for 1980s popular music and youth cultures. In particular, John Leland, a columnist for SPIN, appropriated a pop aesthetic as an identity marker and, in the process, questioned the supposed ineffectiveness of pop music for a political postmodernism. An analysis of Leland's writing uncovers what accounts of this era tend to ignore: the social function of postmodernism.
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West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.
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Kelly, Kenneth Todd. "Chet Baker : a study of his improvisational style, 1952-1959." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1167797.
Full textAbstract:
The purpose of this study was to identify characteristics of jazz trumpeter Chet Baker's improvisational style, both instrumental and vocal, during the early period of his career (1952-1959). Baker's early years were divided into six periods, based on major milestones: The Charlie Parker Groups (1952-1953), The Gerry Mulligan Quartet and Tentette (1952-1953), The Chet Baker Quartets (1953-1956), The European Groups (1955-1956), Quartets, Quintets, and Sextets (1956-1957), and The Riverside Recordings (1958-1959). Improvised lines and chord changes from fifteen solos were transcribed and analyzed by the researcher; melodies of standard songs were transcribed and compared with the original version. The number of solos selected from each period was based on the length of time Baker spent with each particular group and the number of albums recorded. The solos were analyzed in terms of rhythmic interpretation of melodies, intervals utilized, use of nonharmonic tones, use of jazz cliches, embellishment of the melodic line, use of melodic and rhythmic patterns, range, tone quality, articulation, vibrato, and vocal scat syllables. As a result of this analysis, the researcher was able to draw conclusions concerning Baker's improvisational style during the period of the study.School of Music
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Greenshields, Mary Clare, and University of Lethbridge Faculty of Arts and Science. "The Amazon in the drawing room : Natalie Clifford Barney's Parisian salon, 1909-1970 / Mary Clare Greenshields." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, c2010, 2010. http://hdl.handle.net/10133/2606.
Full textAbstract:
This thesis is organised into two chapters and an appendix. The first chapter explores the significant American expatriate movement in France in the early part of the twentieth century, in an effort to answer the question ―Why France?‖ The second chapter examines the life and work of Natalie Clifford Barney, an American expatriate writer in Paris, who wrote predominantly in French and ran an important weekly salon for over sixty years. Specifically, her aesthetic and subject matter, her life, and her fraught publishing history are considered. The appendix is a translation of Barney's 1910 book of aphorisms entitled Éparpillements.v, 110 leaves ; 29 cm
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Ward, Robert (Robert Clark). "Passion Settings of the 20th- and 21st- Centuries Focusing on Craig Hella Johnson's Considering Matthew Shepard." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862740/.
Full textAbstract:
Craig Hella Johnson (b. 1963) has emerged as a leader in choral music over the last 20 years. As the conductor of the Austin, TX based chorus Conspirare Johnson implemented the European model of bringing singers together from all over the country to assemble for concerts and recordings over a short period of time. He is known for his collage programs which bring together many styles of music bound by a central theme. Through these programs he has written and arranged many pieces which are now published and being performed by choirs across the globe. Johnson's most significant work to date is a 90 minute passion oratorio which details the story of Matthew Shepard, a college student murdered in a hate crime in 1998. Considering Matthew Shepard (2016) is a wonderful example of Johnson's composition and programming style. Though not a traditional passion story, it is part of the evolution of the genre in the 20th and 21st centuries. The passion oratorio has seen a resurgence in the past 50 years and has undergone a transformation in that time. These new works pay homage to the history of the genre but have begun to stretch it in terms of form and content. This study will highlight the evolution of the passion oratorio focusing on Johnson's Considering Matthew Shepard and offer some insight into the composers style and how this work represents a modern treatment of the passion oratorio.
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Coll-Vinent, Sílvia. "The reception of English fictional and non-fictional prose in Catalonia (1916-38), with particular reference to Edwardian literary culture and associated debates concerning the novel in England, France and Catalonia." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:e715592b-063c-4a02-9bbb-d89078ec1719.
Full textAbstract:
The present study opens up the field of Catalan connections with English literature. The importance of Edwardian influences on the general transmission of English authors and works is demonstrated. Original data on the reception of G.K. Chesterton, the Edwardian figure with a most remarkable impact in Catalonia, is brought to light (Chapter 1, Appendix 1), followed by discussion of the presence of H.G. Wells and G.B. Shaw and an account of the reception of Well's early fiction (Chapter 2); their influence sheds new light on the aspiration of an élite to modernise Catalan culture. Catalan translations of English fictional works produced in the period 1918-38 (Chapter 3, Appendix II) are linked to the reception of the roman anglais in the context of the crisis of the roman à thèse, and the meditating influence of French criticism is revealed. The values of romance, adventure, and the common man (from Defoe to Stevenson, from Stevenson to Conrad) constitute the recurrent thread associated with the English tradition and with the Edwardian fictional canon, as these were mediated from France to Catalonia. This panorama of transmission enhances an understanding of Catalan views of the novel, in the light of Edwardian values (Chapter 4), as exemplified in Carles Riba's critical appraisal of two Catalan authors, in the appeal of Joseph Conrad's narrative technique and its influence on J.M. de Sagarra, as well as in the comparison of Frank Swinnerton's Nocturne (a best-seller of 1917) and its Catalan counterpart, M. Teresa Vernet's Les algues roges. This thesis also includes a chronology of the reception of Chesterton and a list of Catalan translations of English works of fiction.
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Locke, Scott A. "The accompanied clarinet works of Eugene Bozza : descriptive analysis and performance guide with emphasis on the clarinet concerto." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026699.
Full textAbstract:
French composer Eugene Bozza (1905-1991) has made significant contributions to the repertoire of wind instruments in the twentieth century. Not least among his compositions are the clarinet concerto, the eleven works for clarinet and piano, chamber works involving the clarinet, and numerous etudes for clarinet. Information gathered throughout the course of the study demonstrates why the concerto is a significant work for clarinetists, demanding from the performer technical prowess, tonal control, and mature musicianship. The additional works for clarinet and piano are mostly sectional pieces written in a morceau de contours vein challenging the performer's lyrical and technical playing.This study reveals through analysis a number of compositional devices used by the composer that are stylistic threads running through virtually all the works for clarinet. Harmonically, these devices include extended tertian chords used in succession, parallel chord movement, and quartal and quintal harmonies. Melodic resources include diatonic scales, chromatic scales, some transposed modes, and a limited use of whole tones. The composer prefers homophonic textures, but uses countermelodies and the occasional use of the unaccompanied soloist for contrast. Bozza uses the element of rhythm dynamically, featuring rhythmically-charged motives throughout much of his composition. Numerous expressive modifiers are included in the works, but leave the performer enough latitude for supplementary dynamics and rubato.In addition to analyses of the concerto and the works for clarinet and piano, the study addresses the orchestration of the concerto. This discussion shows the ways in which Bozza uses orchestral colors and alerts the performer to discrepancies between the orchestral score and the piano reduction. Few of the changes from the score to the reduction are significant. Many changes are cosmetic involving the deletion of color effects and short countermelodies in the reduction to allow for idiomatic piano writing.The study offers the performer recommendations for the successful performance of the concerto and the works for clarinet and piano. The recommendations include supplemental expressive modifiers, fingering choices, additional phrasing choices, and practice techniques. As an introduction to the study, biographical information was gathered to provide the reader with a concise sketch of the life and style of Eugene Bozza. Correspondence received from Alphonse Leduc gives additional information on Bozza's works for clarinet.School of Music
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DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.
Full textAbstract:
This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.