Dissertations / Theses: 'Musical canon'

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Hanlon, Ann-Marie. "Satie and the French musical canon : a reception study." Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/2124.

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Satie was the first French composer to completely reject the musical tradition of Romanticism in all its forms: technically, aesthetically and ideologically. The methods through which Satie attacked tradition were highly unorthodox and often presented in an aphoristic and humorous fashion, an approach that caused his pivotal role in the emergence of the early French avant-garde to be neglected. The primary research question that informs this thesis asks what were the mechanisms by which Satie was consistently excluded from the canon during his public career (1911-1925)? Within a primary framework of canon theory, this reception study challenges the dominance of the canon on discourses surrounding Satie during his lifetime and lays the foundations for a reassessment of his role as an avatar of French modernism. This study addresses the canon in explicit terms and challenges canonic influence over methodology, terminology and ideology in musical discourse. In doing so many traditional beliefs and images concerning Satie are re-examined, for example: that analyses of his music are a futile pursuit as the musical ideas were considered more important than the music itself. The historicity of various images of Satie that collectively formed his public identity in the press are examined and, where necessary, re-evaluated. Through an analysis of a wide range of primary sources, including concert programmes and critical reviews, this research addresses the themes that predominate in Satie’s reception and impacted significantly on his reputation: professionalism, humour, gender, nationalism, class politics and religion. Particular attention is given to the role of humour and various methods are suggested for directly dealing with the comic in Satie’s music. The canonic implications of programming practices and Satie’s involvement in inter-art events are also explored. Through a direct confrontation of the canon, an alternative historiographic model for this period of French musical history is proposed.

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Eisner, Sagüés Federico Ernesto. "Alturas de Machu Picchu como hecho musical : estilos, canon y lugar en la musicalización del poema como lectura crítica." Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/130619.

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Magíster en artes, mención musicología
Este proyecto de investigación nace del interés por comprender ahondar y aportar a una de las dimensiones de la música que más me apasiona y ocupa; su relación con la palabra y en especial con la poesía. Interés en principio vago que nace de mi práctica musical y literaria, sobre todo inclinada a la experimentación sonora, a la improvisación musical-poética y a la composición y arreglo de canciones.

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Iafelice, Carlos Henrique Cascarelli. "O conceito das protoformas do cânone : aspectos históricos, terminológicos e processos composicionais no século XVI /." São Paulo, 2015. http://hdl.handle.net/11449/134238.

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Orientador: Marcos Pupo Nogueira
Banca: Mônica Lucas
Banca: Vitor Gabriel
Resumo: Fundamentado a partir de três eixos do conhecimento da polifonia (teórico, prático e especulativo), este trabalho apresenta o 'conceito das protoformas do cânone', que consiste em cinco matrizes ou formas-base que sintetizam as variadas manifestações do cânone durante os séculos XIII ao XVI. Para a fundamentação da pesquisa, são considerados primariamente aspectos relacionados à periodicidade motívica em tratados e exemplos musicais do séc. XIII, limitando-se à compreensão do termo como apresentado nos tratados práticos do séc. XVI, propiciando assim, materiais e indícios que apontam as variadas etapas do desenvolvimento e realização do cânone. Ao longo da exposição do estudo, uma série de comentários de excertos diretamente ligados às fontes primárias são apresentados, resultando em uma contribuição teórica às questões terminológicas e conceituais concernentes à sua história
Abstract: Based from three axes of polyphony's knowledge (theoretical, practical and speculative), this work presents the 'concept of the canon's protoforms', which consists of five matrices or formsbased synthesizing the varied manifestations of the canon during the 13th-16th centuries. In order to support the research, they are considered primarily aspects related to motivic periodicity in treatises and musical examples in 13th century, being limited on understanding of the term as presented in practical treatises in 16th-century, thus providing materials and evidences that link the various stages of development and realization of the canon. Throughout the study's exposition, a series of excerpts and comments directly related to the primary sources are presented, resulting in a theoretical contribution to the terminological and conceptual issues concerning they history
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Rizek, João Gabriel 1987. "Tradição e ruptura : Pierre Boulez e a formação do cânone no pós-guerra (1946-1954) /." São Paulo, 2014. http://hdl.handle.net/11449/111025.

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Orientador: Lia Vera Tomás
Banca: Mario Videira
Banca: Maurício Funcia de Bonis
Resumo: Dentro do âmbito artístico, os conceitos de cânone e tradição são basilares. São eles os responsáveis por orientar e restringir desde a prática até a concepção daquilo que tomamos por música clássica. Seus mecanismos moldam a prática e transformam a teoria. A partir do exame destes conceitos, tal como entendidos por uma seleção de abordagens advindas da musicologia, da filosofia e da teoria literária, investigaremos nesta dissertação como se formou um determinado cânone. Trata-se daquele pensado pelos compositores surgidos no pós-guerra europeu, sobretudo nos anos de 1946 a 1954. Encabeçados por Pierre Boulez, instituições musicais e compositores, publicações editoriais e programas de orquestra pareciam apontar apenas para um tipo de música: a música serial. Analisaremos aqui como Boulez a defendeu e mobilizou forças para que ela se tornasse a poética mais comentada e praticada nos anos seguintes à Segunda Guerra. Para tanto, analisaremos sobremaneira os textos contidos na sua coletânea de ensaiosApontamentos de Aprendiz. Como veremos, longe de ser uma postura arbitrária, a tentativa de manipulação do cânone levada a cabo por uma série de atores torna-se uma medida política, praticada por aqueles que possuem concepções e determinações do que a música, sua prática e o seu entendimento devem ser.
Abstract: The concepts of Canon and Tradition are of the most importance inside the artistic debate. Not only they shape our understanding of what music should be but also what we take as being classical music. Their mechanisms help us shape practices and transform what we take as being theories. Through the investigation of the canon's mechanisms, as exemplified by several notions ranging from musicology, philosophy and literary criticism, we will investigate in this dissertation how one particular canon took shape. It has to do with the music being created and played in the Post-war period, that is, serialism. Far from being the only music composed in those years, Pierre Boulez, among several musical institutions and publications, took every measure to guarantee its power among all the other artistic languages. We will analyze here how Boulez defended that music, being responsible for the dimension it has achieved in those years. In order to do that we will investigate more accurately Boulez's essays collected in Stocktakings from an Apprenticeship. As we will see, far from being an arbitrary solution, the manipulation of the canon has political implications, responsible for what governs our ways of understanding and practicing music.
Mestre

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Dvorin-Spross, Miriam. "Tune, tot and kin : constructing music praxis in a humanities course for undergraduate nonmusic majors /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11405.

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Bach, Judit. "A tale of two piano trios Fanny and Felix Mendelssohn's Piano trios in D minor (op. 11, Op. 49); and how a woman composer's work should relate to the canon /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117648285.

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Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiii, 136 p.; also includes graphics Includes bibliographical references (p. 131-136). Available online via OhioLINK's ETD Center

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Calderon, Sabla Cristina. "El canon de compositoras de música académica de la generación del 50 en Lima, Perú." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2019. http://hdl.handle.net/20.500.12404/16861.

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Rizek, João Gabriel [UNESP]. "Tradição e ruptura: Pierre Boulez e a formação do cânone no pós-guerra (1946-1954)." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/111025.

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Made available in DSpace on 2014-12-02T11:16:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-08-27Bitstream added on 2014-12-02T11:21:20Z : No. of bitstreams: 1 000799740.pdf: 406073 bytes, checksum: 6aebdb82da008189d1c0c6c5c52629b4 (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Dentro do âmbito artístico, os conceitos de cânone e tradição são basilares. São eles os responsáveis por orientar e restringir desde a prática até a concepção daquilo que tomamos por música clássica. Seus mecanismos moldam a prática e transformam a teoria. A partir do exame destes conceitos, tal como entendidos por uma seleção de abordagens advindas da musicologia, da filosofia e da teoria literária, investigaremos nesta dissertação como se formou um determinado cânone. Trata-se daquele pensado pelos compositores surgidos no pós-guerra europeu, sobretudo nos anos de 1946 a 1954. Encabeçados por Pierre Boulez, instituições musicais e compositores, publicações editoriais e programas de orquestra pareciam apontar apenas para um tipo de música: a música serial. Analisaremos aqui como Boulez a defendeu e mobilizou forças para que ela se tornasse a poética mais comentada e praticada nos anos seguintes à Segunda Guerra. Para tanto, analisaremos sobremaneira os textos contidos na sua coletânea de ensaiosApontamentos de Aprendiz. Como veremos, longe de ser uma postura arbitrária, a tentativa de manipulação do cânone levada a cabo por uma série de atores torna-se uma medida política, praticada por aqueles que possuem concepções e determinações do que a música, sua prática e o seu entendimento devem ser.
The concepts of Canon and Tradition are of the most importance inside the artistic debate. Not only they shape our understanding of what music should be but also what we take as being classical music. Their mechanisms help us shape practices and transform what we take as being theories. Through the investigation of the canon’s mechanisms, as exemplified by several notions ranging from musicology, philosophy and literary criticism, we will investigate in this dissertation how one particular canon took shape. It has to do with the music being created and played in the Post-war period, that is, serialism. Far from being the only music composed in those years, Pierre Boulez, among several musical institutions and publications, took every measure to guarantee its power among all the other artistic languages. We will analyze here how Boulez defended that music, being responsible for the dimension it has achieved in those years. In order to do that we will investigate more accurately Boulez’s essays collected in Stocktakings from an Apprenticeship. As we will see, far from being an arbitrary solution, the manipulation of the canon has political implications, responsible for what governs our ways of understanding and practicing music.

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Gampel, Alan. "Les indications musicales dans l’Orient chrétien du VIe au IXe siècle : l’apport des papyrus." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040160.

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Les trois parties de cette thèse forment une unité pour défendre l’hypothèse de la présence de signes musicaux dans la transmission d’hymnes chrétiennes liturgiques durant la deuxième moitié du premier millénaire, ce qui ferait remonter de plusieurs siècles la naissance de la notation musicale chrétienne, ordinairement située au IXe siècle. Dans une première partie, la présentation d’un corpus papyrologique démontre l’existence de trois genres d’indications musicales écrites, les hirmoi utilisés, dès le VIe siècle, comme strophes-modèles dans le canon poétique, les modes de l’octoechos et des signes interlinéaires non identifiés. Dans une deuxième partie, la tradition manuscrite des hirmologia datés du Xe au XIIIe siècle, en grec et en d’autres langues liturgiques, a été rassemblée et étudiée afin d’y retrouver les hirmoi identifiés dans les papyrus et d’en reconstituer les mélodies. Enfin, dans une troisième partie, ces mélodies et leurs notations neumatiques ont été superposées au schéma rythmique des hirmoi et les signes non identifiés y ont été positionnés. Cette suite de présentations de corpus et de comparaisons sémiologiques et musicologiques a préparé l’analyse et les propositions d’interprétation des signes jusqu’alors non-identifiés
The three parts of this doctoral dissertation combine to support the hypothesis that musical signs were used in the transmission of Christian hymns during the 5th – 10th centuries. In the first part, a papyrological corpus provides evidence of three types of musical indications: hirmoi, which were used as musical models for liturgical canon strophes, modal signs from the octoechos system and un-identified interlinear symbols. In the second part, several hirmoi identified in the papyri are located in hirmologia from the 10th – 13th centuries – liturgical books containing paleo-byzantine and medio-byzantine musical notations. The different versions of the melodies are compared and then transcribed into modern notation. In the final part, the strophe texts and unidentified symbols from the papyri are superimposed on the musical transcriptions in order to analyze and interpret the functions of the symbols

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Shintani, Joyce. "Gendertronics : toward a "lecture féminine" of emerging musical technologies and their aesthetics : gerhard Stäbler, Terre Thaemlitz, Miss Kittin." Thesis, Paris Est, 2008. http://www.theses.fr/2008PEST0256.

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Depuis les années 80, le développement rapide des nouvelles technologies microélectroniques a donné naissance à une nouvelle génération d’oeuvres d’art musicales. Souvent, ces oeuvres profitent d’une approche analytique provenant de la théorie des médias. En même temps, de nouveaux courants dans la philosophie ainsi que dans les études culturelles ont engendré une nouvelle notion de genre (anglais : gender), qui vient s’établir dans la musicologie anglo-américaine et, de manière plus conscrite, dans la musicologie allemande ; jusqu’ici, elle ne s’établit guère dans la musicologie française. Cette thèse entreprend une investigation théorique d’oeuvres d’art électroniques, tout en utilisant la notion de gender : gender + electronic = gendertronics. Pour cette investigation, des notions sont employées dérivant de la lecture féminine : une approche pluridisciplinaire associée à l’écriture féminine d’Hélène Cixous (* 1937), écrivain et théoricienne poststructuraliste. Puisque ni la lecture féminine ni la théorie des médias ne prend en compte des éléments musicaux, cette investigation incorpore également des aspects de l’analyse musicale. Trois artistes sont considérées : Gerhard Stäbler (*1943), Terre Thaemlitz (*1968) et Miss Kittin (*1973). L’investigation trace le développement des notions de « sujet » et de « matériau musical » depuis la théorie poststructuraliste et la musique contemporaine jusqu’à des notions philosophiques émergentes du « corps ». Une considération particulière est le genre musical electronica, repérant ses antécédents dans la musique électronique expérimentale en Europe du vingtième siècle et dans les musiques populaires de danse aux Etats-Unis dans les années 80 et 90. L’investigation cherche à joindre les recherches récentes dans ces domaines. Elle ouvre de nouvelles pistes et propose des nouveaux outils pour explorer plus profondément le domaine émergent des gendertronics
Since the 1980s, rapid development of new micro-electronic technologies has spawned a new generation of musical art works employing electronic means. These artworks are often theoretically approached using media theory. Contemporaneously, new developments in philosophy and in cultural studies have given rise to the new notion of gender, which has since found its way into Anglo-American musicological and, to a more limited degree, into German musicology, though not at all into French. The present work undertakes a gendered theoretical investigation of electronic art works – gender + electronics = ‘gendertronics’. For the investigation, notions stemming from lecture féminine are employed, a pluralistic reading approach associated with écriture féminine of the poststructuralist theorist/writer Hélène Cixous (born 1937). Since neither lecture féminine nor abovementioned media theory takes musical elements into account, this investigation also draws on music analysis. Aspects of the works of three artists are considered: Gerhard Stäbler (born 1943), Terre Thaemlitz (born 1968), and DJ Miss Kittin (born 1973). The investigation traces the development of the topics ‘Subject’ and ‘musical material’ from poststructuralist and New Music theory of the 20th century to emerging new philosophical notions of the body. Particular attention is given to the development of the musical genre ‘electronica’, tracing its antecedents from European experimental electronic music of the 20th century and from American popular dance music of the 80s and 90s; subgenres treated include rave, glitch, clicks-and-cuts, electroclash, techno, electro, ambient, and house. The investigation complements recent research addressing lacunae in these areas and offers new paths and tools for future investigation in the emerging area of gendertronics

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Wuidar, Laurence. "Musique et hermétisme après le concile de Trente: astrologie et canons énigmes." Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210717.

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Etude des relations entre musique et astrologie par (1) un panorama européen de la présence de l’astrologie dans les traités de théorie musicale de la fin du 15ème siècle au début du 18ème siècle (Burzio, Gaffurio, Finck, Zarlino, Mersenne et l’horoscope du parfait musicien, Bartolus, Werckmeister) et dans les « Accademie » italiennes (l’Academia Ortolana d’Antonfrancesco Doni et l’Academia dei Gelati de Bologne), (2) l’étude des écrits astrologiques manuscrits et édités de compositeurs Italiens du 17ème siècle (Zacconi, Osio, P. F. Valentini) et (3) le décodage de l’astrologie dans un corpus de partitions musicales (analyse de Milleville, « Madrigali », 1617 ;Strozzi, « Elementorum », 1683 ;des sonates « Zodiacus Musicus »…). Lue en parallèle avec les énigmes musicales et « canoni enigmatici » italiens du 17ème siècle étudiés sous l’angle de l’expression de l’hermétisme et de l’ésotérisme musical. Les fonctions sociales, sacrées et symboliques de cette forme musicale ainsi que des caractéristiques esthétiques et herméneutiques propres au 17ème siècle se dégagent de l’analyse des sources (analyses détaillées des œuvres de Romano Micheli, du manuscrit de canons de P. F. Valentini et du manuscrit des « Hiéroglyphes musicaux » de Zacconi ;présentation des manuscrits de canons énigmes conservés au Museo Civico Musicale de Bologne (Nanino, Agostini, Costanzo Porta, Milanta, Martini, Mattei) et analyse des énigmes dans les messes romaines, Anerio, Soriano, Agostini…). Plus de 80 sources manuscrites (Venise, Pesaro, Milan, Bologne, Rome, Vatican, Londres) et de 120 sources anciennes (Agrippa, Bruno, Cardano, Ficino, Kircher ;Banchieri, Cerreto, Liberati, Rodio, Steffani…), 44 reproductions hors texte.
Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished

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Heidlberger, Frank. "Canzon da sonar : Studien zu Terminologie, Gattungsproblematik und Stilwandel in der Instrumentalmusik Oberitaliens um 1600 /." Tutzing : H. Schneider, 2000. http://catalogue.bnf.fr/ark:/12148/cb371224773.

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Ravensbergen, Jacqueline. "The Twentieth-century Canon: An Analysis of Luigi Dallapiccola's Canonic Works from his 'Quaderno musicale di Annalibera'." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23146.

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The compositional technique of cross partitioning is one of Luigi Dallapiccola's most used twelve-tone devices. Through a detailed analysis of three contrapuntal canonic movements from Dallapiccola's Quaderno Musicale di Annalibera, I examine his use of cross partitioning as a motivic tool and as a referential collection. The development of the BACH motive and the derivation of tone-row statements reflects on Dallapiccola's extensive use of cross partitioning and his compositional principles used to achieve a sense of polarity. Upon a preliminary analysis based on set-theory analysis set out by Joseph Straus I draw an interpretive analysis through Alegant's cross partitioning model as well as develop my own set of parameters for interpretation in regards to polarity which is based on intervallic stability.

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Tessari, Silvia. "Il corpus innografico attribuito a Fozio. Edizione critica e analisi musicale." Doctoral thesis, Università degli studi di Padova, 2012. http://hdl.handle.net/11577/3425314.

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The aim of the dissertation is to collect in one corpus all the Byzantine hymns (almost forty) that are attributed to Photius by the manuscript tradition or, in some cases, by the assumptions made in the editiones principes. In the case of hymns already published, I review the question of the attribution, re-publishing them on the base of a wider paradosis. Some unedited have been identified thanks to the recensio carried out by me (manuscripts from Paris, Lesbos and St. Catherine Monastery – Mount Sinai) and are published here for the first time. All of them are translated into Italian. I analyze issues related to structure, language and style of the hymns, in order to collect any evidence that could bring light on the identity of the hymnographer who wrote them, so far tacitly identified with the patriarch of Constantinople Photius (858-867, 877-886). Because we cannot consider the corpus simple “poetry”, but hymnody, ie intended to be sung at liturgical functions, together with the philological study, I deepened my knowledge in Byzantine musical palaeography, transcribing into staff-notation the melody of each hymn from at least three manuscripts, written in Middle-byzantine notation, dating from the Twelfth to the Sixteenth Century, and making a comparison with the oldest sources (in Palaeo-byzantine musical notation). The study of the melodic line (cadences, coincidence of textual and musical accents) made it possible to evaluate from time to time metric anomalies found in the text of the hymns, justifying or correcting them according to the strict union between words and music.
Scopo della dissertazione è raccogliere in un corpus i componimenti innografici bizantini (una quarantina) che sono attribuiti a Fozio dalla tradizione manoscritta o, talvolta, solo dagli editori. Nel caso di inni editi, si riesamina la questione dell’attribuzione, ripubblicando i componimenti sulla base di una più vasta recensio da me condotta. Si dà inoltre la prima edizione di alcuni inediti tratti da codici custoditi a Parigi, a Santa Caterina del Sinai, a Lesbo. Gli inni sono tutti tradotti in lingua italiana. Affronto in dettaglio le questioni inerenti struttura, stile e metrica dei componimenti, al fine di raccogliere tutti gli elementi che possano portar luce sull’identità dell’innografo che li scrisse, sinora identificato con il patriarca di Costantinopoli Fozio (858-867; 877-886). Poiché il corpus considerato non è semplice poesia, ma innografia, destinato cioè ad essere cantato durante le funzioni liturgiche ortodosse, a fianco dello studio filologico si è intrapreso quello della paleografia musicale bizantina, trascrivendo su pentagramma la melodia di ciascun inno da almeno tre fonti manoscritte, vergate in notazione mediobizantina, databili dal XII al XVI secolo, e operando un confronto con testimonianze più antiche (in notazione musicale paleobizantina). Lo studio della linea melodica (cadenze, coincidenza di accenti testuali e musicali) ha consentito di valutare di volta in volta le anomalie metriche riscontrate nel testo degli inni, giustificandole o emendandole in base allo stretto connubio tra parola e musica.

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Trey, Flavie. ""Homo Fugiens" via les arts de la fugue : trajectoires du sujet, espaces de fugue. Vers une théorie musicale du sujet." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31522.

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L’hypothèse d’une théorie musicale du sujet postule que l’on peut éclairer certaines problématiques de l’existence humaine à la lumière de la fugue musicale, et inversement. A partir du sens technique et musical du «sujet» de fugue, nous opérons dans la première partie une relecture (étymologique, sémantique et historique) de la fugue et du fait musical en lien avec l’émergence de la conscience européenne moderne, au tournant du 16ème siècle. En retour, les enjeux culturels, psychologiques et sociaux de la fugue s’éclairent grâce à l’injonction éthique de faire de sa vie une œuvre d’art – une fugue, dans la vie comme dans l’art. Cette hypothèse, énoncée au terme de la première partie, est explorée dans la troisième partie. La deuxième partie est consacrée à une esthétique comparée des arts de la fugue visant à faire apparaître la transversalité des enjeux et des principes de cette forme particulière. La prégnance de ces manifestations artistiques renforce l’hypothèse selon laquelle la subjectivité de fugue peut fonctionner comme un modèle de compréhension du sujet humain. La troisième partie s’ouvre sur une analyse de la psychopathologie de fugue. Ainsi la description de l’Homo Fugiens, figure anthropologique de l’homme en fugue, s’adosse in fine à une axiologie du sujet : le sujet humain, aux sens psychologique, social et éthique, évolue entre le sens positif (esthétique) de la fugue (œuvre d’un sujet absolu, créateur, en quête de lui-même) et le sens passif (voire pathologique) de la fuite (appauvrissement du sujet, qui peut aller jusqu’à la perte). The hypothesis of a musical theory of the subject postulates that the musical fugue partly explains human existence, and conversely. Considering the technical and musical significations of the fugue «subject», in the first part we reassess the musical fugue (through etymology, semantics and history) in its relation to the emergence of modern consciousness in Europe, at the turn of the sixteenth century. On the other hand, what is at stake with the cultural, psychological and social aspects of the fugue can be explained through the ethical injunction of making your life a work of art – a fugue, in life, as in art. This hypothesis emerges at the end of the first part and is directly addressed in the third part. The second part is dedicated to a comparative aesthetics of the arts of the fugue aimed at underlining the transversality of the principles specific to this artform. The omnipresent manifestations of the fugue in art reinforce the idea that the subjectivity of / in the fugue can operate as a model of understanding of the human subject. The third part develops from an analysis of the psychopathology of fugue. Accordingly, we show that the description of the Homo Fugiens (the anthropological figure of « man in (the) fugue ») rests on an axiology of the subject : the human subject, psychological, social and ethical, evolves between the positive (aesthetic) meaning of the fugue (the human subject, absolute, in quest of himself, creating his life) and the passive meaning of fugue-as-flight (ranking from the impoverishment to the loss of the subject, which is the pathology of the fugue).

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Gaboriaud, Marie. "« Ce maître mystérieux » : la construction littéraire du mythe de Beethoven sous la Troisième République." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040159.

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La Troisième République a « mystifié » Beethoven. Elle en a fait un personnage de fiction, et l'a intégré au canon républicain français, en le dotant de toutes les valeurs morales et idéologiques qui fondent alors la construction de l'identité nationale. Ce travail vise à mettre en lumière le corpus particulier qui a contribué à la formation de ce mythe, en partie héritier du romantisme, mais aussi éminemment moderne. La critique musicale, la biographie, le roman, le théâtre, l'édition de vulgarisation et l'édition pédagogique sur Beethoven forment un ensemble organique, qui contribue au même but : la glorification du musicien de Bonn. Son image devient alors un matériau littéraire qui va former une véritable littérature beethovénienne, ainsi qu'une poétique, marquées par les emprunts multiples à l'épopée, à l'hagiographie, au roman-feuilleton, au roman picaresque et au drame bourgeois notamment. Cet ensemble composite tend pourtant à la standardisation, dans la mesure où se figent des motifs et des récits-types. Tout ceci contribue à faire de Beethoven le « héros de la conscience moderne ». L'idéologie républicaine l'élève comme figure d'identification et d'édification morale au même titre que les « classiques », de sorte que les intellectuels de l'entre-deux-guerres feront de ce nom un outil de sauvegarde des valeurs humanistes, face à la montée des périls
The Third Republic « mystified » Beethoven. It turned him into a fictional character, and integrated him into the French republican canon, endowing him with all the moral and ideological values that then were at the root of the construction of national identity. This work aims to highlight a specific corpus, which contributed to the creation of the myth, which partly draws on Romanticism but is also eminently modern. Music criticism, biographies, novels, drama, popularization and educational works about Beethoven constitute an organic group of works, aiming at the glorification of the musician from Bonn. His image thus becomes a literary material, and contributes to building a beethovenian literature, and a beethovenian poetics, which borrows its aesthetics in particular from the epic, hagiography, serialized novels, picaresque novels and bourgeois drama. However this heterogeneous corpus tends towards standardization insofar as the narrative patterns somehow froze as commonplaces. All this leads to Beethoven being turned into the “hero of modern consciousness”. The republican ideology raised him to the rank of an icon both for identification and moral edification, in the same way as the “classics”. To the intellectuals of the interwar period he embodied humanist values and was a symbolic weapon against the rise of totalitarianism

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Bunel, Guillaume. "Les FUGAE dans l’œuvre de Josquin Desprez : inventaire et confrontation des sources." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSES023/document.

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Notre thèse se propose d'étudier les questions liées à la réalisation sonore des fugae, à partir des sources musicales d'un corpus d'œuvres attribuées à Josquin Desprez. Au sein du vaste répertoire des fugae composées au tournant du XVIe siècle, celles composées par Josquin constituent un ensemble remarquable par sa diversité, sa richesse technique et musicale, ainsi que par la complexité des questions qu'il soulève. En effet, la réalisation de ces fugae pose des difficultés liées d'une part à l'interprétation de leurs notations canoniques, et d'autre part à la réalisation de leurs parties fuguées. Si les théoriciens contemporains du compositeur définissent en effet la fuga comme une imitation rigoureusement exacte entre la partie de dux et celle(s) de comes, force est de constater que toutes les fugae considérées dans cette thèse ne répondent pas à ce critère. Certaines ne permettent pas une imitation parfaitement exacte ; d'autres semblent permettre plusieurs réalisations distinctes, parfois radicalement différentes. Bien que des théoriciens plus tardifs – en particulier Zarlino – introduiront des termes permettant de penser ces autres types d'imitation, ceux-ci n'existent pas encore du vivant de Josquin. Les pratiques compositionnelles attestées au sein des œuvres étudiées divergent ainsi, à maints égards, de la théorie contemporaine. À travers une étude des sources musicales des fugae retenues, ainsi que d'un ensemble de sources théoriques imprimées avant 1530, nous tenterons de comprendre les raisons motivant ces écarts, mais également de saisir les enjeux de la réalisation sonore des fugae, à partir des notations canoniques préservées dans les sources
This dissertation investigates the musical sources of a corpus of fugal works attributed to Josquin Desprez, in order to study the various issues arising from the interpretation of fugae. Within the large repertoire of fugae composed at the turn of the 16th century, those composed by Josquin stand out as exceptionally diverse and rich, technically and musically. What's more, they arise many difficult issues for the singers. Indeed, those fugae confront us with problems related to the interpretation of canonic notations, on the one hand, and with the realization of the fugal parts themselves, on the other hand. Whereas the contemporary theorists define fuga as a perfectly exact imitation between the dux and the comes parts, it is noticeable that every fuga studied in this dissertation do not meet this criterion. Some of them cannot be sung with an exact imitation; others seem to allow several possible realizations, sometimes radically different. Although later theorists – Zarlino, in particular – will introduce specific terms that refer to those other types of imitation, those terms do not exist during Josquin's lifetime. In multiple ways, compositional practices that can be observed within the works studied diverge from the musical theory of the time. A study of the musical sources of the fugae selected, and of an important corpus of contemporary theoretical sources will lead us to a better understanding of the reasons that motivated those divergences, and of the issues related to the realization of fugae from canonic notations preserved in the sources

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Yvernault, Virginie. "Révolution et figaromania. Réception, usages et significations du théâtre de Beaumarchais (XVIIIe-XIXe siècles)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040119.

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Beaumarchais n’est pas seulement un dramaturge célèbre du XVIIIe siècle, c’est avant tout le père de Figaro, cette figure familière qui s’invite dans le débat public dès qu’il est question de liberté d’expression ou de lutte contre l’injustice. Récusant le concept de mythe, dont les études de réception sont friandes, cette étude s’interroge sur la manière dont l’usage systématique de Figaro dans des domaines extra-littéraires détermine l’ensemble du discours critique sur Beaumarchais. Aux origines de la figaromania, il y a un parcours de la subversion à l’institutionnalisation, qui s’opère à la fin du XIXe siècle, lorsque la Révolution « entre au port », avec l’avènement des républicains. Cette enquête propose donc une histoire de la réception qui puisse montrer la convergence entre les significations d’une œuvre appartenant au patrimoine national et les multiples usages et appropriations dont elle fait l’objet, envisagés dans leur diversité à l’échelle européenne
Beaumarchais is not only a famous 18th century playwright, but first and foremost the architect of Figaro; the well-known character who slides his way into the public debate as soon as liberty of expression or the fight against injustice is evoked. Challenging the idea of a myth, endorsed by other reception studies, this study analyses how the systematic use of Figaro outside the literary domain shapes the entire critical discourse on Beaumarchais. At the origins of figaromania, there is a transition from subversion to ‘institutionalisation’ at the end of the 19th century as the French Revolution came to an end, with the arrival of the Republicans. Therefore, this study proposes a historical context of the reception of Beaumarchais’ work, at the European level, that shows the convergence between the meaning of an oeuvre that belongs to the national cultural heritage and the many different roles and appropriations that this oeuvre assumes

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Klein, Eve Elizabeth. "The pomegranate cycle : reconfiguring opera through performance, technology & composition." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/51175/1/Eve_Klein_Thesis.pdf.

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The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. Consequently, the canon’s historic representations of gender remain unchallenged. Historically and contemporarily, men have almost exclusively occupied the roles of composer, conductor, director and critic, and therefore men have regulated the pedagogy, performance practices, repertoire and organisations that sustain classical music. In this landscape, women are singers, and few have the means to challenge the constructions of gender they are asked to reproduce. The Pomegranate Cycle uses recording technologies as the means of driving change because these technologies have already challenged the regulation of the classical tradition by changing people’s modes of accessing, creating and interacting with music. Building on the work of artists including Phillips and van Veen, Robert Ashley and Diamanda Galas, The Pomegranate Cycle seeks to broaden the definition of what opera can be. This work examines the ways in which the operatic tradition can be hybridised with contemporary musical forms such as ambient electronica, glitch, spoken word and concrete sounds as a way of bringing the form into dialogue with contemporary music cultures. The ultilisation of other sound cultures within the context of opera enables women’s voices and stories to be presented in new ways, while also providing a point of friction with opera’s traditional storytelling devices. The Pomegranate Cycle simulates aesthetics associated with Western art music genres by drawing on contemporary recording techniques, virtual instruments and sound-processing plug-ins. Through such simulations, the work disrupts the way virtuosic human craft has been used to generate authenticity and regulate access to the institutions that protect and produce Western art music. The DIY approach to production, recording, composition and performance of The Pomegranate Cycle demonstrates that an opera can be realised by a single person. Access to the broader institutions which regulate the tradition are not necessary. In short, The Pomegranate Cycle establishes that a singer can be more than a voice and a performing body. She can be her own multimedia storyteller. Her audience can be anywhere.

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"The Lieder of Emilie Mayer (1812-1883)." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57158.

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abstract: ABSTRACT Emilie Mayer (1812-1883) was a prolific composer whose musical works, which encompassed eight symphonies, four overtures, an opera, dozens of sonatas, eight string quartets, solo piano works, and nearly 130 songs for solo voice or vocal quartet, were performed in the foremost concert halls in Berlin and across Germany. She studied with lauded teachers: Carl Loewe (1796-1869), Adolph Bernhard Marx (1795-1866), and Wilhelm Wieprecht (1802-1872). Her talent was applauded by audiences and critics wrote favorably, despite their reservations about women composers. However, even with this unusual pedigree, Mayer’s works nearly disappeared from concert stages after her death. How did this happen? This study aims to answer this question and will delve into Emilie Mayer’s life and works in context with the prejudices against female composers at the time, in order to determine how those biases have shaped the classical canon. Included is an in-depth stylistic analysis of Mayer’s surviving seven Lieder, along-side comparisons to similar works of other composers. In addition, appendices present Mayer’s remaining Lieder in a new, modernized edition, with selected songs transposed for better accessibility for lower voices. Relative lack of female representation in modern-day concert halls and music history books correlates to previous misconceptions of female composers. Studying the works of Emilie Mayer will support her addition to the classical repertoire, help correct the male-gendered canon that persists, and help modern female composers realize their history is not confined to a footnote.
Dissertation/Thesis
Doctoral Dissertation Music 2020

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Comuzzo, Marie. "The Voice of the Other: The Influence of Capitalism on The Representation of Gender and Race in Western Classical Music." 2021. https://scholarworks.umass.edu/masters_theses_2/1040.

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This thesis argues that in order to understand the non-representation of women and BIPOC in the Western musical canon, the analysis of their cultural musical production and reception must start in early modern period, a time heavily influenced by the establishment of capitalism. Intertwining political feminist studies, critical race theory and musicology critique, I argue that the witch hunts and the inhumane colonial practices in Africa and the America (fundamental to establish capitalism as a global system), had an important role in shaping Western musical culture as homogeneous and monolithic. Thus, I first trace the change in female customs in the early modern period and show how poetry and then music reflected the newly imposed norm of chastity presenting as case study “I’ mi son giovinetta.” Here I discuss the importance of il concerto delle dame in Italy, their vital role in conserving women’s musical excellence as well as the restriction imposed on their lives based solely on their gender. Race and gender biases are protagonist of the following chapter, where I present a case study on Die Zauberflöte as mirror of the societal changes happening at the same time in Europe. Intersecting race, gender and class I demonstrate the multiple ways in which this opera reiterates the victory of capitalistic patriarchy over the previous way of organizing life. In the last chapter, I discuss the various conflicting ideas that scholars brought forth regarding the Western canon formation. I argue that the gendered and racist pseudo-scientific ideologies that relegated women and BIPOC to their bodies (in connection to capitalist’s exploitation of “free labor”), were reaffirmed by scholars in the following centuries. These ideologies fed into the elevation of “absolute music” as the manifestation of the (white, male) intellectual genius, and contributed to forging musical institution that today continue to uphold sexists and racist values.

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Butler, Peter Maurice. "Primary school music education: a study of teachers, composers and original works in a pedagogical context." Phd thesis, 2015. http://hdl.handle.net/1885/101810.

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This research project addresses the nature and function of compositions within the context of primary school music education. A longitudinal review of the literature, and the analysis of empirical data gathered in this research reveal the shortcomings between teachers’ expressed requirements and the currently available works. The researcher’s survey of over 1000 popular primary music resources by prominent Australian music education composers reveals the great majority are designed primarily for sing-alongs and basic percussion play-along. The melodic and rhythmic notational complexity of most of the music exceeds the music literacy level of all but a very small percentage of primary teacher graduates. It is intentionally published in a format that does not require music literacy. Through qualitative research methods, including the analysis of data gathered within interviews with educational practitioners and composers from Victoria and Tasmania, this project identifies and explores several deficiencies in music for primary school programs. The exegetical component of this research examines the nature and function of music used in Foundation to Year 6 school music classes across Australia. This research also incorporates an extensive portfolio of original works for primary music education settings. The identified gaps between teachers’ expressed requirements and currently available songs and music, inform the nature and design of the accompanying portfolio. Underpinned by the research findings, the folio caters for the needs and ability levels of the least musically experienced trainee and graduate teachers, as well as the most musically proficient Kodaly and Orff practitioners. The research undertaken within this project suggests the choice of compositions used by primary school music teachers in Australia is largely influenced by the musical and pedagogical expertise of the teachers themselves. Conflicting school issues, such as timetabling, resources and school performance expectations exacerbate the parlous state of primary school music education. The nature and function of compositions used in primary teaching is also influenced by the musical and educational ideologies of composers producing music teaching resources. The music teachers interviewed within this research voiced dissatisfaction with the limited flexibility and narrow application of many current resources. They expressed a need for instructional songs, concert items and thematic cross-discipline items. They voiced a preference for music that incorporates physicality: actions, dances, movement and instrumental performance. Their unanimous enthusiasm for music teaching resource publications that include digital projections, music recordings and videos of demonstration lessons also emerged as a theme within the data. This project offers a practical, research-based resource for primary school music teachers. The exegetical component of the research includes a description of the musical and pedagogical design of the portfolio, and an explanation of the manner in which they address the identified gaps in educational resources.

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Dissertations / Theses on the topic 'Musical canon'

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