Teses / dissertações: "O cancioneiro musical de Paris"

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Tenorio, Luciana Elisa Lozada. "O processo de transcrição de villancicos do cancioneiro de Upsala para voz e violão". Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/5314.

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This article is the result of the investigative work on the methods and criteria regarding XVI centry single voice and vihuela villancicos transcripts. The data was obtnaied through the bilbiographic research of articles, dissertations, Juan Bermudo's treatise on the subject (1555) and the comparative analysis of then villancicos transcriptions dated from the XVI century. The main goal in this project is to apply the studied procedures in transcribing eight villancicos form the Cancionero de Upsala for guitar single-voice, confirming that the knowledge gained through the study of past methods and procedures are applicable to contemporany music perfomance. The core of the work consistis of a study on the history and characteristics of the villancicos; a contextualization on the Italian, French, German, Englihs and Spanish transcribing methods for works regarding plucked string instruments and voice; a detailed analysis on Spanish transcription procedures of sixteenth century and the application of those methods on eight villancicos for voice and guitar.
O presente trabalho pretende investigar e registrar critérios e procedimentos de transcrição de villancicos para uma voz e vihuela utilizados no século XVI, por meio da análise bibliográfica do quarto livro, intitulado "De tañer vihuela",contido no tratado "Declaración de instrumentos musicales" (1555) de Juan Bermudo, além do estudo de artigos e dissertações, assim como da análise comparativa de dez entabulações de villancicos realizados na época e suas respectativas fontes vocais. O objetivo principal desta pesquisa consiste na aplicação destes procedimentos na transcrição de oito villancicos do Cancionero de Upsala para uma voz e violão, consubstanciando a assertiva de que os conhecimentos adquiridos através da investigação musicológica atuam como esteio à performance musical da contemporaneidade. O trabalho consta de um estudo sobre a história e características do villancico; uma contextualização sobre o processo de entabulação para uma voz e instrumento de cordas dedilhadas na Itália, Inglaterra, Alemanha, França e Espanha; uma análise dos procedimentos utilizados na entabulação de villancicos; na Espanha, século XVI e finalmente uma exposição e justificativa dos procedimentos de transcrição aplicados em oito villancicos para uma voz e violão.

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Arruda, Lucas Oliveira de Moura. "O Cancioneiro de Elomar: uma identidade sonora do sertão e suas performances". Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8672.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The aim of this research is to investigate the musical identity of Brazil’s northeastern backlands in Brazilian composer (from Vitória da Conquista – BA) Elomar Figueira Mello’s songbook (CANCIONEIRO). Also, the thesis has the purpose to analyze the modes by which this identity is expressed in the performances made by Elomar itself and by other performers of his music. For achieving this aim, I have built a corpus of five songs picked up from his CANCIONEIRO (that has in full 49 songs). The text develops itself around the analysis of these five songs, from four record sources: 1. the scores published in the collection CANCIONEIRO (2008); 2. the sound recordings of the songs made by the composer himself; 3. the sound recordings of the songs made by other performers; 4. transcriptions, carried out by myself, of the sound recordings made by other performers. Data gathering used sound-documentary research and fieldwork, with direct contacts with the artist, participant observation, personal or virtual contact with admirers and artists related to Elomar’s work. The thesis that results of the research is divided into four chapters, which bring to light eight characteristics of Elomar’s musical and artistic identity. At all, eight characteristics were identified: 1. the sonic-instrumental conception as a means of cultural resistance; 2. Elomar’s personal style in guitaristic execution; 3. employment of “typical” sounds of Brazilian Northeastern Backlands; 4. the relationship with cantoria (a Brazilian backland’s typical form of popular sung poetry); 5. border music; 6. the imaginary constituted around medieval art and literature; 7. the imagination of Elomar regarding the rural exodus due to the drought in the hinterland; 8. the personal option for an independent pathway in Brazilian music business.
O objetivo desta pesquisa é investigar a identidade sonora do sertão nordestino presente nas canções (o CANCIONEIRO) do compositor brasileiro Elomar Figueira Mello, de Vitória da Conquista – BA, e identificar de que maneira essa identidade é expressada por ele próprio enquanto intérprete e por outros intérpretes. Para este objetivo, selecionamos um corpus de cinco canções de seu CANCIONEIRO (cujo total é de 49 canções). O trabalho gira em torno da análise dessas cinco canções, a partir de quatro fontes: 1. as partituras publicadas na coletânea CANCIONEIRO (2008); 2. os registros sonoros das canções feitos pelo próprio compositor; 3. os registros sonoros das canções feitos por outros intérpretes; 4. transcrições, realizadas por mim, dos registros sonoros feitos por outros intérpretes. A coleta de dados utilizou a pesquisa sonoro-documental e o trabalho de campo, com contatos diretos com o artista, observação participante, contato pessoal ou virtual com cúmplices e artistas relacionados ao trabalho de Elomar. A dissertação resultante da pesquisa está dividida em cinco capítulos, que trazem a lume oito características da identidade sonora e artística de Elomar: 1. a concepção sonorainstrumental como forma de resistência cultural; 2. o estilo pessoal de execução violonística; 3. o trabalho sobre as sonoridades “típicas” do Nordeste; 4. a relação com a arte da cantoria; 5. música de fronteira; 6. o imaginário constituído em torno da arte e a literatura medievais; 7. o imaginário com relação ao êxodo rural decorrente da seca no sertão; 8. a opção pelo caminho independente no mercado musical.

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Kothe, Monia. "LOUVAI CANTANDO : O CANCIONEIRO QUE (EN)CANTOU A MÚSICA E SUAS PRÁTICAS NA ESCOLA TEUTO-BRASILEIRA PROTESTANTE DE IVOTI-RS". Universidade Federal de Santa Maria, 2008. http://repositorio.ufsm.br/handle/1/6858.

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The present dissertation is linked to the research line of Education and Arts from the PPGE/UFSM and to the group of studies and research Training, Action and Research in Musical Education FAPEM. Aimed to the analysis of the Musical Education practices that results from the Louvai Cantando song book utilization context in the German Brazilian school in Ivoti on the period of 1968 to 1976 (1st edition of the book) under the arrangers and teacher s scope. The investigation of the places at which the practices took place and the song book s inscribed reading protocols are intended specific objectives. The developed research from qualitative nature uses hybrid oral thematic history with semi-structured interview and questionaire as tools to collect material. Besides other materials the song book itself act as source of data. The theorical referential adopted, from which the analysis were done, follows Roger Chartier´s ((2007, 2004a, 2004b, 2002, 2001, 1999a, 1999b, 1996, 1994, 1990) teaches that shows the conceptual tripod book, print and readings. Based on the collected data and analysis we have the conclusion that the music was build on vocal execution and that from the song book musical and educational knowledge were aborded. The teacher was in most cases an example to the students being the one responsible for selecting the songs once the song book don´t show na explicit sequence to be followed. The song book carries songs from various different realities giving the student the opportunity to have contact with these realities and with other cultures, forms and musical genre and also expanding his vocabulary. The linguistic culture brought by the immigrants was also contemplated. Taking place not just as a classroom activity the singing was a constant in the German Brazilian School. Besides, the organization of Cancioneiro was directly influenced by two publications of the 1930's, Tönen die Lieder ... and Kommt und Singet!, featuring a continuation of these two song books well as the tradition of the practice of singing brought by early immigrants.
A presente dissertação está vinculada à linha de pesquisa Educação e Artes do PPGE/UFSM e ao grupo de estudos e pesquisas Formação, Ação e Pesquisa em Educação Musical - FAPEM. Esta pesquisa teve como objetivo, analisar as práticas de Educação Musical decorrentes da utilização do cancioneiro Louvai Cantando no contexto da escola teuto-brasileira protestante de Ivoti, no período de 1968 a 1976, relativo à 1ª edição do livro, sob a ótica de seus organizadores e de professores de Música. Buscou ainda, como objetivos específicos, investigar os espaços nos quais as práticas se desenvolviam e examinar os protocolos de leitura inscritos no cancioneiro. A pesquisa, de natureza qualitativa, utilizou-se da história oral temática híbrida, sendo a entrevista semi-estruturada e o questionário os instrumentos de coleta de dados utilizados. Assim, o cancioneiro Louvai Cantando serviu como objeto de estudo e como fonte de dados, além de outros materiais documentais. O referencial teórico adotado segue os preceitos do historiador francês Roger Chartier (2007, 2004a, 2004b, 2002, 2001, 1999a, 1999b, 1996, 1994, 1990), que apresenta o tripé conceitual, livro, impresso e leituras, mediante os quais foi efetuada a análise do cancioneiro. A partir da análise dos dados coletados, verificou-se que as práticas de educação musical estavam alicerçadas na execução vocal e que a partir do cancioneiro, conteúdos musicais e educacionais eram trabalhados. O professor servia, muitas vezes, de modelo para a classe, sendo o responsável pela seleção de repertório, uma vez que o manual não apresentava uma ordem rígida a ser seguida. O cancioneiro, por carregar um repertório oriundo de diversas regiões do país, oportunizava o contato com realidades diferentes das quais os alunos estavam inseridos, ampliando o vocabulário e levando o grupo a conhecer outras culturas, formas e gêneros musicais, contemplando paralelamente a cultura lingüística trazida pelos imigrantes. Verificou-se ainda, que o canto era uma constante no espaço escolar, não restringindo-se, porém, às atividades de sala de aula. Salienta-se que a organização do Louvai Cantando foi diretamente influenciada pela publicação de dois cancioneiros da década de 1930, o Es Tönen die Lieder... e o Kommt und Singet!, caracterizando-se assim como uma continuação do trabalho, de modo a manter a tradição musical e cultural da prática do canto trazida pelos primeiros imigrantes.

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Grovermann, Celina Garcia Delmonaco Tarragó. "O Cancioneiro gaúcho de Ernani Braga : um estudo histórico analítico de uma obracomposta para o Bicentenário de porto Alegre em 1940". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/37373.

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Através do estudo de trajetória do compositor Ernani Braga (Rio de Janeiro,1888 - São Paulo, 1948) busquei recriar o contexto de criação do álbum de canções Cancioneiro Gaúcho, uma obra musical encomendada para marcar a data de comemoração do Bicentenário da cidade de Porto Alegre, em 1940. De caráter regionalista, mas de cunho educacional nacionalista e em consonância com o projeto de canto orfeônico implementado por Villa-Lobos, a obra visava satisfazer, do ponto de vista institucional, as exigências de estratégia política da Era Vargas. Na realização da pesquisa cruzei fontes e materiais de arquivos com depoimentos orais objetivando reconstruir a teia de relações que trouxeram o compositor até Porto Alegre e o colocaram na incumbência de compor a obra, preparar e reger grupos corais estudantis durante os festejos oficiais. Através da reconstrução tripartite da memória das performances musicais dos eventos envolvendo o Cancioneiro Gaúcho (elaboração, transmissão e recepção), objetivei delinear a relação compositor-obra como nexo sócio-sônico na construção de representações identitárias em um determinado tempo-espaço.
Through a bio-study of Brazilian composer Ernani Braga (1888-1948) I sought to recreate the creational context of the song collection entitled Cancioneiro Gaúcho, a musical work commissioned to celebrate the Bicentennial of Porto Alegre, in 1940. Inspired by musico-poetic regional motives, but totally in tune with nationalist-educational policies as well as with the orpheonic singing project implemented by Villa-Lobos, the work was intended to meet the demands of the political strategy of the Vargas Era. In delineating the research process, I have crossed oral and archival documents aiming to reconstruct the web of relationships and circumstances that led the composer to Porto Alegre and placed him in charge of composing, preparing and conducting choral groups during the oficial festivities. Through a tripartite reconstruction of the memory around the musical performances of the Cancioneiro Gaúcho (preparation, transmission and reception) I aimed to analyze the composer-work relationship as a socio-sonic nexus in the construction of identity representations within that social context.

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Frasch, Cheryl Crawford. "Notation as a guide to modality in the Offertories of Paris, B.N., Lat. 903 /". The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143145199.

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Parsoneault, Catherine Jean. "The Montpellier codex : royal influence and musical taste in late thirteenth-century Paris /". Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008416.

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Strasser, Michael Creasman. "Ars Gallica : the Société nationale de musique and its role in French musical life, 1871-1891 /". Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37059885z.

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Downey, Charles Townsend. "Musical-dramatic productions derived from Ariosto and Tasso in the city of Paris, 1600-1800 /". Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40041223r.

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Giraud, Eleanor Joyce. "The production and notation of Dominican manuscripts in thirteenth-century Paris". Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648704.

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Élissèche, Charles-Yvan. "La vie musicale à la Sainte-Chapelle de Paris aux XVIe et XVIIe siècles : étude du personnel musical". Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2012.

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La thèse, fondée sur l’étude systématique des sources de première main, porte sur le personnel ecclésiastique et sur la vie musicale. Un fait propre à la Sainte-Chapelle est ainsi mis en avant : l’interdépendance du statut ecclésiastique et de la place de musicien. La vie musicale à la Sainte-Chapelle de Paris aux XVIe et XVIIe siècles n’a pas été réévaluée après Michel Brenet (1910). L’exploitation des sources, le développement des études liturgiques et les avancées de la recherche musicologique permettent de renouveler la connaissance de cette église et de sa musique. En fondant la chapelle du Palais, Louis IX établit le personnel ecclésiastique de la Sainte-Chapelle. Alors que la monarchie et la cour délaissent cette église au profit de la chapelle royale, François Ier établit une corrélation entre le personnel musical et l’ensemble des ecclésiastiques. Cette interdépendance, maintenue par le Chapitre, aboutit sous Louis XIVà une assemblée majoritairement constituée de musiciens
The musical life of the Sainte Chapelle in Paris during the 16th and 17th centuries has not been reassessed since the work of Michel Brenet (1910). The exploitation of sources, development of liturgical studies and advances in musicological research allow for a renewal of our understanding of this church and its music. By founding the Palace chapel, Louis IX established the clergy of the Sainte Chapelle. While monarchy and court abandon this church for the chapel royal, Francis I establishes a correlation between the musical and ecclesiastical staff of the Sainte Chapelle. This interdependence, maintained by the Chapter, results under Louis XIV in an assembly constituted of a majority of musicians. This thesis, based on the systematic study of primary sources, focuses on the clergy and musical activity. A particularity of the Sainte Chapelle is thus revealed: the interdependence of ecclesiastical status and appointment as a musician

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Gross, Guillaume. "L'Organum à Notre-Dame de Paris au XIIIe siècle : étude sur les modes d'élaboration d'un genre musical". Tours, 2004. http://www.theses.fr/2004TOUR2018.

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L'@organum a été chanté à la Cathédrale Notre-Dame de Paris à la fin du douzième siècle. L'étude montre pourquoi et comment les Tripla et les quadrupla ont été composés dans ce contexte culturel et quelles conditions ont présidé à l'élaboration de ces compositions virtuoses. Dans la seconde moitié du treizième siècle, Jean de Garlande et de l'anonyme IV évoquent des procédés d'ornementation (colores) utilisés dans les grands organa. Les auteurs réemploient le vocabulaire d'une poésie didactique contemporaine des pratiques polyphoniques parisiennes. Les arte poeticae proposent un vaste éventail de techniques ornementales et certaines relatives au phénomène de la répétition, sont utilisées dans l'organum. Ce travail montre comment les clercs utilisèrent ces procédés rhétoriques afin d'élaborer un discours musical complexe et vise à comprendre dans quelles circonstances, comment et à quelles fins, les chantres ont composé de mémoire une très haute manifestation de la parole chantée
By the end of the 12th century, organum was sung at the cathedral of Notre-Dame of Paris. This study discusses the cultural context in which the tripla and quadrupla came to be composed and the conditions which brought into effect the elaboration of such virtuoso compositions. In the second half of the thirteenh century, the music theorists Johannes of Garlandia and Anonymous IV discuss some of the ornamental processes (colores) used in the great organa. These authors employ the vocabulary used for didactic poetry contemporary with the Parisian polyphonic practice. The artes poeticae offer a wide range of ornamental techniques and some them, relating tot the phenomenon of repetition, are used in the organum. This study shows how the clerics used these rhetorical processes to elaborate a complex musical elocution, and aims to comprehend under which circumstances and to what purpose the cantors were able to create by memory such noble manifestations of the sung word

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Montersino, Isabella. "Saint-Eustache des Halles au XIXe siècle : portrait musical d'une église parisienne d'après les archives du conseil de fabrique". Paris 4, 1994. http://www.theses.fr/1994PA040338.

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Construite sous le règne de François Ier dans un style gothique tardif,l'église Saint-Eustache se dresse dans l'un des plus anciens quartiers de Paris. Les dimensions exceptionnelles de l'édifice,sa beauté captivante ainsi qu'une qualité acoustique particulièrement claire en ont fait un haut lieu de la musique en France. Notre étude offre une description minutieuse des structures musicales de cette église au XIXe siècle ; elle est essentiellement axée sur le dépouillement des archives que les administrateurs de Saint-Eustache nous ont laissées. La première partie présente les révélations des archives paroissiales sur la vie musicale de cette église parisienne peu conventionnelle,classées par ordre rigoureusement chronologique. La deuxième partie met en évidence les principaux aspects de la musique à Saint-Eustache : la tradition du chant et ses nombreux avatars,le rôle des instruments accompagnateurs,le développement du grand orgue et la naissance d'une tradition de concerts qui se réalisera pleinement au XIXe siècle
The church of Saint-Eustache was built in late Gothic style during the reign of Francis I in one of the oldest quarters of Paris. Its unusual size,fascinating beauty and particulary clear acoustics have made it a significant centre for music-making in France. .

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Rekward, Susan J. "The Horn at the Paris Conservatoire and its Morceaux de Concours to 1996". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278364/.

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A work concerning the history of the Paris Conservatoire and music education in France. Follows the development of the horn and its correlation with the French school of horn playing. Includes biographic information on the horn professors of the Conservatoire through 1997, as well as a comprehensive list of the morceaux de concours for horn, 1795-1996.

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Underwood, John Christopher. "A Study of Performance Practice for Three Morceaux de Concours for Trumpet from the Paris Conservatory| Charlier Solo de Concours (1900), Savard Morceau de Concours (1903), Enesco Legende (1906) Lecture Recital". Thesis, The University of North Carolina at Greensboro, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10248757.

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The purpose of this study was to address performance practice, and develop a systematic approach to the preparation of three pieces composed for the Morceaux de Concours at the Paris Conservatory. The pieces were written by former students of the conservatory. Each composition features distinct musical and technical challenges for the trumpet. Solo de Concours written by Theo Charlier requires the performer to play musically in a variety of ranges, dynamics, and articulations. For this work, exercises were composed to address these demands. Morceau de Concours by Augustin Savard is technically less challenging but requires mastery of phrasing and lip flexibility. Finally, Legend requires the most preparation out of the three works examined. The composition requires a performer to have established solid trumpet fundamentals. For this piece, dynamic exercises, a chromatic etude and multiple tonguing exercises were developed to equip the trumpeter with the skills needed to excel in the performance of these works.

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Roch-Fijalkow, Claire. "L'enseignement musical scolaire parisien (1819- 2002) : histoire des institutions, des conceptions pédagogiques, analyse de contenu de manuels". Paris 4, 2002. http://www.theses.fr/2002PA040135.

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L'enseignement musical scolaire parisien apparaît en 1819 sous l'impulsion de Guillaume-Louis BOCQUILLON, dit WILHEM. Le caractère pionnier et exceptionnel de cet enseignement, sa spécificité et sa longévité guident notre travail. L'étude de l'évolution institutionnelle de cet enseignement associe l'analyse de contenu de manuels scolaires musicaux. Au cours de son histoire, l'enseignement musical scolaire parisien es considéré comme " utile ", en tant qu'art d'agrément, complément à l'éducation, régulateur social, instrument d'imprégnation idéologique, moyen de socialisation, épanouissement personnel Dès ses débuts, l'enseignement musical scolaire parisien co-existe grâce à deux " référents " : l'Orphéon (société chorale populaire) et le Conservatoire. Ces deux institutions aux caractéristiques antinomiques, assurent sa pérennité. L'exemple parisien, constitue un terrain privilégié pour réfléchir aux conditions pédagogiques de l'enseignement musical scolaire actuel
The Parisian school musical education appears in 1819. Dices its debuts, it exists thanks to two reference institutions, the Orpheon and the Conservatoire. Our method consists of a monograph which draws up the institutional history of this education. We put it in correspondence with an analysis of contents of six textbooks witnesses. During the period studied the Parisian school musical education is considered as "useful", for different reasons. It is collected as an art of enjoyment, a complement indispensable to the general education, a social regulator, an instrument of ideological satisfaction, a means of socialization and personal blooming. The Parisian example even if it is exceptional and premature allows to think about the school musical education today

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Montandon, Frédérique. "Les représentations sociales de l’éducation musicale par les parents dans le vingtième arrondissement de Paris : étude des stratégies parentales pour l’éducation musicale". Thesis, Paris Est, 2008. http://www.theses.fr/2008PEST0082.

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L’étude des représentations sociales de l’éducation musicale des parents dont les enfants de 3 à 10 ans apprennent la musique, à travers une série d’entretiens, concerne à la fois les choix de cette activité et de l’institution, leurs attentes, ainsi que les significations attribuées à cette pratique. Plusieurs systèmes de représentations se croisent : les représentations sociales de l’éducation en général et de l’éducation musicale en particulier, celles de l’enfant, ou encore celles des structures éducatives. L’éducation musicale s’effectue en France dans le cadre des conservatoires, des cours privés ou dans le milieu associatif. Le 20e arrondissement de Paris, terrain de notre recherche, présente une variété de structures au niveau des approches pédagogiques ainsi que des styles musicaux. Les fonctions et les objectifs attribués à l’apprentissage musical sont analysés selon la structure choisie. Diverses conceptions de l’apprentissage et de l’éducation apparaissent. Celles-ci découlent des représentations sociales de l’enfant, de celles de l’activité extrascolaire. Le paramètre d’une pratique musicale du parent ou de son absence modèle le discours des parents
The study of social representations of musical education by parents for whom children between the ages of 3 and 10 learn music is based through a series of interviews. This study concerns at once the choice of the activity as well as the institution, their hopes and expectations with respect to their practice. It shows that several systems of representations overlap: social representations of education in general - in addition to specific musical education, that of the child, or even more, that of the establishment. Musical education, in France, takes place within the structures of the conservatory, private tutelage or through local associations. Paris’ 20th district, site of this research, offers a variety of structures with respect to pedagogical approach as well as musical style. The use and aim attributed to musical training are analyzed according to the chosen establishement. Several concepts surrounding education and training are emerging. They flow from child social representations and extra-curriculare activities. It is the parameter of parental musical practice or its absence that chapes parental discourse

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Guerpin, Martin. "Adieu New York, bonjour Paris ! : les enjeux esthétiques et culturels des appropriations du jazz dans le monde musical savant français (1900-1930)". Thèse, Paris 4, 2015. http://hdl.handle.net/1866/15948.

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Thèse réalisée en cotutelle avec l'Université Paris-Sorbonne et l'Université de Montréal. Composition du jury : M. Laurent Cugny (Université Paris-Sorbonne) ; M. Michel Duchesneau (Université de Montréal) ; M. Philippe Gumplowicz (Université d'Evry-Val d'Essonne) ; Mme Barbara Kelly (Keele University - Royal Northern College of Music) ; M. François de Médicis (Université de Montréal) ; M. Christopher Moore (Université d'Ottawa)
Cette version de la thèse a été tronquée de certains éléments protégés par le droit d’auteur (exemples musicaux et iconographie). Par conséquent, ces éléments n'apparaissent pas dans le document.
Ce travail envisage les appropriations musicales et discursives du jazz dans le monde musical savant français. Fondé sur la méthode des transferts culturels, il propose une histoire croisée de la musique savante française, de la diffusion des répertoires de jazz en Europe et de leur perception. La réflexion s’appuie sur un corpus systématique des œuvres savantes influencées le jazz et des textes que lui consacrent compositeurs et critiques. La réflexion se fonde sur l’établissement d’un corpus systématique des œuvres savantes influencées le jazz et des textes que lui consacrent compositeurs et critiques. Une analyse informée par des données issues de l’esthétique et de l’histoire culturelle montre que ces œuvres contribuèrent à différentes entreprises de redéfinition d’une identité française de la musique. Les appropriations du jazz remettent également en cause une conception de la musique populaire propre au XIXe siècle. Elles valorisent des sujets auparavant considérés comme triviaux et proposent un son nouveau, tantôt associé au modernisme mécaniste des États-Unis, tantôt à l’énergie débridée attribuée au primitivisme nègre. Enfin, elles participent à la remise au goût du jour d’un classicisme protéiforme. Ces différents aspects font l’objet d’une périodisation et d’une thématisation. Si les premiers cake-walks des années 1900 sont mis au service d’un exotisme « nègre », les emprunts au jazz à la fin des années 1910 relèvent d’un geste avant-gardiste au service d’un projet nationaliste de rétablissement de l’identité française de la musique. À partir du milieu des années 1920, suite aux efforts fructueux de Jean Wiéner pour légitimer le jazz aux yeux du monde musical savant, un discours spécialisé émerge. De nouveaux compositeurs s’y intéressent, dans la perspective d’un classicisme désormais plus cosmopolite. Tout en faisant émerger différents paradigmes de l’appropriation du jazz (cocteauiste, stravinskien, ravélien, entre autres), ce travail vise à jeter un éclairage nouveau sur la production musicale savante dans la France de l’entre-deux-guerres et sur les rencontres entre différentes traditions musicales.
This thesis deals with the musical and discursive appropriations of jazz in the French musical world. Inspired the approach of cultural transfers and crosses the history of French art music in France and the history of its diffusion and perception in Europe. To do so, it draws upon a corpus of art music pieces influenced by jazz and of texts written by composers and critics. This corpus contributes to different redefinitions of an alleged French musical identity. What is more, appropriations of jazz renew a conception of popular music that goes back to the beginning of the 19th century. They also valorize topics previously considered as trivial, and they display a new kind of sound, evoking Anglo-saxon modernism or « negro » primitivism. The different aspects mentionned above are presented in a chronological and thematic fashion. In the 1900s, the first cake-walks contribute to a tradition of « negro » exoticsm. Ten years after, borrowing to jazz has become an avant-gardist gesture, and a response to nationalist motivations. Thanks to Jean Wiéner’s efforts in order to legitimize jazz, a new group of composers and critics take an interest in it. Jazz then becomes a means to assert a more cosmopolitan classicism. This thesis identifies different paradigms of the appropriation of jazz in France. More broadly, it sheds new light on musical creation in the French art music world between 1900-1930, and on musical encounters between different musical traditions.

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Rollin, Vincent. "Rendre les derniers devoirs en musique : Rituels, chants et pompe musicale des cérémonies funèbres catholiques à Paris sous le régime concordataire". Thesis, Saint-Etienne, 2015. http://www.theses.fr/2015STET2210/document.

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Cette étude vise à mettre en lumière les ressorts, pratiques et répertoires propres à l’usage des chants et de la musique au cours des convois et messes funèbres catholiques à Paris sous le régime concordataire (1802-1905). La solennisation cantorale et musicale de, ajoutée à et pendant la messe des morts (plain-chant, faux-bourdon, contre-point, musique figurée) est tout d’abord analysée au prisme de ses cadres d’organisation et de production : d’une part, les textes et rubriques relatifs aux rituels, cérémonies, prières et chants inscrits dans les livres de l’Église, suivant le rite romain ou le rite propre de Paris ; d’autre part, la législation, l’économie et l’administration de la messe funèbre tarifée suivant les barèmes officiels des pompes funèbres et le casuel paroissial, gradués par classes de convois. La fabrique de la pompe musicale extraordinaire est ensuite étudiée à travers l’analyse de quatre cas particuliers : la participation des militaires in et ex ecclesia, par le truchement des honneurs rendus par les troupes et de la mobilisation de musiques militaires ; les convois et célébrations funèbres à caractère officiel et national, de par leur financement, leur dimension symbolique et les lieux qu’elles investissent, voire les répertoires officiels qu’elles convoquent ou commandent ; les deuils de la communauté des gens de musique et de théâtre, impliquant non seulement une mobilisation spontanée et bénévole des musiciens, des choix singuliers quant aux œuvres exécutées, mais aussi un discours funèbre et honorifique produit par la musique même
This thesis studies the motivations, practices and repertories of chant and music used in catholic funeral ceremonies at Paris under the Concordat (1802-1905). The singing and musical solemnization of, added to and during the Mass of the Dead (plain chant, false bourdon, counterpoint, music) is analyzed for its scopes of organization and production : on the one hand the texts and rubrics of the rituals, ceremonies, prayers and chants of the liturgical books (roman and parisian rites) ; on the other hand the legislation, economy and administration of the funeral mass the official fees regulation of “pompes funèbres” fees and parishes. Then the making of the extraordinary musical “pompe” is studied by means of four particular cases : the involvement of the soldiers in and ex ecclesia (military honours and music) ; official and national funeral ceremonies, with their financing, symbolic system, places and official musical repertories ; the mournings of the musical community, involving not only a voluntary summoning up of musicians, singular choices for the musical program, but also a funeral discourse through music

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Leal, Cesar A. "RE-THINKING PARIS AT THE FIN-DE-SIÈCLE: A NEW VISION OF PARISIAN MUSICAL CULTURE FROM THE PERSPECTIVE OF GABRIEL ASTRUC (1854-1938)". UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/30.

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Gabriel Astruc (1864-1938), a French impresario of Jewish background, is mostly known for his collaborative work as an impresario with Sergei Diaghilev and his Ballets Russes. His role within Parisian musical culture at the fin de siècle, however, was much broader. He was a critic, creator of a leading periodical, producer of musical and circus events, music publisher, and associate of many important cultural figures of his day. Although Astruc has been mentioned in scholarly literature, his multifaceted activities have never been carefully studied. Following the revisionist initiatives of previous scholars (e.g., Pasler, Huebner, Garafola, Fauser), this project offers a new understanding of Parisian cultural life between 1880 and 1913. Rather than focusing on valued composers such as Debussy or selected avant-garde repertoire, this dissertation considers the panoramic perspective of the Parisian cultural milieu as understood by a well-positioned impresario who participated in diverse, but often intersecting, music circles. It reveals rich interconnections between Astruc’s entrepreneurial, managerial, and publishing endeavors that linked private fêtes and soirées that he produced in elite homes with his ambitious concert series, La Grande Saison de Paris, 1905-1913 – organized through his firm La Sociéte Musicale – and with compositions and contents published in Musica, the magazine he co-founded in 1902. It questions Astruc’s aesthetic preferences and argues that he helped to shape Parisian culture through the promotion, publication, and programming of balanced, eclectic repertoire of new and old, national and international, and light as well as weighty works. This study also chronicles the development of the Théâtre des Champs-Élysées, Astruc’s culminating project that was intended to embrace symphonic, operatic, and chamber performance and to experiment with new juxtapositions and integrations of the arts. Research for this dissertation centered on a compilation and a comparative analysis of wide-ranging materials found in Astruc’s collections at the Archives Nationales and New York Public Library. Unlike earlier studies of fin-de-siècle Paris, this project utilizes previously unexamined publications, musical criticism, published literature, and manuscript material, all originating from or related to Astruc’s diverse activities and observations.

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Resende, De Souza Ébano. "Une nouvelle chanson indépendante du Brésil. Les Rencontres de Compositeurs de Juiz de Fora et la création brésilienne à Paris". Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH105.

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Quelle place la musique indépendante brésilienne, notamment celle liée à la chanson d'auteur, occupe-t-elle dans le marché des musiques du monde ? Quels sont les liens que la nouvelle génération de compositeurs et de musiciens Brésiliens entretient avec ce marché ? Ces questions forment le socle des questionnements qui nourrissent ce travail de recherche. Comprendre la place de la musique d'auteur et la circulation de cette pratique est fondamental dans ce contexte. Pour cela, je fais des Rencontres de Juiz de Fora (Minas Gerais) au Brésil le point de départ de ce travail. J’enquête sur ces compositeurs et ces musiciens qui se réunissent, depuis 2006, dans le but de créer un espace de création et de diffusion de leurs pratiques musicales. Dans quelle mesure les choix stylistiques viennent-ils questionner les représentations caricaturales que nous avons d’une « musique brésilienne » ? Et de quelle façon sont-ils devenus un facteur de cohésion de ce groupe tout entier orienté vers un renouvellement du message poétique, social, stylistique de cette chanson ? D’une façon assez paradoxale, c’est à partir d'un puissant ancrage local que le groupe se veut porteur d’innovation à travers une démarche en réflexivité qui porte sur les grands thèmes de la tradition, du lien entre les innovations musicales et la mémoire esthétique des populations locales, de la façon d’insérer de nouvelles pratiques dans un contexte professionnel qui ne fait guère de place aux courants porteurs d’innovation. C’est à ce stade que le mouvement des jeunes créateurs devient politique, en ce sens qu’il entend prendre toute sa place dans la vie de la cité. Puis j’opère un déplacement. Quelle place cette musique indépendante occupe-t-elle hors du Brésil, et notamment à Paris ? Pour cela, j'essaie de comprendre comment ces compositeurs et musiciens brésiliens organisent leurs pratiques dans un espace autre que celui d'origine. Je m’intéresse aux raisons qui amènent ces artistes à se déplacer, à la façon dont ils élaborent leurs pratiques afin de prendre place dans ce nouvel environnement culturel porté par une langue qui n’est pas la leur. La musique devient un puissant levier d’intégration ; en même temps, ces musiciens innovants se heurtent aux attentes d’un public parisien qui nourrit de fortes attentes à l’égard de la « musique brésilienne ». Comment faire face à ces a priori ? C’est cette double dimension de la musique comme espace de création et la musique comme moyen de questionner les préjugés que ce travail met en œuvre
How is Brazilian music situated in the World Music market? How do the new generation of Brazilian musicians and composers, particularly singer songwriters, relate to this market? These questions form the core of my research. In this context, it is vital to understand the position of this music, and how it is disseminated. I started my analysis with the Encontro de Compositores (composers meetings) in Juiz de Fora, Brazil. I studied these composers and musicians, who have been gathering since 2006 to form a space for the creation and dissemination of their musical practices. In what ways do these practices and their stylistic choices challenge current stereotypes of “Brazilian music”? And how do they create cohesion in a group striving towards a renewal of the poetic, social and stylistic messages of this music. Despite this process of innovation, Juiz de Fora is strongly rooted in local history. The discussions taking place at these meetings influence the way these musicians view their musical practice and professional context, and thus allow the development of a new political consciousness. Here I will introduce another angle to my discussions. What place does this independent music occupy outside Brazil, particularly in Paris? In this regard, I examine how Brazilian composers and musicians organise their practices in a space which is foreign to their place of origin. I examine the reasons for which these artists move, and how they adapt their practices to this new cultural environment and language. Music becomes a strong means of integration. However, these innovative musicians come into conflict with a Parisian public which may have deeply-ingrained, stereotypical expectations about “Brazilian music”. How to manage this situation a priori? This dual purpose of music, as both a creative space and a means to question prejudice, is at the centre of this project
Que lugar a música independente brasileira, especialmente aquela produzida por cantores-compositores ou cantautores, ocupa no mercado da World Music? Quais relações a nova geração de compositores e músicos brasileiros estabelece com esse mercado? Estas questões representam a base dos questionamentos deste trabalho de pesquisa que visa a compreender as dinâmicas de produção que envolvem o universo da música independente e como se dá sua circulação. O Encontro de Compositores de Juiz de Fora (MG), que desde 2006 reúne músicos e compositores na tentativa de conceber um espaço de criação e difusão da música independente local, representa o ponto de partida deste trabalho. Entender como estas cancões interferem na imagem difundida do que se concebe como sendo a « música brasileira » e como a dinâmica essencialmente coletiva da produção musical independente influi no contexto de produção e circulação musical estão na base de nossas reflexões. Nesse sentido, entender os laços que os membros do Encontro de Compositores mantém com o passado e com a historia musical local ainda que em um cenário de inovação se faz fundamental. Organizados em grupo, estes artistas buscam, a partir de uma nova consciência política, melhores condições de trabalho, além de procurar difundir suas obras em um mercado que se encontra ainda resistente a esse tipo de produção. A analise desse realidade me faz refletir sobre novas questões, referentes a outro contexto : que lugar a música independente brasileira ocupa fora do país, em uma capital europeia como Paris por exemplo ? Na tentativa de compreender esta questão, me proponho a verificar como compositores e músicos brasileiros organizam suas praticas em uma realidade diferente daquela vivida em seu país de origem. Interesso-me, particularmente, pelas razões que motivam esses artistas a mudar de país e à forma como difundem suas praticas em um novo ambiente, cultural e linguisticamente diferente. A música pode, neste sentido, representar um instrumento de integração e ao mesmo tempo, um elemento de reflexão em face de um mercado imbuído de clichês. Esta dupla dimensão da música como lugar de criação e a relação entre novidade e expectativas acompanham minhas reflexões ao longo deste projeto

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Picaud, Myrtille. "Mettre la ville en musique (Paris-Berlin). Quand territoires musicaux, urbains et professionnels évoluent de concert". Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0069.

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Cette thèse de sociologie porte sur les salles de musique dite « vivante », en s’appuyant sur une comparaison entre Paris et Berlin. L’étude des salles de musique rend compte de la production des définitions et des hiérarchies sociales des territoires musicaux, urbains et professionnels. À la diversité des genres musicaux qui y sont programmés répond la variété des manières de les entendre : publics assis ou debout, configurations intimistes ou stades, etc. L’articulation entre approche ethnographique et analyse statistique témoigne du lien entre esthétiques et usages sociaux de la musique. Ces territoires musicaux, constitués par les cadres d’écoute et les esthétiques, sont inégalement reconnus par les politiques culturelles et ne recoupent pas strictement les frontières des genres. Par ailleurs, les sous-champs musicaux dans les deux villes sont structurés par des logiques spatiales, ce qu’éclaire la cartographie des lieux de musique. Et, si la localisation des salles influe sur leur qualification musicale, à l’inverse, le fait musical participe aux transformations des représentations des territoires urbains. Outre l’ancrage géographique, cette thèse s’intéresse de près à la construction d’une offre musicale à travers la sélection des artistes par les programmateurs et programmatrices des salles berlinoises et parisiennes. Ainsi, elle donne à voir la délimitation de la fonction de programmation comme territoire professionnel, en interrogeant sa variabilité selon l’histoire du sous-champ musical et les contraintes liées à la concentration économique du secteur de la musique live. Une série d’entretiens avec les programmateurs et programmatrices a permis la comparaison des pratiques et des trajectoires de ces intermédiaires. Celle-ci atteste d’un développement professionnel inégal à Paris et Berlin et d’usages distincts du désintéressement dans une activité de programmation internationalisée. Les intermédiaires, comme les politiques culturelles, participent aux oppositions au sein du sous-champ des salles de musique, qui reflètent les centres et les périphéries du champ musical transnational. En effet, selon leur position dans le sous-champ et leurs ressources, les salles ne programment pas les mêmes catégories d’artistes. Ainsi, la retraduction locale de la valeur musicale contribue ainsi au positionnement de Paris et de Berlin comme capitales culturelles
This thesis in sociology offers a comparison of music venues in Paris and Berlin. Studying music venues sheds light on the definitions and hierarchisation of musical, urban and professional territories. Diverse music genres are listened to in these venues, and ethnographic observation shows that events happen in many different configurations – audiences are sometimes seated or standing, in large arenas or intimate atmospheres, etc. Statistical methods enable the study of the connection between music styles and the way they are socially appropriated. These musical territories, unequally supported by cultural policies, distinguish themselves from the strict definition of musical genres. The musical subfield is also structured by spatial forces, revealed by the cartography of the music venues in both cities. Their localisation affects the way venues are perceived and defined but, conversely, the music scene also participates in the transformation of representations about the urban territories. Beyond the urban analysis of music, this thesis examines music production through the role of bookers, who select the artists in the venues. In Paris and Berlin, the definition of booking as a territory of competence depends on the musical subfield’s history and is influenced by pressure linked to the increasing economic concentration within the live music market. Interviews with bookers offer material for comparing the cultural intermediaries’ work practices and social trajectories. They illustrate different forms of professional development and uses of disinterestedness in the internationalised activity of booking. Cultural intermediaries and policies participate in the dual structure of the subfields, which reflects the centres and peripheries of the transnational musical field. Indeed, depending on their resources and position in these subfields, venues do not book the same type of artists. Thus, they tend to the local translation of musical value, all the while taking part in Paris’ and Berlin’s positioning as cultural capitals
Die Dissertation behandelt in vergleichender Perspektive „lebendige” Musik in Berlin und Paris. Musik wird hierbei als kulturelle Praxis in Form von Konzerten definiert, stellt die Orte an denen Musik stattfindet ins Zentrum und schließt daher das bloße Musikhören aus. Die Studie bezieht in diesem Rahmen beruflich-professionelle Aspekte, das Konzert als eine sinnliche Wahrnehmung und einen sozialen Tatbestand („fait social“) sowie das anwesende Publikum mit ein. Musik wird somit nicht musikwissenschaftlich sondern soziologisch analysiert. Das Konzert wird als künstlerische Ausdrucksform in seinem sozialen Rahmen betrachtet: das soziale Treiben während des Konzerts, die Besonderheiten des Veranstaltungsorts und ähnliche Aspekte sind in diesem Sinne integrale Bestandteile dieser auf Städteebene angesiedelten Forschungsarbeit

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Murray, Christopher. "Le développement du langage musical d’Olivier Messiaen : traditions, emprunts, expériences". Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20073.

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Les recherches entreprises sur Olivier Messiaen présentent encore de nombreuses lacunes bien que cet artiste figure parmi les compositeurs les plus connus et les plus influents du XXe siècle. Puisant à des sources primaires négligées dans les Archives nationales, la Médiathèque du CNSMDP, la fondation Sacher et des collections privées, cette thèse se penche sur trois aspects mal connus de cette figure phare de la modernité : la formation musicale de Messiaen au Conservatoire national de Paris pendant les années 1920 et les liens de sa musique avec les traditions pédagogiques de cet établissement, le développement de sa technique d’emprunt, de transformation et de juxtaposition des musiques préexistantes dans son œuvre pendant les années 1930 et 1940 et, enfin, ses expériences dans les domaines de la musique microtonale et de la musique concrète. Ce travail met en évidence plusieurs œuvres oubliées du compositeur et reconsidère notre compréhension de sa manière de composer
Despite his place of privilege among the best-known and most influential composers of the twentieth century, the state of current research on Olivier Messiaen leaves much room for development. This study focuses on three understudied aspects of this major modern figure drawing from neglected primary sources in the French National Archives, the Mediathèque of the Paris Conservatory, the Sacher Stiftung, and private collections, notably 1º Messiaen’s eductation at the Paris Conservatory during the 1920s and the relationship of his music to the institutions pedagogical traditions, 2º the development of Messiaen’s technique of borrowing, transforming and juxtaposing pre-existing music in his compositions during the 1930s and 1940s, and finally, 3º Messiaen’s experimentation in the domains of microtonal music and musique concrète. The current study brings to light many of the composer’s forgotten or lesser-known works and reconsiders our understanding of how he composed

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Nieden, Gesa zur. "Vom grand spectacle zur great season : das Pariser Théâtre du Châtelet als Raum musikalischer Produktion und Rezeption (1862-1914)". Paris, EHESS, 2008. http://www.theses.fr/2008EHES0104.

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Dans la période 1862 à 1914 le Théâtre du Châtelet accueillait trois genres musicaux différents : le grand spectacle, les concerts symphoniques des Concerts Colonne et le théâtre musical d’avant-garde (Salomé de Richard Strauss, Ballets Russes de Serge de Diaghilev). Par rapport à la variété musicale et à la composition sociale du public diversifiée de ces trois genres, la production musicale du théâtre du Châtelet est représentative pour la vie musicale parisienne autour de 1900. L’étude du Théâtre du Châtelet comme espace de production et de réception musicales se base sur l’approche de la sociologie de l’architecture. A son aide nous étudierons les influences de l’haussmannisation sur la pratique théâtrale et musicale. En outre, nous définirons un modèle de réception pour chaque genre afin d’étudier le rapprochement entre les genres « populaires » et « savants » au début du 20e siècle. Cette dernière étude éclaircira les bases culturelles de l’éclectisme en musique des années 1920
In the period from 1862 to 1914 the Parisian Théâtre du Châtelet hosted the three different musical genres grand spectacle, symphonic concert (Concerts Colonne) and musical theatre of the avant-garde (Salome of Richard Strauss, Ballets Russes). This range of genres is musically and socially representative of the musical life of Paris. The study of this theatre as a room of musical production and reception in the period from 1862 to 1914 analyses the establishment and the institutionalisation of these different genres in the Théâtre du Châtelet and defines a reception model for each of them. Methodologically our study is based on the approach of sociology of architecture and the spatial concept of the theatre historian Mercedes Viale-Ferrero. A comparison of the three different types of musical production in that époque sheds light on the eclecticism of the 1920s when Paris advanced to be the European capital of the arts

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Sajaloli, Cécile. "Le Théâtre-Italien et la société parisienne (1838-1879)". Paris 1, 1988. http://www.theses.fr/1988PA010524.

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Monographie du théâtre-italien de Paris, théâtre lyrique voué aux représentations d'opéras italiens dans leur langue d'origine. Ce théâtre de 1838 à 1876 reste un théâtre d'état. L'étude des relations des différents directeurs avec l'administration gouvernementale et l'évolution du cahier des charges mettent en évidence les tendances politiques du temps. Entreprise périlleuse en 1838, ce théâtre, après deux périodes fastes (1843-1848, 1855-1865) disparait en 1879 pour n'avoir pu lutter contre la transformation du monde extérieur et notamment contre la montée des cachets des grands chanteurs et le pillage de son répertoire autorise par la loi du 6 janvier 1864. L'histoire de ce théâtre fait ressortir, à travers l'étude du répertoire, les goûts d'une fraction de la société parisienne ; met en évidence les luttes des créateurs artistiques et du monde du spectacle au sujet du droit des indigents, de la liberté industrielle des théâtres, de la reconnaissance de la propriété artistique et littéraire.

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Duchêne-Thégarid, Marie. "Les plus utiles propagateurs de la culture française ? : Les élèves musiciens étrangers à Paris pendant l'entre-deux-guerres". Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2021.

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Pendant l’entre-deux-guerres, pédagogues et pouvoirs publics attendent des élèves musiciens étrangers formés à Paris qu’ils deviennent, selon une expression d’Henri Rabaud, directeur du Conservatoire, « les plus utiles propagateurs de la culture française » : par leurs déplacements, ces musiciens voyageurs assureraient la diffusion internationale de techniques musicales et de partis pris esthétiques français. Nous confrontons ce transfert culturel désiré à sa réalisation. La correspondance des institutions avec les pouvoirs publics souligne d’abord les enjeux que recouvre la venue de ces élèves en France. Les archives des écoles de musique, partiellement inédites, alimentent ensuite une base de données prosopographique identifiant les apprentis étrangers. La presse musicale et les récits de vie témoignent enfin de l’insertion de ces jeunes artistes dans la vie musicale parisienne et internationale, et permettent d’évaluer l’efficacité des mesures prises en faveur des élèves étrangers
During the interwar years, foreign music students trained in Paris are expected from teachers and public authorities to become « the most useful propagators of French culture », according to director of Conservatoire, Henri Rabaud’s words : through moving abroad, those traveler musicians shall spread musical techniques and French aesthetical bias all over the world. We are confronting this cultural transfer to its fulfilment. First, the correspondence between institutions and public authorities emphasizes issues caused by these students coming to France. Then, the partly unpublished archives of music schools form a prosopographic data base identifying foreign young musicians. Musical press and life stories finally attest that these young artists are integrated in parisian as well as international musical life, and allow also to estimate the effect of measures in favour of foreign students

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Tissot, Gaël. "Couleur, morphologie et espace dans la musique électroacoustique de François Bayle". Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20038.

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François Bayle (né en 1932), compositeur de musique électroacoustique et directeur du Groupe de Recherches Musicales (GRM) de 1966 à 1997, a toujours affirmé son intérêt pour les arts plastiques. Ce constat nous incite à penser qu'il existe une incidence importante des éléments picturaux sur le processus de création, et par conséquent des répercussions majeures sur l'écoute et la perception d'un style particulier au compositeur.Une première partie aborde les notions de lumière et d'obscurité, qui semblent correspondre à deux pôles musicaux récurrents (transparence/brouillage), tandis que le modèle de la couleur concernerait des données musicales s'appliquant à une pièce entière, et s'apparenterait à l'idée de ton général, au sens pictural du terme.Les modèles du fond et de la forme graphique se comprennent comme description des variations sonores sur une petite échelle de temps. L'étude de leurs rapports, notamment par l'établissement d'une typologie des situations d'écoute, permet de mettre en évidence des choix esthétiques basés sur des axes sonores équilibrés, et une musique pensée comme doublage du monde sonore réel.Une dernière partie s'interroge sur les possibilités d'intégration de modèles picturaux, par définition statiques, dans une structure musicale dynamique. Il apparaît que, si les procédés de juxtaposition sont prédominants, la structure générale n'en est pas moins orientée, offrant une double lecture de la pièce ou du cycle
François Bayle (born 1932), French composer of electroacoustic music and head of the Groupe de Recherches Musicales (GRM) from 1966 to 1997, has always claimed an interest in plastic arts. This leads us to think that pictorial elements have an important impact on our perception of the composer's style.The first section addresses the notions of light and darkness, which seem to match two poles (transparency/blur), while the model of color is related to the whole piece, and could be compared to the general tone of a painting.The models of background and graphical form can be understood as descriptions of sonic variations on a short time scale. The study of their relation to one another, in particular thanks to a typology of listening situations, enables us to bring to light esthetical choices based on balanced axes, and conveys the music as a double of the real sonic world.The last section investigates the integrational possibilities of pictorial models, which are static by definition, within a dynamic musical structure. Even if juxtaposition processes prevail, the general structure is oriented, and offers a second reading to the piece.Keywords : composition, electroacoustic music, musical analysis, François Bayle, painting, plastic arts, Groupe de Recherches Musicales (GRM), color, form, morphology

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Evanno-Ledoux, Gwenaëlle. "Les parodies de spectacles parisiens sous l'Ancien Régime : étude des procédés musicaux". Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2033.

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La parodie dramatique du XVIIIe siècle est un thème qui a bien souvent été traité. Il existe en effet de nombreux travaux sur le sujet, s'attachant à aborder la question d'un point de vue littéraire ou scénique. La particularité de mes travaux réside dans l'appréhension de la discipline à laquelle ils se rattachent : la musicologie. À travers l‟analyse musicologique et la réhabilitation des airs populaires ainsi que l'étude et la classification des timbres selon leur dramaturgie, la finalité de cette thèse sera de comprendre comment les parodies sont élaborées du point de vue musical. L'étude de sources primaires a permis de théoriser la compréhension littéraire et musicale du genre. Par ailleurs, ces recherches ont donné naissance à de nouveaux outils tels qu'une typologie des timbres ou un catalogue des airs, classés par incipits métriques et rythmiques. Car finalement, la parodie est-elle un genre musical si dilettante qu'il y paraît ? Le corpus des oeuvres étudiées sera par conséquent très diversifié, les parodies ciblant en effet plusieurs genres, tels que la tragédie lyrique, le ballet, l‟opéra-comique et déjà la parodie
The dramatic parody in the XVIIIth century is a theme which has often been tackled with. Indeed, there are numerous works about this subject, approaching the question in a literary or scenic point of view. What makes my work being special is identifying the subject which it belongs: musicology. Through the musicological analysis and popular airs rehabilitation, so as the study and the classification of the timbres according to their dramaturgy, the purpose of this thesis will be to understand how the parodies are built in a musical way. The study of the primary sources made possible the theorization of the literary and the musical understanding of this genre. Besides, these researches gave birth to new tools such as a typology of timbres or a catalogue of these airs, filed in metric and rhythmic incipits. Eventually, the point is: is the parody a so dilettante musical genre as it sounds? As a consequence, the musical works studied through this corpus will be very eclectic, the parodies aiming at several genres, such as the lyric tragedy, the ballet, the comic- opera and even the parody

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Raimundo, Nuno de Mendonça Freire Nogueira. "O cancioneiro musical de Paris: uma nova perspectiva sobre o manuscrito F-Peb Masson 56". Master's thesis, 2017. http://hdl.handle.net/10362/22412.

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A presente dissertação tem como objecto de estudo o manuscrito F-Peb Masson 56, conhecido como Cancioneiro Musical de Paris, ou simplesmente Cancioneiro de Paris, que contém a maior colecção portuguesa de música profana do século XVI. Passados quase 50 anos desde a tese de doutoramento de François Reynaud (1968), que era até agora o único estudo exclusivamente dedicado a este manuscrito e que permanece inédito, o nosso trabalho apresenta uma descrição detalhada dos seus aspectos formais e do seu conteúdo, revisitando as questões abordadas pelo musicólogo francês e aprofundando-as à luz das novas fontes e dos novos conhecimentos no âmbito da musicologia histórica que surgiram nas últimas décadas, com o objectivo de estabelecer uma base cientificamente sólida e rigorosa de análise e transcrição e, a partir dela, lançar novas linhas de investigação sobre o conteúdo poético-musical do cancioneiro. Mais concretamente, este trabalho é composto por um estudo codicológico e paleográfico aprofundados, com descrição exaustiva de todas as mãos textuais e musicais do cancioneiro, não só das suas características físicas mas também do seu vocabulário textual e musical; e por um estudo do conteúdo do cancioneiro, com uma análise da sua estruturação em diferentes secções temáticas, acompanhado de um volume contendo transcrições rigorosas dos textos poéticos e musicais e respectivo aparato crítico, incluindo o estabelecimento de novas concordâncias que possibilitaram a identificação de novos autores e a reconstituição das vozes de algumas peças de que o cancioneiro apenas regista apenas uma voz. Os dados e conclusões recolhidos nestes estudos permitiram-nos avançar com propostas fundamentadas de datação do repertório e, pela primeira vez, construir uma cronologia da constituição do cancioneiro, desde a sua elaboração original às sucessivas intervenções de copistas posteriores. Deste modo, concluímos que o CANCIONEIRO DE PARIS terá sido elaborado entre 1545-70 e que contém repertório que vai desde o início do século XVI até meados do mesmo século, o que, tendo em conta propostas recentes sobre esta matéria, faz deste códice o mais antigo cancioneiro musical português renascentista conhecido. Apresentamos ainda um estudo das formas poéticas e dos géneros musicais representados no cancioneiro, e exploramos novas linhas de investigação do repertório musical, concretamente na identificação de recursos de expressividade musical, que poderão contribuir para uma futura caracterização mais rigorosa do repertório secular português quinhentista. Abordamos também os aspectos práticos da escrita musical e da interpretação do repertório do cancioneiro, caracterizando o vocabulário utilizado, que contribui para o esclarecimento da gramática da notação musical da época e informa os critérios de transcrição por nos utilizados na edição dos textos musicais.
The subject of this dissertation is the F-Peb Masson 56 manuscript, also known as Cancioneiro de Paris (Paris Songbook), the largest Portuguese source of 16th-century secular music. After almost 50 years since François Reynaud’s doctoral thesis (1968) – which was until now the only research study dedicated exclusively to this manuscript, and which remains unpublished – our essay presents a detailed description of the formal aspects and contents of the cancioneiro, delving deeper into those questions touched on by the French musicologist in the light of new sources and findings in the domain of historical musicology which have surfaced during the last decades, with the aim of establishing a scientifically solid and accurate basis for analysis and transcription and, beyond that point, launching new lines of research on the poeticmusical content of the cancioneiro. In particular, this dissertation consists of a thorough codicological and palaeographical study, with an extensive description of all textual and musical hands of the cancioneiro, not only of their physical characteristics but also of their vocabulary; and also of a study of the contents of the cancioneiro, with an analysis of its thematical sectioning, accompanied by a volume of accurate transcriptions of all poetic and musical texts and its respective critical apparatus, including the establishing of new concordances which allowed us to put forward proposals for the identification of new authors and the reconstitution of the accompanying parts of some compositions which are given in one voice only. The data and conclusions gathered in these studies allowed us to put forward a solidly grounded proposal for the dating of the repertory and, for the first time, build a timeline of the constitution of the cancioneiro, from its original layer to the successive interventions of later scribes. I thus concluded that the Cancioneiro de Paris was composed between 1545-1570 and that it contains repertory from the early to the mid-16th century, which, considering recent proposals on the subject, makes it the earliest Portuguese Renaissance musical songbook known to date. This dissertation also includes a study of the poetic forms and musical genres represented in the cancioneiro; new lines of research on its repertory, namely, the identification of resources of musical expressiveness, are also explored, which may contribute to a future characterization of Portuguese Renaissance secular music. It touches also on practical aspects of the writing and the interpretation of the cancioneiro repertory, describing the musical vocabulary, which contributes to the clarification of the musical notation grammar and informs the transcription criteria used for the edition of the musical texts.

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Silva, Gerson Fábio Rodrigues. "O cancioneiro musical português no ensino das ciências musicais". Master's thesis, 2015. http://hdl.handle.net/1822/41303.

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Relatório de estágio de mestrado em Ensino de Música
No âmbito do Projeto de Intervenção Pedagógica Supervisionada foi elaborado o presente relatório, que procura fazer uma reflexão sobre todo o trabalho realizado ao longo de todo o percurso realizado no Mestrado em Ensino da Música, na vertente das Ciências Musicais. Com o título O cancioneiro musical português no Ensino das Ciências Musicais, o projeto procurou trazer uma visão mais condizente com aquilo que se entende ser um tema de máxima importância nas escolas de música em Portugal. O projeto foi aplicado na cidade de Braga na escola Companhia da Música nas disciplinas de Formação Musical e História da Cultura e das Artes em turmas de níveis diferentes. Partindo da problemática da subalternização da música portuguesa em relação à música da Europa Central, alicerçaram-se os primeiros conteúdos que têm por base a música de caráter nacionalista em Portugal dos séculos XIX e XX. À luz da literatura construíram-se os materiais didáticos que serviram de apoio aos alunos para que a compreensão dos conteúdos conduzisse a uma aprendizagem significativa. Considerando-se as disciplinas de Formação Musical e História da Cultura e das Artes de valor inegável na formação de um músico, com este trabalho procurou incutir-se nos discentes a consciencialização da importância da música do seu país. Os resultados obtidos depois da aplicação do projeto decorrem das estratégias utilizadas nas aulas, onde se recorreu variadas vezes a audições, a fichas informativas sobre a temática, o uso de imagens (recortes de jornais e fotografias) e alguns momentos de exposição de matéria. O projeto artístico surge como o culminar de todo o trabalho realizado nas duas disciplinas, onde se destaca a interdisciplinaridade obtida. O presente trabalho aspira a ser uma pequena reflexão sobre a prática pedagógica, sobre o panorama atual da música portuguesa e do seu ensino, na busca de novos caminhos.
This report has been designed as part of the Supervised Pedagogical Intervention Project which reflects all the work done throughout the Master in Music Education within Musical Sciences. The purpose of the project entitled the Portuguese songs colectionn within the Musical Sciences Education was to demonstrate the real importance of it in Portuguese music schools and has been implemented in different levels of Musical Training and History of Culture and Arts subjects in the Music Company School in Braga city. The first contents based on the nationalist music in Portugal in the nineteenth and twentieth centuries were built on the subordination of the Portuguese music in relation to the Central Europe music. In order to achieve a significant learning, teaching materials were built according to the literature which served as student support. The value of these two subjects - Musical Training and History of Culture and Art - is undeniable in a musician training whereby the project tried to rise awareness for the National Music. The results obtained arose from different strategies used in the classroom like auditions, information sheets, use of photographs and newspaper clippings and display of contents. This project highlights the interdisciplinary approach from both subjects and aims to reflect on the pedagogical practice and teaching about the Portuguese music current situation in the pursuit of new paths.

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Valentim, Maria José Quaresma de Carvalho Alves Borges. "A produção musical de índole política no período liberal : 1820-1851". Master's thesis, 2008. http://hdl.handle.net/10362/106555.

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Nesta dissertação pretendeu-se investigar e analisar a produção musical saída da primeira metade do século XIX relacionada com a implantação do liberalismo em Portugal. Com efeito, a ligação entre os movimentos políticos de determinadas épocas e o seu reflexo na produção musical coeva é um assunto muito pouco estudado em Portugal e, particularmente no que diz respeito ao século XIX, que, até muito recentemente, foi sistematicamente inferiorizado e ignorado pelos investigadores da música. E, todavia, do que se conhece, infere-se que foi um século muito activo musicalmente, tanto do ponto de vista profissional, como amador, surgindo várias sociedades de concertos, editores de música, abundantes publicações periódicas sobre música e vários tipos de comércio musical, reflectindo uma intensa oferta e procura deste tipo de bens. Assim, escolheu-se o período que corresponde ao estabelecimento do liberalismo em Portugal (1820 e 1851) por abranger um período de certa forma coeso, agitado por forças políticas e convulsões sociais que implicaram partidarismos, contestações e momentos de congratulação tão radicalmente antagónicos, que por duas vezes conduziram a sangrentas guerras civis (1832-34 e 1846-47). Foi essa multiplicidade de situações que apelou para o interesse particular dessa época, no sentido de verificar a repercussão desse quadro agitado na produção musical coeva e no contexto de uma sociedade em constante mudança, que se parece aproximar cada vez mais de uma sociedade romântica. Encontrou-se, de facto, um novo tipo de produção musical, na sua maioria independente das estruturas oficiais de produção (que até aí eram, fundamentalmente, a Corte, a Igreja e a Ópera), traduzido num abundante número de composições de inspiração partidária diversa, de conjunturas diferenciadas e de estilos e práticas musicais variados, que acompanham quase a par e passo os sucessivos momentos políticos da época, movimentos esses em que os músicos tiveram, também, um importante envolvimento social e político. Com isso cremos ter contribuído para uma nova compreensão da vivência musical dessa época.
This dissertation intends to investigate and to analyse the result of musical production from the first half of the 19th century related with the implantation of the Liberalism in Portugal. In fact, the link between the political movements of certain times and its reflection on the coeval musical production is an issue which has been barely studied in Portugal. This fact has been systematically put down and ignored by music investigators, particularly regarding the 19th century. Nevertheless, as far as we know, we may infer that the 19th century was musically very active, either on professional as well as on amateur work. Several concert societies and music editors appeared and also abundant and periodical publications about music and many types of musical commerce came out, giving evidence of an intense offer and search of this kind of goods. So, we have chosen the period of time which corresponds to the establishment of the Liberalism in Portugal (1820-1851) because it includes a period of time somehow cohesive, disturbed by political forces and social convulsions reflected on parties' supportive movements, contradictions and congratulation moments so radically opposed to each others. This fact led to bloody civil wars (1832-34 and 1846-47). As a matter of fact, it was this multiplicity of situations which appealed to the particular interest on this epoch, in order to verify the repercussion of this agitated picture on the coeval musical production, in a constant changing society context, which seems to get closer to a romantic society. A new type of musical production was found, mostly independent from the official structures of musical production (which were until then, mainly the Royal Court, the Church and the Opera). Those productions were rendered on a plentiful number of diverse musical compositions inspired on political parties. They also came from differentiated conjunctures and from various musical styles and practices which go along with successive political moments of that epoch. Musicians also had an important social and political involvement on these movements. With this achievement we hope to have contributed to a new understanding of the musical experiences during that time.

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Michelet, Calypso N. "Designing New Costumes and Scenery For The Musical Notre-Dame De Paris In 2020". 2021. https://scholarworks.umass.edu/masters_theses_2/1063.

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A reflection on the costume and scenic design process for the theoretical production of the musical Notre-Dame de Paris, composed by Riccardo Cocciante with lyrics by Luc Plamondon. This record contains the steps of the design process, from the analysis of the libretto and the dramaturgical research to the final presentation of the costume and scenic design elements.

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Araújo, Rui Alexandre Fernandes de. "Continuidades musicais. Estudo de relações e continuidades ao nível formal e dos conteúdos melódico-rítmicos, entre o repertório musical das Cantigas de Santa Maria de Alfonso X e os vilancetes do Cancioneiro Musical do Palácio (MS-II-1335)". Doctoral thesis, 2019. http://hdl.handle.net/10362/99550.

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Esta dissertação teve objectivo investigar a existência de continuidades musicais entre as Cantigas de Santa Maria e os vilancetes do Cancionero musical de Palacio (MS-II-1335) através da utilização de uma base de dados, a Lisbon Cantigas de Santa Maria Database, que permite a pesquisa no repertório das Cantigas de Santa Maria de padrões rítmicos e linhas melódicas. Esta tese demonstra a existência dalgumas continuidades musicais: a nível formal com a presença de uma forma musical característica das cantigas, o rondel andaluz; a nível rítmico com a presença de padrões rítmicos particulares que estão presentes em ambos os repertórios; a nível melódico com a presença de um contrafactum. De facto, essas continuidades relacionam-se com a continuação de uma tradição musical local que serviu de fonte de parte dos elementos musicais utilizados em ambos os períodos históricos.
This dissertation investigates musical continuities between the Cantigas de Santa Maria and the vilancetes of the Cancionero musical de Palacio (MS-II-1335) by using a database, the Lisbon Cantigas de Santa Maria Database, which permits electronic searching of rhythmic and melodic patterns in Cantigas de Santa Maria. It demonstrates that there are some musical continuities: at the formal level given the presence of a shared musical form characteristic of the songs, the Andalusian rondeau; by the use of peculiar and characteristic rhythmic patterns that are present in both repertoires; at the melodical level by the existence of a contrafactum. However, these continuities point to a relation with a local musical tradition stemming from an earlier tradition that served as the basis of some musical elements used in both.

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FU, YU-TING, e 富于庭. "Visual Arts in Musical Production：Using “Notre Dame de Paris”1998 and 2015 Editions as Examples". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/e7tdbf.

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碩士
國立臺灣藝術大學
戲劇學系表演藝術碩士班
104
The musical Notre Dame De Paris, which is an adaption from the French romantic writer Victor Hugo, has been translated into various languages and toured around the world ever since its debut in 1998. The musical has improved its use of techniques on the stage materials and has progressively made changes on its designs of visual arts. Nevertheless, its fame and well-reception all over the world, its performing styles and the ways of its presentations, on the other hand, remain questioned. This leads us to unsolved questions: are the factors of visual arts essential in this musical production? If so, what aesthetic impact they might cause? And finally, what range of visual arts can be involved and developed in a musical production in the future? Through two different versions of the musical, one is from the 1998 DVD by Pomme Music and the other is from the 2015 by News culture of Korea TV program this study aims to compare the differences of the stage designs and presentations between two versions, and to discuss the changes and developments of its elements and aesthetic impact of visual arts. With results of such comparisons and discussions, this study suggests that the factors of visual arts are essential in the musical Notre Dame De Paris, moreover, in a process of a musical production, visual arts should be regarded seriously and developed continually.

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Nassiboullina, Lira. "Comparative Analysis of the French, English, and Russian Versions of the Musical Notre-Dame de Paris". Thesis, 2011. http://spectrum.library.concordia.ca/7512/1/Nassiboullina_MA_S2011.pdf.

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Abstract/Résumé This thesis presents a detailed comparative analysis of the French, English, and Russian versions of the widely acclaimed musical Notre-Dame de Paris. For this study, I will examine three versions of Notre-Dame de Paris: that were presented in France, in the United States and Great Britain, and in Russia. Although its focus is on translation studies, much of my research is indebted to the contributions of scholars in the field of musical theatre, particularly in the translation of musicals. I discuss the problems with the English and Russian translations as well as their deviations from the original French text. My methodology is rooted in the analysis of linguistic level such as syntactical figures and rhetorical devices. The results of this research demonstrate how the translator’s vision or interpretation of the reality he or she describes can modify the original message of the source text, as displayed by the translations of selected songs. The analysis shows that the English version reproduces the style and content of the source text as closely as possible, whereas the Russian version interprets the source text more freely. Furthermore, I analyze the relationship between the translation of a musical and the reception of the production by its target audience. Cette thèse présente une analyse comparative approfondie des versions française, anglaise et russe de la comédie musicale largement acclamée Notre-Dame de Paris. Aux fins de cette étude, j'explore trois versions de Notre-Dame de Paris, celles qui sont présentées en France, aux États-Unis, en Grande-Bretagne et finalement, en Russie. Bien qu’appartenant au domaine des études de traduction, ma recherche est également basée sur les contributions faites par des chercheurs dans le domaine du théâtre musical, en particulier, des comédies musicales et de la traduction. Je discute des problèmes et des différences qu’on trouve dans les traductions anglaise et russe du texte original français. Ma méthode d'analyse repose sur les niveaux linguistiques qui comprennent les figures syntaxiques et rhétoriques. L’analyse démontrera la façon dont la vision ou l'interprétation de la réalité décrite par le traducteur peut modifier le message d'origine du texte source, ce qui peut être le cas dans la traduction de certaines chansons. L'analyse montre que la version anglaise reprend le style et le contenu du texte source d'aussi près que possible, alors que la version russe donne une idée de la libre interprétation du texte source. Dans cette étude, je présente également une analyse de la relation entre la traduction des comédies musicales et la réception de la production par le public cible.

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McGregor, Jennifer Lauren. "Hearing “les plaintes de la Pologne”: impressions of a nationalist narrative in selected nocturnes of Frédéric Chopin". Thesis, 2011. http://hdl.handle.net/1828/3241.

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Chopin’s artistic philosophies were heavily indebted to his love of vocal music and his staunch belief that vocal expression represented the supreme essence of musical declamation. To his contemporaries in the Parisian salons, his veneration of the vocal ideal illuminated the expressive significance of Chopin’s musical language. Influenced by the dramatic function of operatic and vocal works, and by interpretive trends that associated literary programs with instrumental (textless) music, Chopin’s contemporaries searched for concealed narratives within his piano nocturnes. This thesis considers the narrative function of Chopin’s late nocturnes within the sociopolitical and musical culture of the Parisian salons, and utilizes a modern approach to narratology that resonates with a prominent facet of historical interpretation. The study reveals a specific reception in which audiences, influenced by the philosophies of Polish messianism, heard national narratives, sung pronouncements of his Polish nationality, and political support for the Polish nation in Chopin’s nocturnes.
Graduate

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Brain, Corisha. "A social, literary and musical study of Julie Pinel's 'Nouveau recueil d'airs serieux et a boire' (Paris, 1737) : a thesis submitted in fulfilment of the requirements for the degree of Master of Music in Musicology, New Zealand School of Music". 2008. http://hdl.handle.net/10179/914.

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This thesis discusses the life and work of the eighteenth-century French composer, Julie Pinel. Pinel’s extant music comprises one collection of music, Nouveau recueil d’airs sérieux et à boire à une et deux voix, de Brunettes à 2 dessus, scène pastorale, et cantatille avec accompagnement, published in 1737, of which a critical edition has been produced in volume II of this thesis. There is little information regarding Pinel’s life and work, however, the preface and privilège included in her Nouveau recueil provide some clues as to Pinel’s biography. Her life and music are examined, with reference to the social, literary and musical environment she was working in. An added dimension is that Pinel was working as a professional musicienne at a time when women were beginning to find their voice and place in professional society. Pinel claims authorship of the majority of the poems in her collection, and the rest come from anonymous sources. Pinel’s literary and musical output illustrates her obvious knowledge of the current trends in eighteenth-century France, with most of her poetry written for a female poetic voice, displaying many of the fashionable themes of the day. Her music displays a variety of styles, ranging from simple airs in binary form, traditionally found in most French airs sérieux et à boire, to the operatic, and the fashionable rococo styles.

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