La thèse propose d’étudier l’orchestre de l’Académie de musique à travers Robert le diable (1831) de Giacomo Meyerbeer (1791-1864), l’une des œuvres les plus représentées dans le répertoire de l’opéra français romantique et dont la diffusion hors de France fut sans précédent. D’une part, l’orchestre est envisagé comme une entité sociale et économique à l’intérieur même de l’institution théâtrale. Il apparaît ainsi l’image d’une structure composée de musiciens d’expérience avec une recherche constante d’excellence de l’orchestre mais dont les disparités (salaires, conditions d’engagement et d’exercice) entre les différents membres de l’orchestre se révèlent être fortes. En tant que corps sonnant, d’autre part, l’étude de l’orchestre éclaire l’instrumentarium et les techniques d’orchestration de Robert le diable. Cette approche analytique offre la possibilité de cerner au mieux, d’un côté les spécificités musicales d’une œuvre représentative du répertoire de l’opéra français romantique, et de l’autre les procédés stylistiques de Meyerbeer qui par certains aspects préfigurent les drames verdiens et wagnériens / The thesis is here to study the musical academy’s orchestra by considering Robert le diable (1831) by Giacomo Meyerbeer (1791-1864), one of the most performed pieces of works in the repertory of the French romantic opera and whose diffusion outside France was unprecedented. First, the orchestra is considered as a social and economical entity within the theatrical institution. We can consider the image of a structure composed of experienced musicians doted with a constant search of excellence but whose disparities (salaries, job’s opportunities) between the various members of the orchestra are very strong. Now, as an entity or a musical structure, the study enlightens the instrumentarium and the techniques of orchestration in Robert le diable. That analytical approach allows us to better comprehend the musical specificities of a work symbolising the French romantic opera, and the stylistic processes of Meyerbeer which, by some aspects, prefigure the Verdian and Wagnerian dramas

L’opéra sauvetage s’est développé rapidement en France durant la Révolution française, principalement dans l’opéra-comique, puis est assez vite passé de mode sous l’Empire. L’opéra sauvetage se définit surtout en fonction de ses caractéristiques littéraires. Le livret met en scène un héros ou un groupe sauvé de la mort ou d’un avenir contraire à ses désirs après que l’injustice ou la malveillance l’a persécuté. Le sauvetage arrive à l’instant le plus critique. Nous nous sommes interrogée sur l’efficacité dramatique des intrigues, musiques et mises en scènes proposées dans ces créations. Notre étude travaille donc sur l’énergie dramatique mise en œuvre dans les opéras sauvetage et surtout sur son calibrage selon le déroulement de l’action. Le terme « énergie dramatique » doit être compris comme le lien entre la construction d’un opéra et l’émotion que cette construction doit engendrer. Cette étude sur l’énergie dramatique se justifie d’autant plus que ce concept est au centre de l’intérêt d’un opéra sauvetage à défaut d’autres notions comme la virtuosité par exemple. / The rescue opera developed quickly in France during the French Revolution, mainly in the light opera, then is rather fast old-fashioned under the Empire. The rescue opera defines itself especially according to its literary characteristics. The notebook stages a hero or a group saved from the death or from the future against its desires after the injustice or the hostility persecuted him. The rescue arrives at the most critical moment. We wondered about the dramatic efficiency of the intrigues, music and directions were proposed in these creations. Our study works on the implemented dramatic energy in the rescue operas and especially on its grading according to the progress of the action. The term "dramatic energy" must be understood as the link between the construction of an opera and the emotion which this construction has to engender. This study on the dramatic energy justifies itself especially since this concept is in the center of the interest of a rescue opera for lack of the other notions as the virtuosity for example.

Le scandale a mauvaise presse. Celui par qui il arrive est humilié puis raillé. Il est une forme de divertissement que certains jugent indigne. Pourtant, il s’avère être une formidable voie d’entrée pour qui tente de comprendre les États-Unis. Par cette monstrueuse transgression, le refoulé fait son retour. Ainsi, analyser le scandale, c’est envisager l’Amérique comme une nation hantée par le puritanisme. Cette pierre d’achoppement qu’est le scandale peut être la pierre angulaire d’une nouvelle construction théorique : un mélange d’anthropologie, de sociologie et de psychanalyse pour débusquer la part d’Ombre d’une Amérique étrangère à elle-même. Voilà pourquoi, paradoxalement, un roman se trouve au cœur de ce travail de recherche de civilisation américaine. Un roman lapsus échappé dans les années cinquante : Peyton Place. Plus qu’une étude de cas, son analyse illumine le concept-même du scandale aux États-Unis. Le destin de son auteur, pharmakos moderne et celui de l’œuvre elle-même illustrent les différents mécanismes de la machine infernale du scandale. Traité de scandalogie ironique, grotesque, kitsch et camp, Peyton Place est une manne pour le scandalologue. Mis en regard avec The Awakening de Kate Chopin, ce roman, vilipendé par la critique et ignoré par la recherche universitaire, met également en scène la féminité du scandale. Les deux œuvres féminisaient l’Amérique, ancrant leur narration transgressive dans une maternité teintée de primitivisme, annonçant ainsi une nouvelle ère où la sexualité serait plus libre. La scandalogie, elle aussi, est pionnière. Elle appelle à l’exhumation d’œuvres oubliées, raillées ou calomniées pour un nouveau canon américain. Peyton Place n’était pas qu’une « gifle au bon goût public », il émasculait l’Amérique. Plus encore, il déchirait le tissu mythique de la nation. Le scandalologue, forcément mythologue, n’est donc pas voyeur : il est visionnaire. / Scandal is tabloid fodder. Those who have fallen from grace are mocked and humiliated and most people think scandal is but a trivial matter. The shocking, disgraceful deeds and affairs of idols have long become part of the entertainment industry. However, scandal and gossip are two different things and the former can help us delve into the American psyche. Scandal is enlightening in more ways than one. It dramatically calls attention to collective fears that have repressed and preserved in the unconscious. Scandal, making them reappear, helps us probe the nation’s unfathomable depths: America is a mansion haunted by Puritanism, as it were. Scandal is a stumbling block but it can also be the corner stone of a new theoretical approach rooted in anthropology, sociology and psychoanalysis to shed light on the black, dense Shadow of America. Peyton Place is a Freudian slip of a novel that shocked the not so Placid Fifties and actually illuminates the whole concept of scandal. Because Grace Metalious was treated like a modern-day pharmakos, her fate illustrates the mechanism of that infernal machine scandal is. Peyton Place is kitsch, camp, ironic and grotesque but it is above all a treatise on scandal. Just like Kate Chopin’s The Awakening, Peyton Place feminized nature, rooting its narrative into primeval matriarchy and heralding a new era of free-flowing sexuality. Peyton Place was more than a slap in the face of public taste; it was a kick in the groin of the American male. More than that, it shred America’s mythical fabric of lies into pieces. A scandalogist is no Peeping Tom, then: he is a visionary.

This thesis consists of a chamber-staged composition for soprano, baritone, modified Pierrot ensemble (flute, clarinet, piano, violin, viola and cello), Colombian tiple, and fixed media, together with an analytical paper in which I discuss my compositional techniques and their historical antecedents. The composition is an interpretation of an acute schizophrenic episode of a young female patient that is committed to a mental health facility. It was inspired by the need to bring awareness about mental illness and the struggles that these patients experience every day. In this work, I explore the inclusion of a folkloric instrument, the Colombian tiple, within a classical chamber ensemble to expand the color and timbre of the sound world of the composition. In addition, I use different compositional techniques including set theory, unordered pitch collections, and choral-like polyphonic texture. The work is composed in a twenty-first century expressionistic style.

The lecture recital was given on July 25, 1977. Transcriptions and arrangements for clarinet and piano of nineteenth-century Italian opera were popular during the virtuoso wind era and are representative of an important phase in the history of clarinet playing. Arias of Rossini and Verdi and a fantasia based on Rigoletto were performed during the lecture recital. In addition to the lecture recital, three other public recitals were performed, including solo compositions for clarinet and chamber works including clarinet.

Music is full of collaboration, between composers and musicians, musicians with each other, or composers with directors, to name a few. Not as commonly found are collaborations between multiple composers. Some works, such as Hexameron, (Liszt, 1839) were written as variations on a theme by several composers, but even rarer are single works written collaboratively by multiple composers. How would one set out to create a work with multiple composers? Can a group of composers collaborate to create a single, unified vision with a similar voice? What obstacles would arise from such a project? This thesis sets to answer these questions and more, and details the process in which myself and two composers created an operetta in three acts. We will walk through every step of our journey, from the first meeting to the writing process to the final product and concert. The aim of this thesis is to explore how a collaboration of composers can work, the problems that may arise and how to potentially avoid them. If these aims are achieved, this thesis may serve as guidelines for other composers wishing to collaborate on similar projects.

In an appendix section, three notable arias have been transcribed for two clarinets, voice, and piano. A further evaluation of Classical period opera orchestration will aid modern performers and musicologists in their understanding of what clarinets and clarinetists were able and expected to do.

Nytt operahus på Frihamnspiren blir en ny attraktionspunkt för den framtida stadsdelen. Byggnaden skapar ett eget skärgårdslandskap längst ut på piren och möjliggör för kollektiv båttrafik, gästhamn samt en ny park. Den arkitektoniska idén baseras på den dominanta gatan som ger piren en tydlig riktning och drar människor till platsen. Genom att att låta stråket förlängas genom byggnaden och avslutas i en stor foajé, skapas ett naturligt flöde genom byggnadens offentliga del. Foajén erbjuder bland annat en fantastisk utsikt mot havet. / A new Opera house at Frihamnen would be important for the future expansion of the city being a highlight in the area. The architectural idea is to use the dominance of the existing street to attract people to the site. By extending the direction force of the street into the building and letting it finish in the main foyer, there will be a natural flow of movement through the public parts of the building. The foyer presents a magnificent view towards the sea. The new building plays with the piere and creates its own landscape with a pine park and a guest harbour with ferry landing.

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