La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la bibliothèque de musique de l'Université de Montréal (http://www.bib.umontreal.ca/MU). / L’œuvre musicale de Pierre Boulez est l’une des œuvres majeures de la seconde moitié du vingtième siècle. Celle-ci a évolué entre 1945 et 2008 conjointement avec les écrits de Boulez, dans lesquels sa réflexion traite, successivement, les différents aspects de son langage : la théorie entre 1948 et 1963, puis l’esthétique entre 1963 et 1995. Cette évolution, les enjeux et les contours de l’œuvre musicale de Boulez ne pouvaient être envisagés par la seule étude des œuvres officiellement acceptées. Il était nécessaire d’étudier l’ensemble des compositions secondaires, achevées ou non, reconnues ou non, de même que l’ensemble des versions successives pour chaque œuvre ; cette démarche a donc nécessité la collecte et l’analyse de l’ensemble de ces sources. Depuis 1986, les archives de Boulez sont contractuellement destinées à la Fondation Paul Sacher de Bâle, cependant de nombreuses sources, esquisses, manuscrits et correspondances restent dispersés, voire perdus. C’est le cas notamment des œuvres de jeunesse, ainsi que des œuvres récentes dont les fonds n’ont pas encore été déposés à la Fondation. Cette thèse est avant toute chose une thèse d’analyse. Au regard des travaux déjà existants, nous avons choisi de restreindre notre corpus d’œuvres aux compositions des deux périodes 1945-1949, puis 1965-2008, à la fois extrêmes et représentatives de l’évolution esthétique et scripturaires de Boulez. En fonction de la disponibilité des sources, nous avons privilégié une approche poïétique inductive, pour reprendre l’idée de la tripartition, dans le cadre de la sémiologie musicale telle qu’élaborée par Jean Molino et Jean-Jacques Nattiez au milieu des années 1970, c’est-à-dire avec pour seul support la ou les partitions disponibles (Répons, Initiale, Incises et sur Incises), ou une approche poïétique externe, c'est-à-dire de reconstitution, à l’aide des esquisses, des processus compositionnels (œuvres de jeunesse, Dérive 2, Domaines, Dialogue de l’ombre double, Anthèmes, Anthèmes 2). Le premier livre de cette thèse traite des évolutions esthétiques de Boulez. Les deux analyses proposées dans le second livre, consacrées aux deux groupes d’œuvres Domaines/Dialogue de l’ombre double et Anthèmes/Anthèmes 2, ont pour objectif de démontrer la complexité toujours présente ainsi que la rigueur de la démarche compositionnelle de Boulez à la lumière des esquisses, nonobstant une simplicité apparente des éléments constitutifs. Nous espérons que notre travail contribuera à clarifier la construction progressive du langage de Boulez, ainsi que la perception de ses œuvres. / Pierre Boulez’s musical compositions are one of the most important compositions in the second half of the twentieth century. They moved a lot between 1945 and 2008 together with his written works, in which his thought deals successively with the different aspects of his language : the theory between 1948 and 1963, then the esthetics between 1963 and 1995. Studying only the officially accepted works is not sufficient to understand this evolution, the issues and the outlines of Boulez’s music. It was necessary to study all the compositions of secondary importance - even if they were not finished or recognized - and all the successive versions of each work ; that’s why all these sources had to be collected and analyzed. It has been contractually intended since 1986 that the Paul Sacher Foundation in Basel should have Boulez’s archives, however many sources, sketches, manuscripts and mails are still scattered or lost. That is what happened to some early works and some recent works that have not been registered in the Foundation yet. This doctoral dissertation is above all a work of analysis. From the viewpoint of the works that have already been done, I chose to restrict my study to the compositions of two periods – 1945-1949 and then 1965-2008 – which are extreme and representative of the evolution of Boulez’s esthetic and composition. According to the sources’ availability, I favored an approach called “poïétique inductive” – to take up again the idea of “tripartition” – within the context of music semiology as it was elaborated by Jean Molino1 and Jean-Jacques Nattiez2 in the middle of the seventies, that is to say by studying only the available scores – Répons, Initiale, Incises and sur Incises- or an approach called “poïetique externe”, that is to say by reconstituting with sketches processes of composition (early works, Dérives 2, Domaines, Dialogue de l’ombre double, Anthèmes, Anthèmes 2). The first part of this doctoral dissertation deals with Boulez’s esthetic evolutions. The two analyses in the second part – devoted to Domaines/Dialogue de l’ombre double and Anthèmes/Anthèmes 2 – aim at demonstrating in the light of the sketches the complexity and the rigour of Boulez’s reasoning when he composes, although the constituents seem apparently simple. I hope that this work will contribute to making clearer the gradual construction of Boulez’s language and the perception of his works.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Cette thèse aborde l’intégration de la spatialisation en composition acousmatique et de son interprétation en concert. Ces recherches furent réalisées au cours d’une maîtrise en composition à la Faculté de musique de l’Université de Montréal. Un survol historique des compositions ayant l’espace comme paramètre principal de composition permettra de me situer dans cette pratique artistique. J’aborderai aussi les différentes propositions de spatialisation ainsi que les principaux lieux dédiés à cette activité, de ses débuts jusqu’à nos jours. Il sera également question de l’importance de l’écriture spatiale dans mon travail de création. Ensuite, je mettrai en contexte mon cheminement musical et mon intérêt constant pour la spatialisation en musique. Je démontrerai que grâce à l’accès à des technologies puissantes, simples et efficaces, nous sommes en mesure d’intégrer la spatialisation des sons en musique électroacoustique aussi bien en amont qu’en aval de la création. Plusieurs techniques et outils permettent l’écriture des sons dans l’espace. J’examinerai donc comment mon approche compositionnelle et ma méthodologie de travail les intègrent lors du processus de création. Je poursuivrai avec l’analyse des œuvres que j’ai composées durant ma maîtrise. J’exposerai les faits saillants de mes recherches. Finalement, je livrerai les réflexions qu’a suscitées mon projet de recherche. / This thesis is about the integration of spatialization in acousmatic music as well as its performance in concert. These researches were conducted during a Music Master in Composition at the Faculté de musique de l’Université de Montréal. A historical overview of compositions with spatial considerations as main musical parameter will allow to situate my work within this artistic practice. Different implementations and propositions of spatialization that have been used (as well as the principal locations dedicated to this form of activity) from the beginning to this day will be discussed. I will then put the emphasis on spatial writing in my creative works. Furthermore, I will contextualize my musical background and of my constant interest in musical spatialization. I will demonstrate that, with better access to powerful, yet simple and efficient technologies, spatialization in electroacoustic music can be integrated before and after the creative process. A wide array of techniques and tools can provide methods for spatial writing, thus I will examine how the compositional approach of my work’s methodologies incorporates these during the creative process. I will conclude with the analysis of the work composed during my MM, which will also reiterate the highlights of this research. Finally, I will give my very own reflections and observations on this project.

Master of Music / Department of Music / Frank C. Tracz / This document is comprised of research and analysis of the comprehensive examination of the graduate conducting recital of Luke D. Johnson. This recital was performed by the Lansing High School Wind Ensemble on February 24, 2008 at McCain Auditorium in Manhattan, KS, and again on February 25, 2008 at Lansing High School in Lansing, KS. The examined repertoire for these recitals includes Mother Earth by David Maslanka, English Folk Song Suite by Ralph Vaughn Williams, Symphony #1 In Memoriam Dresden – 1945 by Daniel Bukvich, and Concertino for Solo Clarinet with Band Accompaniment by Carl Maria Von Weber, OP. 26. This document contains theoretical and historical analysis and outlines the methods of planning and preparing a graduate conducting recital according to the Blocher/Miles and Tracz formats.

Master of Music / Department of Music / Frank Tracz / The following report provides a comprehensive analysis of two works for wind band and one small chamber work for woodwind octet: Night Dances for Wind Ensemble by Bruce Yurko, Octet in E-flat Major, Op. 103 by Ludwig van Beethoven, and Simple Gifts: Four Shaker Songs by Frank Ticheli. This analysis provides information necessary for a conductor’s rehearsal preparation. Included is biographical information about the composer and a historical perspective of the composition itself. Highlighted are the technical difficulties, stylistic concerns, musical elements, and form and structure of each composition. As the researcher, my music education mission statement and perspective on quality literature selection are also included. Suggested listening, seating charts, acoustical justifications, and rehearsal plans with researcher evaluations are provided. The compilation of this information will allow conductors to make more informed musical decisions during their preparation and performances of the works.

Master of Music / Department of Music / Phillip D. Payne / The purpose of this study was to determine if music educators who have had experiences with informal music are more likely to employ informal learning within their classroom. Secondary research objectives included a comparison of survey results against specific demographics of the survey participants, an examination of the types of informal learning that the participants experienced and facilitated, and a look at the perceived barriers and benefits of informal music learning from the viewpoints of the participants. Participants (N=25) were practicing music educators pursuing graduate music studies. The participants were enrolled in a summer Master of Music program at a university in the Midwest. Data was collected by employing a pen and paper survey that provided a demographic description and informal music learning questionnaire. The participants were asked to indicate the frequency of participation in informal music activities prior to becoming a music educator. They further reported what informal music learning activities they facilitate within their school music curriculum. Finally, the participants responded to two short answer questions where they identified barriers and benefits they perceive with the implementation of informal music practices within their music programs. Results from a Pearson correlation showed a moderately strong relationship (p = 0.43) between participants who had informal music experiences (E) and who employed informal music learning within their music curriculum (C). There were no significant differences observed in the results between participants of different gender or school division. Of the short answer responses cataloged, participants cited a lack of experience with informal music and difficulty of connecting informal music learning to the formal music curriculum as the barriers to employing informal music learning in the classroom. The participants discussed the increase in student motivation, expanding musicality, and real-world relevance as the benefits of informal music learning. Knowledge gained from this study may be useful to individuals facilitating informal music learning within music education programs at the primary, secondary, or collegiate levels.

Master of Music / Department of Music / Kurt R. Gartner / This is a report intended for musicians planning to perform any number of, or scholars seeking to enrich understanding of, the following compositions: Concerto for Marimba and Wind Ensemble by David Gillingham, XL Plus One by Alvin Etler, March from Eight Pieces for Four Timpani by Elliott Carter, 42nd Street Rondo by Wayne Siegel, and Oceanus by Steve Houghton and Wendell Yuponce. Each work is analyzed in accordance with Jan Larue's method of style analysis. For some compositions, analysis of harmony has been omitted. For all compositions, the author has added a pedagogical realm of analysis, dedicated to notable performance considerations, interpretive possibilities, and technical considerations, to Larue's organizational scheme. Therefore, the approach taken in this document can be expressed as: Sound, Harmony, Melody, Rhythm, Growth, and Performance.

No description available.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’université de Montréal (www.bib.umontreal.ca/MU). / WAG! The Musical est la seconde comédie musicale d'Aleksey Shegolev ainsi que la première à être exécutée dans un théâtre off-Broadway à New York durant l'été 2013. Une des premières comédies de William Shakespeare, Peines d’amour perdues, a servi d’inspiration pour son partenaire Julian Silverman (dramaturge) et lui (compositeur et librettiste) dans la composition de WAG!. Afin de moderniser le sujet shakespearien traité dans les Peines d’amour perdues, plusieurs ajustements ont été nécessaires. Dans le but de maintenir l’attention des spectateurs, le niveau d'intensité dans l’action doit constamment s'élever. Cette thèse traitera notamment des divers procédés musicaux employés dans le but de soutenir l’action. Le rock ' n' roll, ainsi que le jazz furent les principaux langages musicaux à avoir une forte influence sur cette composition. Conséquemment, à travers une analyse détaillée, Shegolev explique comment le rythme, l'harmonie et la texture construisent sa comédie musicale. De plus, la manière de rendre l’humour en musique, si nécessaire au genre comique, sera également objet de discussion dans cette dissertation. La dissertation sera clôturée par un chapitre qui traitera de l'expérience personnelle que Shegolev a accumulée au cours des ateliers de lecture et des répétitions aux quelles sa pièce a été assujettie, afin de monter WAG! dans un théâtre de production à petite échelle à New York. / WAG! The Musical is Aleksey Shegolev's second full-length musical and it is the first to be performed in an off-Broadway theatre in New York during the summer of 2013. The idea for the plot was inspired by William Shakespeare’s Love’s Labour's Lost, and he and his partner, Julian Silverman, created a story fit for modern times. Shegolev was the composer and lyricist, while Silverman was the book writer. Good storytelling and strong songwriting depends on the characters having a goal to pursue as they overcome the obstacles in their paths. As the story progresses, the level of intensity must always rise to keep the audiences’ attention. Jazz and rock ‘n’ roll were the main musical influences on this piece and we will see how rhythm, harmony and texture played a part in creating WAG!. Musicalizing comedy by using various techniques in composition is another topic that will be explored. Finally, this dissertation will close with Shegolev's experiences during the workshop from dealing with the director to the endless revisions and cuts that had to be made before opening night.

Master of Music / School of Music, Theater, and Dance / Virginia Houser / Alexander Tikhonovich Gretchaninoff (1864-1956) was a prolific composer from Russia’s Romantic age who explored the art of musical writing within an extensive number of genres and forms and showed an unusually strong interest in the creation of solo piano pieces for and about children. It is important that musicians in general and pianists in particular investigate his compositions and gain an understanding of their nature and potential usefulness as teaching pieces and as works worthy of public performance. My research consisted of an examination of Gretchaninoff’s autobiography, the study of numerous secondary accounts of his life and personal analysis of piano scores written by the master. My investigation uncovered the almost hidden existence of a large number of attractive musical works which Gretchaninoff wrote for solo piano as well as insightful details concerning the circumstances and motives that inspired the master to compose within the parameters of this genre. The following pieces are performed as part of this presentation: (from Children’s Album, Op. 98) A Tale, In the Camp of the Lead Soldiers, Lead Soldiers on the March, Hobby-Horse, Nurse Is Sick, Lullaby, Little Dance, Dreadful Event, After the Ball, On a Travel Tour, The Little Would-be Hero; (from 12 Little Sketches for Children, Op. 182) Sunrise, With the Fishing Rod, On the Swing, A Country Lad; (from A Child’s Day, Op. 109) Morning Prayer, The Broken Toy, The Happy Return Home; (from The Grandfather’s Book, Op. 119) My Dear Mommy, Swallow Dance, Pussy Is Ill, On the Swing; (from Glass Beads, Op. 123) Morning Promenade, On a Bicycle, Difficult Work; (from Andrusha’s Album, Op. 133) The Dance of the Gold Fishes, My Little Dog Joujou; (from Album Leaves, Op. 139) After Walking; (from Nina’s Album, Op. 141) After Mass, Dreaming, At the Wheel; (from Arabesques, opus number in dispute) Russian Folksong, A Sad Little Story; Sonatina in F major, Op. 110, #2 – 1. Allegro giocoso, 2. Menuet (Moderato grazioso) and Trio, 3. Finale – Allegro.

Copies of author's previously published articles inserted. / Bibliography: p. 377-400. / xiv, 400, [20] p., [5] leaves of plates : ill. (some col.), maps ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Zoology, 1995