The seven symphonies of Arnold Bax, written between 1921 and 1939, are the climax of a fruitful career of music composition. This study investigates the determinants of form in these works, considers some of the formal problems, and makes a correlation between form and style. The two primary formal determinants are thematic organization and textural formation. Other factors, such as rhythm, dynamics, timbre, register, and harmony, act on the thematic and textural process in a secondary way. Tonality sometimes plays an important formal role and is discussed in conjunction with thematicism and texture. Harmony, though an important aspect of Bax's style, frequently has an ornamental rather than structural significance. For the sake of generalization and comparison, formal patterns of individual movements are outlined. Formal patterns are described by simple diagrams of how themes appear in a movement as defined by textural formation. In some cases, these bear a resemblance to traditional formal models, though in an individual way. Formal patterns serve to show that Bax has definite formal shapes in mind. Bax, however, does not artificially impose these patterns on the music; instead, they arise from Bax's need for creative expression. A conclusion of this study is that textural-thematic contrast and variation are fundamental to the form and style of Bax's symphonies. Contrast, especially, is vital to Bax's romantic aesthetic, and variation is largely responsible for the variety of textural change and the evolution of thematic ideas. The Second Symphony is analyzed in some detail. In that work, a cyclical use of themes and motives provides an interesting study. Contrast and variation are very pervasive and result in a very individual and satisfying formal design.

Texte remanié de: Diss.--Würzburg--Julius-Maximilians-Univ., 2001. / Bibliogr. p. 405-408.

Akademisk avhandling : Ekonomisk historia : Uppsala : 1979. / Bibliogr. p.. 573-590. Résumé en anglais.

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Du scientisme, de l'antimilitarisme, du dilettantisme une élite de jeunes intellectuels au seuil du XXe siècle, sentant l'appel à une vie d'équilibre, à une vie de discipline, a évolué à de nouvelles valeurs. C'est l'histoire d'Ernest Psichari. Le but de la présente thèse est d'esquisser son évolution. C'est dans les oeuvres mêmes de Psichari que nous allons suivre son itinéraire spirituelle. Les Voix qui crient dans le Désert sont l'ouvrage où l'on saisit le mieux la pensée de l'auteur. Ces voix désertiques en Mauritanie le font réfléchir et le mènent du traditionalisme de Péguy à une philosophie plus vraie — et meme jusqu’au catholicisme. Le premier chapitre de notre étude montre le dilettante au bas de l'échelle des valeurs chrétiennes; mais l’influence de sa famille, de l'éducation lycéenne, de ses amis, laisse une empreinte indélébile qui aura ses répercussions. Vraies valeurs: soumission, obéissance, discipline et action, Ernest Psichari les trouvent dans l'armée. Le deuxième chapitre nous montre comment il les fait passer dans sa vie quotidienne. Engagé dans l'armée coloniale il va en Afrique; dans ses parcours il entend les voix de la terre africaine: voix de la solitude et du silence; voix de la pauvreté et du dépouillement; voix de Islamisme; voix de la France. Vue de loin, sa patrie prend un sens tout autre: La France c'est un symbole d1unité. Voilà ce que révèle le troisième chapitre. Toutefois, ordre et discipline ne seront pour Psichari que des moyens et n'auront de valeur que s'ils se transcendent. C'est en se fuyant qu'il se retrouve. C'est en fuyant la France qu'il la retrouve. C'est dans l'armée et dans l'Afrique qu'il se conquiert; en s'attachant à un principe d'ordre extérieur, donné par l'homme, il retrouve sa liberté et son âme. C'est la première victoire divine dans ce coeur encore impie. La vie de caserne et la terre africaine sont donc les deux premières étapes de la conversion d'Ernest Psichari. L'armée, c'est un ordre dans l'ascension spirituelle de Psichari; mais elle est insuffisante à cette nature pour qui la loi du dépassement est essen-tielle. La voix de la grâce l'appelle à un ordre encore plus haut, à la foi catholique, puis au sacerdoce. Notre quatrième chapitre constitue la réponse du Centurion. La Voix de l'histoire souligne la contribution de Psichari au XXe siècle. Et le dernier chapitre Voix du style montre le progrès de l'évolution littéraire parallèle à l'évolution spirituelle. L'état d'âme de l'auteur se revèle dans ses ouvrages. Du style impressionniste de l'éphèbe païen il progresse à un style plus sérieux, usant de répétitions qui permettent à l'idée de pénétrer plus profondément. D'une phrase ample, qui exprime le cheminement de la pensée, il finit par arriver à se dégager à peu près des influences littéraires; c'est le style du Voyage du Centurion, dernier ouvrage de l'auteur. En conclusion on remarque la vie si féconde, bien que si brève, d'Ernest Psichari. II appartient à la génération de 1900 et il a retrouvé les forces qui ont fait la France: l'Armée et le Catholicisme, — et il s'est donné foncièrement à l'un et à l'autre. / Arts, Faculty of / Classical, Near Eastern and Religious Studies, Department of / Graduate

Ever since the Meiji Restoration, Japanese political leaders, under a strong impact from the West, had urged the complete abolition of feudalism. By the turn of the century, they had consolidated their political power by means of putting the Emperor system on a firm footing, and had introduced and considerably developed a modern capitalist economy. Opposed to these radical changes were the socialist and right-wing movements, but for different reasons. The socialists, whose theories were based entirely on European ideas, opposed the authoritarianism of the Meiji government, and in international politics supported pacifism. The rightwing movements criticised the government for its pursuit of extreme Europeanisation, and for its bourgeois and liberal ethos. They also encouraged Japanese territorial expansion into Asian countries. Because the socialist movements were suppressed by the government, the rightwing ones gradually came to hold the initiative among Japanese social movements. Kita Ikki was a radical opponent of the authoritarian form of government, but was also a vigorous advocate of Japanese imperialism as a means of overcoming Western imperialism. These two positions, usually held by two antagonistic sectors of Japanese society, were logically linked in Kita's thought on the basis of his belief in social evolution and the class struggle. He criticised the theory of the national polity for its misrepresentation of Japanese history and social change. For him, the Meiji Restoration had accomplished a legal revolution, which led to the establishment of a kōmin kokka (public state), in which both the Emperor and the people owed their rights and duties to the state. He believed that an economic revolution alone would suffice to bring about social democracy in Japan, a revolution which could be carried out peacefully by means of the ballot. Total class war was unnecessary. But contrary to pacifist socialists, Kita encouraged the international class struggle as the only means of abolishing the "age of imperialism." Evolution in the international world had not yet reached a point whereby a World Federation could peacefully settle conflicts among nations. By 1919, however, Kita had become an advocate of a coup d'état in order to overthrow the corrupt government, and, by means of the Emperor's prerogatives, to hasten economic change at home as well as pursue a revolutionary policy abroad. The central theme in this study is the logical link between Kita's critique of the national polity and his advocacy of war. Because of the latter, as well as his support of a coup d'état, Kita has been labelled the "ideological father of Japanese fascism." Post-war Japanese scholars have concentrated on these "negative" aspects of his thought, and neglected the "positive" ones, namely, his critique of the national polity. Some criticise him for alleged conversion from a socialist to a fascist. This study avoids the fascist label and argues against the notion of changes in his fundamental ideas. Kita's actual writings, especially the recently published ones, reveal that throughout his life he adhered to the basic ideas of social evolution and class struggle. Both remained the foundation of his critique of the national polity as well as his advocacy of war. Kita was never an orthodox socialist, even in his early years, nor a fascist of any kind, even in his later years. His support of a coup d'état was a tactical change made in the light of his critique of the national polity and advocacy of war, and was meant to speed up developments at home and abroad. In the light of post-war democratic development in Japan, Kita's critique of the national polity should be evaluated "positively." The general failure to do so has been due to his advocacy of war and a coup d'état. But if the two strands of thought are logically dependant on the same premises, one cannot have one without the other. The only way to accept Kita's critique of the national polity and at the same time criticise his advocacy of war, is by recognizing that Japan is no longer in the position of a semi-colonised country, and that even though colonised countries may justifiably revolt, they are not thereby entitled to become colonisers themselves. If this is recognised, the recent ideological alliance between Kita and the new left cannot be regarded as harbouring a danger of a fascist revival. / Arts, Faculty of / Political Science, Department of / Graduate

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

The first purpose of this study was to determine whether a statistically significant difference is observable between the effects of instructional gaming activities techniques and the effects of traditional lecture-demonstration techniques on the cognitive achievement of undergraduate university students enrolled in introductory music studies courses. The second purpose was to determine whether students evidence a statistically significant difference in their affective perceptions of these two teaching techniques when applied to university introductory music studies.Four null hypotheses were tested:H 0/1: At the conclusion of a five week experimental period, no significant difference (at the .05 level) will be evident between the experimental group (gaming techniques) and the control group (lecture demonstration techniques) on the posttest measure of cognitive achievement.H 0/2: A delayed interval posttest administered five weeks after the conclusion of the experimental period will evidence no significant difference between the experimental and control groups on the measure of cognitive achievement.H 0/3: At the conclusion of a five week experimental period, no significant difference will be evident between the experimental and control groups on the posttest measure of students' affective perception of the teaching techniques of their respective classes.H 0/4: A delayed interval posttest administered five weeks after the conclusion of the experimental period will evidence no significant difference between the experimental and control groups on the measure of students' affective perception of the teaching techniques of their respective classes. The research population consisted of 147 students representing each of the four years of university matriculation. Both the experimental group and the control group consisted of students enrolled in one class of a 100-level introductory course in music studies for the general university student ("music appreciation"), and in two classes of a 300-level course in introductory music studies for prospective elementary classroom teachers. Five experienced university instructors taught the six classes involved. A syllabus that included nine sequenced instructional gaming activities was designed specifically for use in the experimental classes.A 2 x 2 nonequivalent control group design was adopted to facilitate pair-wise analysis of mean scores. The experimental and control groups were statistically equated on the basis of College Board Scholastic Aptitude Test verbal and mathematical mean scores and cognitive achievement pretest mean scores. Posttest and delayed interval posttest cognitive achievement adjusted mean scores and affective perception observed scores were obtained. Significance of the treatment variable was determined by means of analyses of variance and covariance.Based on statistical findings, H 0/1 was rejected at the .05 level of significance at the 100-course level. Conversely, H0 was supported at the 300-course level. In other words, at the 100-level, findings of the posttest showed that students taught by means of gaming techniques attained a significantly higher level of cognitive achievement than students taught by means of lecture-demonstration techniques. At the 300-level, findings of the posttest showed that students taught by means of gaming techniques evidenced no significant differences in cognitive achievement compared with students taught by means of lecture-demonstration techniques. H 0/2 was rejected at the .05 level of significance at both the 100- and 300-course levels, but findings differed between course levels. At the 100-level, the class taught by means of gaming activities evidenced a significantly higher level of cognitive achievement on the delayed interval posttest than the class in which lecture-demonstration techniques were applied. At the 300-level, classes in which lecture-demonstration techniques were applied evidenced a significantly higher level of cognitive achievement on the delayed interval posttest than the classes taught by means of gaming activities.H 0/3 was rejected at the .05 level of significance unilaterally at both the 100- and the 300-course levels. Gaming techniques were highly preferred (at the .001 significance level) over lecture-demonstration techniques on a posttest measure of students' affective perception.H4 was rejected at the .05 level of significance unilaterally at both the 100- and the 300-course levels. Gaming techniques were highly preferred (at the .001 significance level) over lecture-demonstration techniques on a delayed interval posttest measure of students' affective perception.The findings of this study appear to support the following conclusions:1. The gaming activities developed for this study are an effective means by which to promote cognitive learning in university introductory music studies.2. The student population of this study strongly preferred gaming activities over lecture-demonstration as the teaching technique in university introductory music studies.

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Durch die Verbreitung demokratischer, liberaler und sozialistischer Ideale, blieb die Gestaltung der politischen Geschehnisse im neunzehnten Jahrhundert, nicht mehr eine ausschliessliche Angelegenheit der führenden aristokratischen Klasse. Obwohl in Staaten wie Deutschland, Osterreich, Russland, die Aristokratie ihre politische Herrschaft nicht eingebüsst hatte, hatten auch die Intellektuellen (Schriftsteller, Philosophen, Journalisten, Dichter) einen weitgehenden Einfluss auf die Gestaltung der politischen Geschehnisse jener Zeit. Schon im achtzehnten Jahrhundert hatten die dichterischen und philosophischen Schriften Lessings in Deutschland, sowie die von Voltaire, Rousseau, Montesquieu und Diderot in Frankreich, weitgehend zur Änderung des sozialen und politischen Bildes Europas beigetragen. [...]