La thèse, s’appuyant sur le fonds de motets à grand chœur conservés à la bibliothèque municipale de Lyon, tente de répondre à la problématique de la pratique musicale lyonnaise au XVIIIe siècle. Les quatre-vingt dix-neuf manuscrits et imprimés conservés se présentent sous forme de partitions ou de parties séparées et viennent pour la plupart de l’ancienne académie des beaux arts ou Concert. La première partie présente les cadres d’exécution du Grand motet à Lyon, dont le Concert, actif entre 1713 et 1773, mais aussi l’éphémère académie des Jacobins, la cérémonie annuelle du vœu pour le salut du roi Louis XV, les fêtes et réjouissances publiques et les concerts spirituels. Le corpus des motets conservés à Lyon est l’objet d’une analyse rigoureuse : la deuxième partie s’attache au catalogue de l’académie, au support musical (papiers à musique, filigranes et graphies musicales), ainsi qu’aux éléments musicaux dont témoignent les sources. La troisième partie présente le répertoire lyonnais du genre. Lalande représente la moitié du corpus conservé et la majorité des compositeurs sont des maîtres de musique de la Cour ou de la capitale, mais l’on trouve également des compositeurs d’autres provinces (Pétouille, Valette de Montigny, …) et des Lyonnais (Estienne, Bergiron du Fort-Michon, Belouard, …). La réception des œuvres à Lyon est mise en évidence par des comparaisons de sources, tandis que quelques particularités locales apparaissent, telles que la composition en « fragments ». Cette étude permet d’affirmer que, si la musique à Lyon est inscrite dans son époque, elle développe néanmoins des caractéristiques qui lui sont propres. / This thesis is founded on the corpus of french “grands motets” which are part of the collection of the Lyon public library, and tries to explain the question of musical practice in Lyon in the 18th century. The ninety-nine manuscripts and engraved sources conserved in the collection are scores and material which come mostly from the ancient “académie des beaux-arts”, also known as Concert. The first part of the thesis presents the context of Grand motet performances in Lyon, namely the Concert, which was active from 1713 to 1773, the short-lived “académie des Jacobins”, the yearly ceremony of the vow for salvation of the king Louis XV, and also public festivities and spiritual concerts. The corpus of motets conserved in Lyon is the subject of a rigorous analysis: the second part is dedicated to the catalogue of the Concert, the musical support (music papers, watermarks and musical handwritings) and to musical elements which appeared in the sources. The third part presents Lyon’s repertory of the motet genre. Half of the corpus is made up of Lalande’s works; most of the composers are from the Court or the capital, but there are musicians from other French provinces (Pétouille, Valette de Montigny, …) and also from Lyon (Estienne, Bergiron du Fort-Michon, Belouard…). The specific nature of the treatment of the motet in Lyon is brought to the fore by a comparison of the sources, while local particularities appear, like the composition by “fragments”. This study shows that if Lyonnais music belonged to its time, it nevertheless developed its own characteristics.

A produção textual de Georges Bataille (1897-1962), privilegiadamente estudada nos campos da Literatura e da Filosofia, apresenta uma vasta gama de temas e é considerada por seus comentadores como refratária a qualquer classificação rigorosa e indexável. Contudo, ele é autor de uma obra de grande interesse para área da Antropologia em função de um forte experimentalismo dos conceitos e da escrita e de uma compreensão totalizante da experiência do pesquisador e do escritor. O presente estudo tem como objetivo o exame de parte específica da produção e atuação de Bataille que coincide com os inícios da institucionalização da antropologia francesa (anos 1920- 1930), quando o autor encontra-se envolvido com o projeto da revista Documents, Doctrines Archélogie Beaux-Arts Ethnographie (1929-1930) e bastante próximo dos antropólogos que colaboram com a publicação. Ao recuperar a formação primeira de Bataille como arquivista paleógrafo na École des chartes e seus primeiros escritos e interesses, entre os quais se encontra a antropologia de Marcel Mauss, o trabalho se dedica a construir as conexões entre a profissão de arquivista paleógrafo nas bibliotecas Francesas e a produção do escritor que tem lugar entre os anos 1918 e 1930, interessado em destacar os nexos entre essas dimensões e o processo de constituição dos museus na França sobretudo aquele que culminará no Musée de lHomme (1937). As experiências nas bibliotecas, nos museus e na revista colocam Bataille diante da questão da classificação e do arquivamento de objetos e documentos. O interesse em uma leitura de Bataille por essa via que procura relacionar a institucionalização da disciplina etnográfica na França ligada à formação, catalogação e arquivamento de documentos nos museus e o processo de criação do Dicionário de Documents auxilia a iluminar uma dupla intervenção crítica que consiste em construir um deslocamento, uma derivação da forma de pensar. Essa perspectiva diversa nos oferece um duplo olhar para os modos pelos quais a reflexão sobre o lugar das histórias da disciplina e seus praticantes tem sido experimentada. / This present study has the purpose of examining some specific parts of George Bataille´s production and action that correspond with the beginning of French anthropology institutionalization (1920s and 1930s), when the author finds himself immersed in the Documents, Doctrines Archélogie Beaux-Arts Ethnographie (1929-1930) magazine project and building a very close relationship with the professionals involved in the publications creation. By resuming Batailles first occupation as paleographer archivist at École des chartes and his primary written pieces and interests, among which is the anthropology of Marcel Mauss, the work is dedicated to build connections between his job inside French libraries and his activities as a writer from 1918 to 1930, when his interests were focused on highlighting the links between these dimensions and the constitution of the museums in France - especially the one that will culminate at the Musée de l\'Homme (1937). The experiences in the libraries, museums and the magazine put Bataille before the classification and filing of objects and documents. His interest in this path that searches for relating the institutionalization of the ethnographic discipline in France connected to framing ideas, cataloging and archiving documents in museums and the creational process of the Dictionary of the magazine helps to illuminate a double critical intervention that consists in building a movement, an offshoot of thinking. This different perspective offers us another look to the means through which the reflections on the place discipline stories and its practitioners have been experienced.

This diploma work aims to map to some depth the history of piano trio, to introduce the reader to individual pieces for this arrangement, to present the origins and fortunes of the leading Czech and international ensembles, and to compare their way of interpretation. In the first part of this document we will take a look at the absolute beginnings of chamber music and later development of this musical segment. We will concentrate on the history of the trio, developed from trio sonata that become the principal chamber type during baroque. At the turn of 18th and 19th century we can see its present form. It became one of the most popular musical forms, taking an important place in the work of all four "Viennese classics". We can find some occasional piano trios from Haydn and Mozart, composed primarily for the purpose of private conduction of music. Piano trios of L. v. Beethoven and F. Schubert however present a decisive step in the direction of artistic originality. Mature work of these authors represents zenith of the genre, successfully maintained later on by Schumann, Brahms, Dvořák, Smetana and other romantic representatives, who were using the form as ideal means to convey the most internal of their feelings. Meeting of three completely different instruments allows the composers to merge...

Elève à l’école des Beaux-arts de Paris, premier prix de Rome à l’âge de 23 ans, Théodore Ballu (1817-1885) prolonge sa formation à l’Ecole française de Rome, et en Grèce, avant même l’ouverture de l’Ecole française d’Athènes. Sa carrière d’architecte, longue d’une trentaine d’années, est exceptionnelle. Auteur d’un quart des églises parisiennes construites sous le Second Empire, de l’Hôtel de Ville de Paris en collaboration avec Deperthes, et de plusieurs édifices ou monuments civils, il est un représentant majeur de l’éclectisme architectural. Ses édifices religieux auront une influence sur ses contemporains et sur la jeune génération d’architectes. Formé par son père et par Auguste Magne, Albert Ballu (1849-1939) a une carrière multiple et internationale : auteur du palais de justice néo-classique de Charleroi et de celui plus éclectique de Bucarest, il adapte ses autres productions aux techniques architecturales du tournant du XXe siècle. Architecte diocésain et architecte en chef des monuments historiques, il s’investit beaucoup en Algérie, jusqu’aux années 1920, où il fouille les grands sites romains, restaure les édifices religieux et construit des édifices variés. Chef de file de la valorisation de l’Algérie romaine et musulmane, il est l’architecte restaurateur de très nombreux édifices diocésains et monuments historiques, spécialement dans les départements des Charentes, en Bretagne et en Corse. Il se spécialise, aussi, dès 1889, dans la construction de pavillons d’expositions universelles. Résultant d’une étude détaillée de la vie et de l’oeuvre de ces architectes, cette thèse évalue leur importance dans la mise en place de modèles architecturaux et dans l’orientation des restaurations architecturales des années 1850 à 1920. / Théodore Ballu (1817-1885) was a pupil at the Ecole des Beaux-arts in Paris who won the Prix de Rome at the age of 23. He continued his studies at the French Academy in Rome and then in Greece, even before the opening of the French Academy in Athens. His thirty year career as an architect was exceptional. He designed a quarter of the Parisian churches constructed during the Second Empire. He was a major representative of architectural eclecticism, collaborating with Deperthes on the Hotel de Ville in Paris and working on several other public buildings and monuments. His religious constructions would influence his contemporaries and the next generation of architects. Albert Ballu (1849-1939) was trained by his father and by Magne. He had a varied international career, including designing the neo-classical Charleroi courthouse as well as the more eclectic one in Bucharest. He adapted his other productions to the architectural techniques at the turn of the twentieth century. As a diocesan architect and chief architect for historic monuments, he was heavily involved in Algeria until the 1920’s. Here he explored the great Roman archaeological sites, restored religious buildings and constructed various others. A leader in the movement to increase the status of Roman and Muslim Algeria, he was the restoring architect of large numbers of diocesan buildings and historic monuments, especially in the Charentes departments, as well as in Brittany and in Corsica. As early as 1889 he also specialised in the construction of pavilions for great exhibitions. The result of a detailed study of the lives and works of these architects, this thesis evaluates their importance in establishing architectural models and the direction of architectural restorations between 1850 and 1920.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Cette thèse examine les convergences et divergences le long de l'histoire de la documentation muséale dans trois galeries nationales en Angleterre, au Canada et aux États-Unis. Elle met en évidence un modèle commun, émanant plus particulièrement des deux types d'institutions apparues en Angleterre au 17e siècle : les musées publics, fondés sur des principes scientifiques et populistes, et la galerie privée, ancrée dans des traditions élitistes. Les galeries nationales analysées constituent un modèle hybride, en conflit avec ces deux formats antagonistes, mais leurs similitudes les plus frappantes résident dans l'évolution de leurs pratiques respectives de la documentation des œuvres d'art. La lutte continue afin d'intégrer véritablement la technologie dans la documentation d'art trahit l'héritage difficile entre ces deux modèles opposés. Tout au long des trajectoires uniques à chacune des institutions étudiées, peu de preuves montrent que les technologies optiques ou numériques ont eu des répercussions importantes sur les méthodologies ou les philosophies de la documentation des œuvres d'art. Au contraire, on observe que la documentation de forme numérique repose toujours sur une approche minimale de recueil de données, sur un groupe restreint de personnes habilitées à les collecter et sur un accès limité à ces données. Cette recherche renforce l'argumentation pour une redéfinition de la documentation des œuvres d'art pour repenser ses stratégies et ses philosophies directrices, pour poser un nouveau regard sur la recherche dans les collections et pour élargir l'intégration des technologies numériques dans ces processus. / This research examines the divergences and convergences across the histories of three national galleries, in England, Canada and the United States, providing evidence of a common model that emanates particularly from two types of institutions that appeared in England during the 17th century: public museums founded on scientific and populist principles, and private art galleries anchored in elitist traditions. The national galleries compared in this study constitute hybrids in conflict with the original antagonistic models. But their most striking similarities reside in the evolution of their respective documentation practices. The continued struggle to truly integrate technologies in the documentation of art betrays the difficult heritage between these two opposing models. Throughout the unique historical trajectories of these institutions, there was little proof that optical or digital technologies had had important repercussions on the methodologies or the philosophies of the documentation of works of art. On the contrary, it was observed that documentation, even in digital form, continued to rely on minimal standards of data gathering, restricted groups of persons trained to collect data, and limited access to any data captured. This research reinforces the need to redefine museum documentation in order to rethink its strategies and guiding philosophies, to enable new research into museum collections, and to enlarge the integration of digital technologies into the process.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Cette Thèse est une étude des dynamiques qui entrainèrent la construction du marché de l'art aux États-Unis entre les années 1800 et 1930. Elle se veut être une analyse des transformations qui permirent la construction d'un réseau national à partir de réseaux régionaux. Plus précisément, elle traite de la manière dont les Beaux-Arts se développèrent à Boston, Philadelphie et New York à partir d'idéologies et d'idéaux religieux et pastoraux, ainsi qu'à partir des concepts et des stéréotypes socio-culturels attachés à l'art et à l'artiste au sein de la société. Cette thèse montre la manière dont les origines sociaux des mécènes et la restructuration social du dix-neuvième siècle jouèrent un rôle central dans cette construction. L'arrivée de nouveaux groupes sociaux provenant de l'industrialisation du pays influencèrent le rôle de l'artiste au sein de la société, ainsi que sa mission culturelle et sa relation avec le public. Cette étude montre aussi comment de nouvelles catégories socio-professionnelles, comme les critiques et les illustrateurs, émergèrent de ce nouveau contexte économique et alternèrent la position social de l'artiste lors de la montée de la diffusion de la presse écrite. Le pouvoir économique des mécènes les poussèrent à utiliser leurs investissement dans les Beaux-Arts pour justifier et affirmer leur nouvelle position sociale. Cette thèse analyse aussi la manière dont le mécénat industriel intègre au marché de l'art des stratégies et des logiques issues de leurs affaires, influençant le fonctionnement de tout le système. / This dissertation is a study of the dynamics behind the growth of the US art market from the 1800's to the 1930's. Its main goal is to analyze the transformations which allowed the passage from local and regional networks into a national one. More specifically, it deals with how the development of the fine arts in Boston, Philadelphia and New York were based on religious and pastoral ideas and ideologies, as well as on social and cultural stereotypes and conceptions which defined art and the artist. This dissertation shows how the social origins of patrons and the restructuring of society in the nineteenth century played a pivotal in this construction. The arrival of new social groups originating from the industrialization of the country affected the role of artists inside society, as well as their cultural mission and their relationship with the public. This study also shows how new socio-professional categories, such as critics and illustrators, emerged from this new economic context and altered the position of the artist in society with the rise of the printed press. The economic power of these industrial patrons also enabled them to use their investments inside the fine arts to justify and affirm of their new social positions, while also injecting inside the art market strategies and logics from their businesses, thus affecting the functioning of the system.

Québec Université Laval, Bibliothèque 2015

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.