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The problem of this study was to make a transcription of the second movement of Franck's Symphony in D Minor for a college symphonic band. A thorough discussion of problems of instrumentation and analysis, a brief history of the composer's life and works, and an evaluation of the contribution of the project is included in this document.

César Franck's sonata for violin and piano in A Major of 1886 is one of his last and one of his most prominent works. It has for long been one of my favourite works and I chose it for my Bachelor exam. It is a good example for the cyclic form used by various composers in the 19th century. Since the beginning, the tempo and character of the first movement have been discussed amongst musicians and scholars. Also, D'Indy, one of Franck’sstudents, analysed the themes and motives of the Sonata, which has raised discussions. The purpose of my essay is to analyse these discussions and to see whether the knowledge of this background and these discussions has helped me personally in my approach to the Sonatawhen I practiced itand whether it has influenced me in my interpretation. For this purpose, I used sheet music, literature and recordings.In summary, the knowledge of the background and of the discussions has helped me a lot to get a better access to the Sonata and thus influenced my interpretation. Without this knowledge, I would certainly not have come to such a deep and thorough understanding of the Sonata / <p>Besides the Sonata for Violin and Piano by César Franck, which I played together with Anna Christensson, I played the Solo Sonata no. 3 by Eugène Ysaÿe and Passacaglia by Johan Halvorsen together with Emma Alrikson.</p>

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

1800-talet var en turbulent period i Frankrike och mycket hände ‑ inte bara i samhället, utan även musikaliskt. Orgelbyggeriet utvecklades och orgelmusiken likaså. César Franck studerade piano och komposition, blev sedan organist och så småningom orgelprofessor. Under hans levnad lanserades en ny orgelteknik, med perfekt legatospel och briljant pedalspel, vilken allt sedan dess kommit att prägla sättet att spela även orgelmusik av Franck, trots att han egentligen var verksam före denna stils genombrott. I denna skriftliga reflektion diskuteras hur man, som interpret och organist, kan förhålla sig till olika interpretationstraditioner, i syfte att uppnå en historiskt och teoretiskt informerad gestaltning. Till grund för reflektionen ligger främst studier av litteratur och orgelnoter. Ur analysen framgår att Franck inte var särskilt strikt med hur han ville att hans orgelmusik skulle spelas, och att det finns skäl att tro att han själv spelade mycket fritt och i många fall betydligt snabbare, samt med bl a mindre legato än vad som ofta är brukligt idag. / <p>César Franck: Choral nr 2, h-moll</p><p>Organist: Fredrik Lundqvist</p>

A Dissertation submitted for the Degree of Master of Music to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, 1995 / This study is an investigation of the performance practice observed by organists when recording the organ works of Cesar FrancK against the criteria of score, instrument and tradition. Based on these findings, a more informed reconstruction of the interpretations and manners of performance employed by the composer and his contemporaries is obtained. [Abbreviated Abstract. Open document to view full version] / MT2017

This study examines the five late keyboard works of Cesar Franck: the Prelude, Chorale, and Fugue and the Prelude. Aria, and Finale for piano, and the three organ chorales. The study focuses on harmonic and contrapuntal techniques and their interrelationships, placing the discussion in the context of an analysis of the whole piece. The primary goal is to identify the salient characteristics of each piece; a secondary goal is to identify common harmonic and contrapuntal aspects of Franck's style.

The aim of this Master's Degree Thesis is to introduce concepts of emptiness and silence in collection of poetry The black heralds (Los heraldos negros) by peruvian author César Vallejo. The first part of the thesis captures life events that influenced author's personality and his poetic style. Both of them are well reflected in verses from the first collection. The following section deals with specific analysis of poems and it's main focus is to detect concept of emptiness and silence in them.

La poesía de César Vallejo, al incorporar estrategias de expresión poética en las que se aleja de la “escritura monolingüe ideal” y hace intervenir diversos niveles de habla del castellano andino, es una clara muestra de una obra comprometida con el carácter plurilingüe de la sociedad en la que se inserta. Ahora bien, cuando Vallejo se traslada a París y cambia su entorno andino original por el del francés, solo algunas de las primeras innovaciones fueron mantenidas. En ese sentido, el objetivo del presente artículo es mostrar los modos en que se manifiesta el cambio de diglosia literaria castellano-quechua por la intervención del francés en la poesía vallejiana a partir del análisis del poema sin título incluido en Poemas humanos. / Because the poetry of César Vallejo incorporates strategies poetic expression in which it moves away from the “ideal monolingual writing” and involves different levels of the Andean Castilian speech, it is a clear sign of a committed work with the multilingual character of the society in which it is inserted. Now, when Vallejo moved to Paris and changed its original Andean setting by French, only some of the early innovations were kept. In that sense, the purpose of this article is to show the ways in which it is evidence the change of Castilian-Quechua literary diglossia by the intervention of French in Vallejo’s poetry from the analysis of the poem untitled included in Poemas humanos.

Busca precisar el significado de los poemas escritos en prisión (I, II, XVIII, XLI, L, LVIII), como determinar la idea de cárcel como un espacio de reclusión de sentido en las composiciones carcelarias y en el discurso poético de Trilce (Tr.) : III, V, IX, XIX, XX, XXII, XXV, XXVIII, XXXII, XXXVI, XLIV, XLVIII, LIII, LIV, LIX, LXXVII. Estudio que nos permitirá comprender el sentido de la poética del encierro en Trilce (1922), el segundo poemario de César Vallejo. Busca probar la siguiente hipótesis: existe en Trilce (1922) una poética del encierro determinada por el uso peculiar de los elementos empleados en su escritura (fonéticos, semánticos, entre otros). Esta forma peculiar del hacer atraviesa todo el poemario y constituye el motivo central de la dificultad de su comprensión. Presenta explicaciones hermenéuticas, análisis lógicos, estudios gramaticales, semánticos y lexicográficos. Además, se presta especial atención al plano simbólico de cada composición y se la entiende como una totalidad. Por tal razón, desde las marcas textuales se explica el sentido de las partes con el fin de alcanzar una comprensión cabal del poema. Con el fin de sustentar la hipótesis en las huellas textuales del poemario, se analiza la construcción del sentido a través de la interpretación detallada de los elementos que intervienen en el mismo, siempre destacando la noción de “encierro”. / Tesis