Mezzo-soprano roles in French opera at the end of the nineteenth century were fatalistic; that is, the y inevitably bring about min or death. This thesis studies three mezzo-soprano roles in French Romantic opera from a performer's perspective: Carmen in Georges Bizet's Carmen, Dalila in Camille Saint-Sans' Samson et Dalila and Charlotte in Jules Massenet's Werther. These three characters cause the min of three romantic heroes all performed by tenors. What are the new narrative and dramatic functions of mezzo-sopranos in French opera at the end of the nineteenth century? As a performer, it is important to understand one's voice-type, the roles that are generally attributed to it, and the impact they have on dramatic and musical representation. This short analysis will help young performers in their approach to a character in order to have a better comprehension of aIl the dimensions and subtleties that are related to it. / Les rles des mezzo-sopranos dans l'opra franais de la fin du 19ime sicle sont trs fatalistes, c'est--dire qu'ils entranent invitablement la ruine, la mort. Ainsi, dans une perspective d'interprte, cette thse se penche sur trois rles fminins de mezzosoprano de l'opra franais romantique la fin du 19ime sicle : Carmen dans l'opra du mme titre de Georges Bizet, Dalila dans Samson et DWa de Camille Saint-Sans ainsi que Charlotte dans Werther de Jules Massenet. Ces trois personnages occasionnent la perte de trois hros romantiques tous interprts par des tnors. En ce sens, quelles sont les nouvelles fonctions narratives et dramatiques des mezzo-sopranos dans l'opra franais du 19ime sicle? En tant qu'interprte, il est important de bien comprendre notre type de voix, les rles qui lui sont gnralement attribus, l'impact de ceux-ci dans les histoires opratiques et dans leur reprsentation musicale. Cette courte analyse permettra de jeunes interprtes de les guider, de les aider dans leur approche d'un personnage et de mieux comprendre toutes les dimensions et les subtilits qui s'y rattachent.

Thèse (M.A.)--Université de Sherbrooke (Canada), 2008. / Titre de l'écran-titre (visionné le 1 février 2007). In ProQuest dissertations and theses. Publié aussi en version papier.

Depuis 1955, date à laquelle Robert Baldick a publié The Life of J. K. Huysmans, traduit en français en 1958, aucune biographie scientifique de l’auteur d’À rebours n’a été produite. En un peu plus d’un demi-siècle de recherches, l’information sur le sujet s’est considérablement développée. Pierre Lambert, mort en 1969, a légué sa collection de documents huysmansiens à la bibliothèque de l’Arsenal. Des inédits ont été retrouvés, des lettres notamment. La recherche sur Huysmans dispose aujourd’hui d’une documentation très riche, notamment de la correspondance générale classée et saisie, ouvrant la perspective d’une nouvelle biographie, mieux informée.Huysmans a vécu cinquante-neuf ans, de 1848 à 1907. Ma thèse couvre la première moitié de sa vie. Elle s’articule autour de deux volumes complémentaires : un essai de biographie, conduisant le lecteur de la naissance de l’écrivain au jour de ses trente ans ; une édition de sa correspondance, de sa première lettre connue, un placet adressé au ministère de l’Intérieur en 1866, à une lettre envoyée à son principal correspondant du moment, Théodore Hannon, à la fin de novembre 1878. Huysmans pratique largement et délibérément l’autobiographie romancée, ce qui rend délicat le travail du biographe, mais l’enrichit de tous les récits de vie livrés par l’écrivain lui-même. / Since the 1955 publication of Robert Baldick’s The Life of J-K Huysmans, translated into French in 1958, no scientific biography of the author of À Rebours has been produced. In a little over half a century of research, however, information on this subject has grown considerably. Pierre Lambert, who died in 1969, bequeathed his collection of documents to the Bibliothèque de l’Arsenal. Unedited texts have been unearthed, letters notably. Research on Huysmans has as its disposal today a rich variety of documentation, notably a classified correspondence, and this opens up the opportunity for a new, better-informed biography.Huysmans lived for fifty-nine years, from 1848 to 1907. My thesis covers the first half of his life. It is comprised of two complementary volumes: a biographical essay, leading the reader from Huysmans’s birth to his thirtieth birthday, and an edition of his correspondence from his first known letter, a petition addressed to the Ministry of the Interior in 1866 to a letter sent to his major correspondent of the time, Théodore Hannon, at the end of November 1878. Huysmans practised deliberately and carefully a kind of novelistic autobiography, which perhaps complicates the task of the biographer, but nonetheless also enriches it with all the life-stories delivered by the writer himself.

Orientador: Marília Vieira Soares / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T10:42:21Z (GMT). No. of bitstreams: 1 Oliveira_KamillaMesquita_M.pdf: 25581756 bytes, checksum: bed68dfa1c7173bc6f24819f47f8c0d3 (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa tem como foco central elaborar uma reflexão sobre o processo criativo em Dança nas possível interfaces entre as linguagens artísticas - Escultura e Dança - através da análise das relações de vizinhança presentes entre a obra da escultora Camille Claudel (França: 1864-1943) e a Dança Contemporânea. A exuberante presença de sensações de movimento nas obras de Claudel demonstra a possibilidade de relações entre Escultura e Dança, já que ambas trabalham com o movimento corporal, e/ou as sensações do mesmo como elemento primordial na criação expressiva.Teremos como base para a construção prática os elementos da Técnica Klauss Vianna e da Técnica Energética, cujos elementos serão utilizados como instrumentos metodológicos para a recriação das obras de Claudel no território da Dança Contemporânea. / Abstract: The main focus of this study is to develop a reflection on the creative process in dance in the possible interfaces between artistic languages - Sculpture and Dance - by analyzing the relations present in the work of sculptor Camille Claudel (France: 1864-1943) and Contemporary Dance. The lively presence of movement's sensations in the works of Claudel establishes the possibility of relations between Sculpture and Dance, as both work with the body movement, and/or the sensation of it as a key in expressive creation. As substruction, we have for the practice constructing the elements of Klauss Vianna's Technique and Energetic Technique, which fundamentals will be used as methodological tools for recreating works of Claudel in the territory of Contemporary Dance. / Mestrado / Artes Cenicas / Mestre em Artes

Les travaux de Marcel Mauss connaissent au tournant des années 1980 un renouveau d’intérêt, notamment avec la revue du MAUSS. Cet intérêt serait attribuable à la conception originale du social comme symbolisme qui s’esquisse chez ce durkheimien hétérodoxe. Cette thèse compare les perspectives de quatre lecteurs contemporains du symbolisme maussien issus de la socio-anthropologie française, soit Camille Tarot, Bruno Karsenti, Alain Caillé et Jacques T. Godbout. Si ces derniers s’entendent sur l’importance des travaux de Mauss, le sens à donner aux concepts de fait social total et de don diffère sensiblement selon les auteurs : Tarot et Karsenti, en accordant plus d’importance à la découverte du fait social total, décèlent chez Mauss une conception sociale accordant une place à la totalité symbolique, alors que Caillé et Godbout, en insistant davantage sur la découverte maussienne du don, y trouvent les prolégomènes d’un tiers paradigme se situant entre l’holisme et l’individualisme.

The majority of books about Saint-Säens cover his life, compositions, contemporaries, and French music in general. Although his life is well documented, most sources present only brief analyses of his works; there is not one single comprehensive and exhaustive study of the Piano Concerto in F Major, Opus 103, available in the current literature. This study aims at filling the gap by providing other musicians interested in performing this piece with an initial study-guide. The research for this study focuses on several aspects of Saint-Säens' music. The currently available literature and past research is thoroughly examined, appraised, and quoted when relevant to the discussion. The original score of the concerto is analyzed regarding its form, compositional style, and performance indications. Diagrams, charts, and musical examples are presented to illustrate and substantiate the researcher's conclusions. Chapter I presents the topic and purpose of this study, a brief biography of Saint-Säens, a chronological overview of his five piano concertos, and the historical background of the Piano Concerto No. 5 in F Major, Opus 103. Chapter II presents a formal analysis and a compositional analysis of Opus 103. Chapter III presents a perspective of Saint-Säens playing style and performance recommendations by the author. Chapter IV concludes this study by determining the importance of Opus 103 in piano literature and by explaining the reason that performers with professional aspirations should consider including this concerto in their repertoire.

The desire to recognize and celebrate a forgotten artist and her work presents an opportunity for an investigation into the meeting of art and architecture. The dialogue between these two entities highlights the complexity of exhibiting works of art within a space of architectural integrity. The challenge is to successfully address both the art and the architecture in order to achieve a relationship that is mutually beneficial and equally powerful. This thesis investigates the transcendent themes created in such a dialogue. An innovative approach creates opportunities for extraordinary spatial experiences of the architecture and the artwork itself while addressing the challenges proposed by the site, one that has tremendous historical and cultural significance. The ultimate goal is a place where the architectural conditions provide a canvas for the acknowledgment and celebration of the artistic endeavors. / Master of Architecture

As France expanded its empire in North Africa, French artists, writers and explorers traveled to Algeria in order to gain artistic inspiration and greater understanding of the culture, geography and inhabitants of the new colony. This dissertation places music within the context of French colonial culture, identifying the interconnections between government policies and cultural production during France's occupation of Algeria. A central theme is the examination of colonial difference and a phenomenon that may be characterized as colonial textuality in music. Drawing from Homi Bhabha, I define colonial textuality as a space where signifiers of value, judgment and power are encountered, negotiated and embedded within colonial discourse. Three composers--Ernest Reyer (1823-1909), Francisco Salvador Daniel (1831-1871) and Camille Saint-Saëns (1835-1921)--are presented as case studies to understand the complexities and tensions that arose out of the colonial moment and to examine how each figure negotiated his own compositional style, musical career and artistic identity vis-à-vis colonial Algeria. The dissertation is organized chronologically by examining the lives and compositions of three composers living in Algeria during three key periods of French political history, the July Monarchy, Second Empire, and Third Republic. Chapters draw on archival research, reception studies, travel journals, government reports, cultural and political history, and musical analysis to explore the ways in which music, broadly defined, addressed social issues of identity, nation, race, and ethnicity. Topics include how violent tactics and events during the 1840s infiltrated the early musical compositions of Reyer and how music may be considered an act of violence; Salvador Daniel's opportunistic musical career in Algeria from 1853-1865; Salvador Daniel's Album de chansons arabes, mauresques et kabyles as a reflection of French politics and travel writing; Algerian tourism and Saint-Saëns's Africa fantasy and Suite algérienne; and unisonance, soundscape and the typography of what I call Saint-Saëns's "colonial marches." In conclusion, I discuss a 2008 recording of Salvador Daniel's Algerian song transcriptions by the soprano Amel Brahim-Djelloul and the Ensemble Amedyez, thus illustrating that musical encounters with colonialism are continually reunderstood and readapted in the twenty-first century.

The transcription is an addition to the repertoire for brass ensemble and bass trombone. Consideration is given to the nineteenth-century orchestration treatises of Berlioz and Strauss as well as the twentieth-century texts of Erik Leidzén, Walter Piston, and Samuel Adler. The transcription process is shaped by the principles of these writers. The score is contained in the appendix.

Dans ce texte, je discute de ma pratique artistique actuelle, plus particulièrement des œuvres d’art que j’ai réalisées dans l’espace public. J’explique d’une part l’articulation de mon travail autour des thèmes de l’architecture et de l’urbanisme ainsi que l’intérêt que je porte à l’espace public. J’explore d’autre part la possibilité d’intégrer un usage dans une œuvre d’art et je traite de certaines théories en rapport à la notion d’usage, en particulier la théorie des affordances de Gibson et la théorie des sites comportementaux de Barker. J’explique ensuite la façon dont l’étude des comportements humains s’immisce dans mon processus créatif ainsi que le type d’expérience que je cherche à créer par des œuvres d’art destinées à l’usage. Je traite également de la perception corporelle que je désire provoquer et j’aborde le concept d’appropriation relié aux opportunités d’usage présentes dans la ville. Enfin, j’aborde et explique les différents projets d’art que j’ai réalisés au cours de ma maîtrise.