I would like to understand what kinds of connections exist between musical rhythm and poetic and linguistic rhythm, particularly the phenomenon of accent, so I investigated accent in art songs, examining twelve songs in an attempt to further understand how and if the accents and patterns found in poetry correlate to those found in songs based on this poetry. This study examines how the patterns of stressed and unstressed syllables in Lieder by Amy Beach, Richard Strauss, and Camille Saint-Saëns correlate with musical rhythmic and accent patterns in the resulting music. I systematically determined what kinds of accents were present, where they were present, and how they were related. I tracked nine different types of musical accents: agogic, contour, dynamic, articulation, metric, pitch, phrasing, structural, and textural. I then tracked the linguistic accents in the poems themselves, with the categories of meter, individual word stresses (if different from the meter), rhyme scheme, internal rhymes, and cadences (ends of sentences and questions). I then compared the accents found in the music to the accents found in the poetry. I then compared the correlation of linguistic and musical accents through graphic representation of the values I found. I found significant correlation between musical and linguistic accents in the twelve different pieces I studied. These results suggest that, for at least these three composers, the text does in fact influence the accent patterns of the music. For the songs of Beach and Strauss, there is a visual pattern in the graphs, which matches the meter of the text. The linguistic and musical accent patterns in both Beach and Strauss songs tended to be regularly alternating in a binary fashion, in keeping with the iambic meter. For Saint-Saëns, there was overall close correlation as well. The main difference between graphs for Saint-Saëns and the others seems to be the lack of a pattern in the relative accent strengths, which can be found in both the English and German graphs. French poetry does not have an iambic pattern to it; correspondingly the music doesn't show the regular binary alteration of accents. This pattern or lack thereof is part of the correlation that all of the pieces share between the music and the language, and the lack of pattern seems to demonstrate a particularity in the music in the case of French. Though showing how accents in music and text correlate in the songs of English-, German-, and French-speaking composers, this thesis does not fully determine how and if musical and linguistic accents correlate in music composers other than Amy Beach, Richard Strauss, and Camille Saint-Saëns.

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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.

Lorsque l’on évoque la symphonie en France au milieu du XIXe siècle, on ne retient généralement que le nom de Berlioz et l’on insiste sur une désaffection du genre tant de la part des compositeurs que du public. Pourtant, malgré un recul des créations, malgré le défi posé par l’héritage beethovénien et alors même que le contexte musical favorise principalement la scène lyrique, une soixantaine de compositeurs continuent à s’intéresser au domaine exclusivement instrumental de la symphonie et assurent le maintien d’un genre entre 1830 et la génération franckiste. Au-delà de son aspect historique, cette thèse vise à cerner les caractéristiques stylistiques de tout un ensemble d’œuvres, à les situer dans l’évolution d’un genre en les analysant à la fois par rapport aux normes viennoises, aux productions contemporaines germaniques et aux avancées plus générales du langage. Après une première partie centrée sur le contexte musical qui a vu naître ces symphonies, les enjeux pédagogiques qu’elles suscitent et le rôle décisif des sociétés orchestrales, l’analyse entre au cœur des partitions dans une démarche comparative à la fois quantitative et qualitative, depuis l’agencement interne des plus petits éléments musicaux jusqu’à la réalisation de la grande forme. À travers l’observation des pratiques globales et individuelles qui concourent à une réévaluation des normes, à la refonte ponctuelle mais progressive des cadres, se dégagent l’autonomie d’un genre par rapport à son modèle germanique et la permanence d’une école symphonique française tout au long du XIXe siècle. / When one deals with the symphony in mid-19th century France only the name of Berlioz comes to mind and one emphasizes a disaffection for the genre among composers as well as audiences. However, despite fewer creations, despite the awe-inspiring Beethovenian legacy and despite the overwhelming place held by the operatic scene during those decades, some sixty composers around Hector Berlioz still devoted themselves to the purely instrumental genre and achieved the development of the symphony between 1830 and the Franckist generation. Beyond its historical relevance, this doctoral dissertation aims at defining the stylistic features of a corpus of symphonic works and at placing them in the evolution of the genre by analyzing them in relation to Viennese standards, to contemporary Germanic productions and to the more general innovations in the musical language. After first focusing on the musical context in which these symphonies were composed, on the pedagogic stakes entailed and on the decisive role of orchestral societies, the analysis will then closely examine the scores in a quantitative and qualitative comparative approach moving from the internal construction of the smallest musical elements to the completion of the large form. The autonomy of a genre distinct from its Germanic model and the permanence of a French symphonic school throughout the 19th century will emerge thanks to the observation of collective and individual practices which contributed to a reassessment of norms, to a selective but gradual revision of musical forms.