Thesis--University of Michigan. / "The grand motets ... a thematic catalogue.": v. l, leaves 243-284. Vol. 2: Representative grand motets of André Campra. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (v. 1, leaves 289-297).

Thesis--University of Michigan. / "The grand motets ... a thematic catalogue.": v. l, leaves 243-284. Vol. 2: Representative grand motets of André Campra. Includes bibliographical references (v. 1, leaves 289-297). Also issued in print.

Diss.--Philo. Music--University of southern California, 1964. / Bibliogr. p. 580-595.

Diss.--Washington, 1990. / Bibliogr. p. 388-409.

No description available.

Ce mémoire porte sur le rôle des divinités dans la structure dramatique de la tragédie en musique Idoménée d’Antoine Danchet et d’André Campra, originalement créée en 1712 et remaniée en 1731. L’étude répond à des questions d’ordre structurel quant à l’évolution du genre et montre de quelle façon la représentation des dieux dans Idoménée est liée à une ouverture formelle qui annonce la disparition du prologue, puisque les divinités n’y sont plus confinées à une fonction de louange du roi, mais contribuent activement à lancer l’action dramatique dès cette partie liminaire de l’opéra. Par un bref aperçu historique de la tragédie lyrique et des traditions mythologiques se rapportant à Vénus et à Neptune, ce mémoire questionne la place de ces dieux dans l’univers des hommes, tel que l’envisage la tragédie lyrique, qui démontre, comme on le sait, une propension à unifier les mondes surnaturel et humain. Dans Idoménée, cette unification passe en grande partie par l’usage d’un prologue qui fait office de premier acte, en assurant aux divinités en question une fonction essentielle à la structure dramatique. / This essay focuses on the deities’ role in the dramatic structure of Antoine Danchet and André Campra’s Idoménée, a tragédie en musique originally written in 1712 and rearranged in 1731. This research raises questions about the evolution of this particular genre while aiming to show how the representation of the Gods in Idoménée is linked to a formal opening which announces the disappearance of the prologue during the 1740s, as the deities are no longer used to solely praise the king but actively contribute to start off the dramatic effect as early as this opening part of the opera, thus giving a new function to the prologue. Through a brief historical overview of the French opera genre known as tragédie lyrique and of the mythological traditions linked to Venus and Neptune, this essay questions the place of these two deities in the human universe as envisioned by the tragédie lyrique which, as it is well known, tends to unify the supernatural and human worlds. In Idoménée, this unification mostly occurs through the use of a prologue, which also forms the first act of this drama, giving the deities in question an essential role in the dramatic structure of the opera.

Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007). / This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).

No description available.

Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007). / This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).

Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007). / This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).