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After World War I, a significant change for the concepts of culture and art occurred in France, which eventually causes a cultural revolution. Francis Poulenc (1899-1963) experienced such a transformation and became one of the most important French composers and pianists in the twentieth century. He was a member of the French group Les Six; his music was therefore often considered informal. However, those who had ever listened to his music were impressed deeply by the graceful melodies and rich harmonies presented in his works. Poulenc was prolific, producing a total number of 34 opuses for piano. In particular, he finished most of his outstanding works in the 1930s, of which Nocturnes is the most representative. Nocturnes is characterized by two main elements generally found in Poulenc¡¦s works, referred to as Neo-classicism and Popular Music, from which the characteristics of his piano music can be realized comprehensively. The primary purpose of this thesis is to thoroughly discuss Poulenc¡¦s famous piano pieces Nocturnes. The thesis is organized as follows. Firstly, the development of French cultures in the early twentieth century is introduced particularly with a historical perspective. In Chapter 2, Poulenc¡¦s life and his composition style are presented, followed by an emphasis on the unique characteristics of his piano music. Chapter 3 describes the background when Poulenc composed Nocturnes, with a discussion of the skills required for the interpretation. It is anticipated that this study is capable of offering the understanding of Poulenc¡¦s piano music.

Inaug.-Diss.--Göttingen. / Lebenslauf.

Inaug.-Diss.--Göttingen. / Lebenslauf.

Thesis (M.F.A.)--Rochester Institute of Technology, 1992. / Typescript. Includes bibliographical references (leaf 28).

Thesis (Ph. D.)--Princeton University, 2003. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 239-262).

ROCHA, Jessé da Costa. Adorno e a Nova Música. 2006. 86f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2006. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-09-25T14:14:30Z No. of bitstreams: 1 2006_dis_jcrocha.pdf: 544083 bytes, checksum: 5b1e6184c4f4c8cb0d108a306e3fa796 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-09-25T15:07:45Z (GMT) No. of bitstreams: 1 2006_dis_jcrocha.pdf: 544083 bytes, checksum: 5b1e6184c4f4c8cb0d108a306e3fa796 (MD5) / Made available in DSpace on 2017-09-25T15:07:45Z (GMT). No. of bitstreams: 1 2006_dis_jcrocha.pdf: 544083 bytes, checksum: 5b1e6184c4f4c8cb0d108a306e3fa796 (MD5) Previous issue date: 2006 / This study presents a general idea on the Philosophy of New Music. To facilitate such exposition, two strategies were adopted. First, divide the text into two major chapters. Second, adopt some themes as conductor strings. However, the study did not restrain itself from making a simple rational reconstruction of the Philosophy of New Music. It also analyzed major musical and philosophical sources used by Adorno. In this context, special notability was given to the writings of Schoenberg, Kant, Hegel, Schopenhauer, Nietzsche and Freud. Other texts from Adorno himself were also used, among them, one which demonstrated to be particularly relevant for our objectives, for example, Music and language: a fragment. Thus, we elaborated, based on the mentioned text, some kind of prelude. I concluded that, to Adorno, atonal music developed by Schoenberg stood in the forefront of European art. Stravinski, on the other hand, led a reactionary movement which searched an arbitrary conservation of the past, thus compromising, both the old and the new. / Expõe as linhas gerais da Filosofia da Nova Música. Para facilitar tal exposição, duas estratégias foram adotadas. Primeira, dividir o texto em dois grandes capítulos. Segunda, adotar alguns temas como fios condutores. Contudo, a pesquisa não se limitou a fazer uma mera reconstrução racional da Filosofia da Nova Música. Ela também analisou as principais fontes musicais e filosóficas utilizadas por Adorno. Nesse contexto, ganharam destaque especial os escritos de Schoenberg, Kant, Hegel, Schopenhauer, Nietzsche e Freud. Outros textos do próprio Adorno também foram utilizados, dentre eles, um mostrou-se particularmente relevante para nossos propósitos, qual seja, Music and language: a fragment. Sendo assim, elaboramos, com base no referido texto, uma espécie de prelúdio. Conclui que, para Adorno, a música atonal desenvolvida por Schoenberg estava na vanguarda da arte européia. Stravinski, ao contrário, liderou um movimento reacionário que buscou uma conservação arbitrária do passado, comprometendo, assim, tanto o velho como o novo.

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