Th. Etat--Musicologie--Paris 4, 2002. / Résumé en anglais en fin de volume. Bibliogr. p. 411-423. Discogr. p. 470-482. Index.

Diss.--Cologne, 1992. / Bibliogr. p. 207-217.

Diss.--Philosophie--Los Angeles, Calif., 1996. / Contient quelques exemples musicaux. Bibliogr. p. 216-228.

Diss.--Techn. Univ.--Berlin, 1997. / Bibliogr. p. 137-145.

xviii, 293 p. : ill., music. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / The synthetic, historically sensitive, analytic method of this dissertation illuminates relationships between pattern and meaning in François Couperin's Pièces de Clavecin --character pieces firmly rooted in traditions of literary portraiture. The method combines aspects of Schenkerian analysis, Gjerdingen's style-sensitive schema, Larson's theory of musical forces, and Lakoff and Johnson's cognitive metaphor theory. It suggests that manipulation of recognizable musical patterns--the manner with which patterns are realized or even withheld--and their narrative contexts may give rise to responses heard as metaphorically reflecting Couperin's evocative titles. Two questions motivate this investigation: Why the virtual absence of François Couperin from modern theoretical discourse? How does musical meaning arise with Couperin's musical portraits? After describing my analytic method, I illustrate its application with several short examples. I then offer two in-depth case studies of different formal structures: an extended theme and variations and an independent binary piece. My findings relate pattern to musical "vocabularies", to context and expressive meaning, and to the theory and practice of music analysis. The focus on pattern illuminates the interaction of vocabularies in Couperin's music--including those of the seventeenth-century French keyboard tradition, the emerging Italian galant style, and the increasingly tonal "high styles" of eighteenth-century church, chamber, and court music. It illustrates how patterns contribute to expression and affect--as well as how they interact with ideas, concepts, or images associated with Couperin's evocative titles. Pattern-based analyses demonstrate that different contexts can give the same pattern different meanings--supporting (rather than contradicting, as others have suggested) the argument that music can have meaning; instead of a single meaning, we encounter a plurality of possibilities. The synthetic analytic approach of this dissertation is ideal for Couperin's music in particular but also for the galant style in general. Moreover, the combination of methods itself illuminates the power and meaning of each individual contributing element. and exemplifies the advantages of (and flexibility inherent to) an analytic method consonant with Lakoff and Johnson's cognitive metaphor theory, suggesting the analytic potential of a synthetic approach for an even broader set of styles. / Committee in charge: Steven Larson, Co-Chairperson, Music; Stephen Rodgers, Co-Chairperson, Music; Lori Kruckenberg, Member, Music; Marc Vanscheeuwijck, Member, Music; Mark Johnson, Outside Member, Philosophy

Th. Ph. D.--Oxford--Queen's College, 1984. / Bibliogr. (t. 1) f. 291-311.

Louis Couperin (c. 1626-1661) was an outstanding member of the seventeenth-century clavecin school and an important link in the Couperin dynasty. His works for the harpsichord, or clavecin, have been neglected. This is due primarily to the fact that there are relatively few of his works, in comparison with those of his nephew, Franois Couperin Le Grand, who greatly overshadows him. Louis wrote no treatise on how his works are to be played, and there are few accounts of him, or his works, that are written in English. There is no biography of Louis Couperin. A more detailed study should be made of his music and its place in the French clavecin literature. Before examiinig the music itself, however, it is necessary to trace the origins and development of the clavecin school and its style.

tesis--musicologie--Valladolid, 1997. / Un chapître est consacré à la musique de Vicente Rodriguez. Bibliogr. p. 249-277.

Diss.--Musicologie--Sofia, 1997. / Mention parallèle de titre ou de responsabilité : [Le @premier traité du clavecin - "Les principes du clavecin" de M. de Saint Lambert (Paris, Ballard, 1702)] / Yavor Konov. Mention parallèle de titre ou de responsabilité : [The @first treatise of harpsichord - "Les principes du clavecin" by M. de Saint Lambert (Paris, Ballard, 1702)] / Yavor Konov. La thèse porte aussi sur le traité d'accompagnement de M. de Saint Lambert (Paris, 1707). En fin de volume, résumés de la thèse en français et en anglais. Bibliogr. p. 291-299.

Diss.--Philosophie--Iowa City, Iowa, 1962. / Contient la musique de 3 sonates pour clavecin op. 7, n °3 (avec acc. de 2 violons et violoncelle), op. 16, n °2 (avec acc. de violon et violoncelle), op. 17, n °4 (avec acc. de violon). Bibliogr. p. 346-364.