Treatise (D.M.A.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.

“The Piano Music of Jean Coultthard” provides a musicological assessment of keyboard literature by one of the leading composers in the history of Canadian music. Coulthard's piano works are discussed from aesthetic, historical, and analytical perspectives. Discussion of specific piano works is prefaced by a more general overview of aesthetic principles pertaining to Coulthard's compositional style (including a comparative study between Coulthard's music and the art of Emily Carr) and the question of a Canadian musical identity. The historical focus of the study relates to three main fields of inquiry: the development of Coulthard's distinctive style of piano writing from the early mature works of the 1940s to the more recent compositions of the 1980s and 1990s; the composer's historical position in twentieth-century music; and her lasting influence upon Canadian culture. Analytical issues addressed include Coulthard's innovative reworking of traditional musical forms and the characteristic features of her musical vocabulary and pianistic style. This study will demonstrate Coulthard's vital role in the development of piano music in Canada as well as her overall significance in twentieth-century music. / Graduate

This document is the result of the research done in preparation for the two thesis-recitals given in partial fulfillment of the requirements for the degree of Master of Music Performance. The recitals and the document are devoted to selected art song composers from Great Britain, the United States, and Canada. The purpose of the research was to obtain a historical and stylistic understanding of the repertoire to be performed in the thesis-recitals. The methodology used for the elaboration of this document included review of relevant literature, score analysis, listening to recordings by major performers, and the preparation for performance itself. The first chapter is focused on the fact that Great Britains most distinguished composers have been influenced by musical practices from the European continent. John Dowland, Henry Purcell, Benjamin Britten, and the composers from the so-called British Musical Renaissance are taken into account. The second chapter is dedicated to three major figures in art song composition in the United States: Charles Griffes, Samuel Barber, and Ned Rorem. The chapter highlights the fact that these composers share two important features: their styles have roots in musical practices of continental Europe and today they are considered among the most truly American voices. The third chapter focuses on Jean Coulthard, Violet Archer, and R. Murray Schafer as examples of how Canadian composers have used the European artistic heritage in the process of creating their own styles. The document concludes that, in addition to creativity and personal artistic values, two other factors seem to have been important in allowing this group of composers to become models of the national voice of their own countries: a strong awareness of musical and literary heritage and an open acceptance of foreign influences.

This document is the result of the research done in preparation for the two thesis-recitals given in partial fulfillment of the requirements for the degree of Master of Music Performance. The recitals and the document are devoted to selected art song composers from Great Britain, the United States, and Canada. The purpose of the research was to obtain a historical and stylistic understanding of the repertoire to be performed in the thesis-recitals. The methodology used for the elaboration of this document included review of relevant literature, score analysis, listening to recordings by major performers, and the preparation for performance itself. The first chapter is focused on the fact that Great Britains most distinguished composers have been influenced by musical practices from the European continent. John Dowland, Henry Purcell, Benjamin Britten, and the composers from the so-called British Musical Renaissance are taken into account. The second chapter is dedicated to three major figures in art song composition in the United States: Charles Griffes, Samuel Barber, and Ned Rorem. The chapter highlights the fact that these composers share two important features: their styles have roots in musical practices of continental Europe and today they are considered among the most truly American voices. The third chapter focuses on Jean Coulthard, Violet Archer, and R. Murray Schafer as examples of how Canadian composers have used the European artistic heritage in the process of creating their own styles. The document concludes that, in addition to creativity and personal artistic values, two other factors seem to have been important in allowing this group of composers to become models of the national voice of their own countries: a strong awareness of musical and literary heritage and an open acceptance of foreign influences.

This thesis is concerned with the Canadian state’s rhetoric of reconciliation, the logic of exceptionality that supports it, and the ways this logic helps soften Indigenous communities for resource development. In formulating my theoretical framework, I draw from Agamben’s theories of sovereignty and states of exception, Mark Rifkin’s reworking of Agamben’s theories to accommodate a settler-colonial context, Pauline Wakeham’s application of the logic of exceptionality to rhetorics of apology and terrorism, and Glen Coulthard’s concepts of translation (as the attempt to bring Indigenous discourses and life ways into the realm of a Western/settler-colonial discourse of state sovereignty) and grounded normativity (as a way of making visible the contingency of such narratives of state sovereignty). Following the work of James Tully and John Borrows in Resurgence and Reconciliation, particularly the argument that transformative reconciliation must involve reconciliation with the living earth, my project aims to show that official reconciliation actually prevents the possibility of transformative reconciliation because of the role it plays in furthering an extractivist agenda by “exceptionalizing" Indigenous peoples and life-ways to rhetorically contain Indigenous anti-colonial or anti-industry actions, physically contain Indigenous dissenters during moments of crisis (i.e. states of exception), pre-emptively frame Indigenous dissenters as terroristic, and foreclose discussions of ongoing colonialism. / Graduate

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La création artistique autochtone est indissociable des luttes politiques. Dans un contexte colonial, les modes d’être, d’agir et de penser Autochtones sont profondément affectés. L’art est une arme puissante dans cette lutte pour la décolonisation. Cette étude s’intéressera ainsi au potentiel de transformation et de décolonisation de la création artistique autochtone, à travers la pratique artistique de l’artiste Algonquine Nadia Myre. Plusieurs de ses œuvres adressent la mixité identitaire et la violence coloniale subie par les Autochtones. Indian Act (fig.1) dénonce, à l’aide d’une réécriture perlée traditionnelle et participative, un texte de loi colonial qui a conduit à une injustice épistémique profonde. Pour adresser ces problématiques, nous nous ancrerons sur un objet particulier, le wampum. Dans cette recherche, nous le considérerons comme un vecteur de résurgence et de décolonisation profondes. La position socio-politique ancienne et contemporaine essentielle du wampum en fait un support didactique privilégié de résurgence. Grâce à l’utilisation du motif du wampum dans la pratique artistique de Nadia Myre, nous pourrons cheminer à travers ces luttes et comprendre comment les artistes Autochtones les engagent. Le wampum sera présenté comme une rhétorique discursive, matérielle et immatérielle, un hypertexte, un hyperlien (Haas 2007) entre tradition et modernité, oralité et écriture, qui sera supportée par la théorie de l’intermédialité. Jacques Derrida et la Déconstruction seront également convoqués pour examiner le travail de réécriture effectué par Myre dans Indian Act. Il s’agira également de comprendre comment la proposition participative de Nadia Myre pourrait permettre un engagement allochtone vers une justice épistémique décoloniale. / Aboriginal artistic creation is inseparable from political struggles. In a colonial context, Aboriginal ways of being, acting and thinking are deeply affected. Art is a powerful weapon in this struggle for decolonization. This study will therefore focus on the transformative and decolonizing potential of Aboriginal artistic creation through the artistic practice of Algonquin artist Nadia Myre. Several of her works address the mixed identity and colonial violence suffered by Aboriginal people. Indian Act (fig.1) denounces, through a traditional and participatory beaded rewriting, a colonial law that has led to a profound epistemic injustice. To address these issues, we will focus on a specific object, the wampum. In this research, we will consider it as a vector of deep resurgence and decolonization. The essential ancient and contemporary socio-political position of wampum makes it a privileged didactic support of resurgence. Through the use of the wampum motif in Nadia Myre's artistic practice, we will be able to walk through these struggles and understand how Aboriginal artists engage them. Wampum will be presented as a discursive rhetoric, material and immaterial, a hypertext, a hyperlink (Haas 2007) between tradition and modernity, orality and writing, which will be supported by the theory of intermediality. Jacques Derrida and the Deconstruction will also be convened to examine the rewriting work done by Myre in Indian Act. It will also be a question of understanding how Nadia Myre's participatory proposal could enable an allochtonous engagement towards decolonial epistemic justice.