Vermittelnd zwischen Konvention und dem im Notentext kaum dokumentierbaren Klang sind spätestens seit dem Ende des 18. Jahrhunderts Wendungen zu finden, die eine Vertiefung von satztechnischem Regelwerk im Orchesterklang annehmen lassen. Greifbar wird dies an zwar in der historischen Kompositionslehre, aber kaum in der Instrumentationslehre erfassten Topoi. Sei es, dass Trugschlüsse durch instrumentale Oberton-Effekte dissonanter, dass Dissonanzen in der klanglichen Entwicklung weicher, dass konsonante Klänge durch die Instrumentation dissonant klingen oder dass Dissonanzen eher ausgeblendet als konturiert aufgelöst werden, in all diesen Fällen erfahren musiktheoretische Problemstellungen erst jenseits des Notentextes ihre eigentliche Prägung. Solche ›Phantom-Kontrapunkte‹ sind in tonaler Musik selten Gegenstand wissenschaftlicher Betrachtung. An Beispielen von Beethoven, Mendelssohn und Haydn wird versucht, die Spannung zwischen satztechnischen und instrumentalen Konventionen und der klanglichen Gestaltung höranalytisch als musiktheoretisches Problem und künstlerische Intention zu rekonstruieren und der Lehre zugänglich zu machen. / Since the late 1790s, some features of orchestral music may have been understood as intensifying links between the conventions of musical composition and the rather fluid elements of the sound itself. In the history of music theory, those links can be found in literature about composition rather than in schools or textbooks for instrumentation. When a false cadence is made more dissonant by the effects of harmonics, when dissonant sounds seem to become softer during their development in the orchestral sound, when consonant sounds are made dissonant by means of the instrumentation, or finally, when dissonances are not properly resolved but rather faded out, we are confronted with problems of music theory that go beyond the score. Such a ›phantom counterpoint‹ as an issue of tonal music has not yet been examined in musicology. This article will approach the tension between conventions of composition, voiceleading, style, and instrumentation in order to reconstruct the musical ideas as theoretical background and creative intention and to develop a new tool for music analysis.

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Beim Vergleich der handschriftlichen Musiknoten des Dipper Mouth Blues und der berühmten Aufnahme von King Oliver’s Creole Jazz Band wird offensichtlich, dass es sich bei den Noten nicht um ein Leadsheet im Sinne einer Spielpartitur handelt. Die Aufnahme des Stücks mit dem Bandleader und Kornettisten King Oliver, dem Kornettisten Louis Armstrong, dem Posaunisten Honoré Dutrey, dem Klarinettisten Johnny Dodds, Bill Johnson am Banjo, Lil Hardin am Klavier und Baby Dodds an den Perkussionsinstrumenten macht nur Andeutungen an die notierte Melodie. Durch den Vergleich der Transkription der Aufnahme mit der Handschrift kann die Verbindung zwischen den beiden analysiert werden. Dabei wird klar, dass die Musiker*innen die Technik des modularen Kontrapunktes angewendet haben. Mithilfe des Konzepts der Archetypen von C.G. Jung kann die Handschrift adäquat klassifiziert werden. Ungeachtet der substantiellen Unterschiede zwischen Manuskripts und der Aufnahme ist ein gemeinsamer Nenner zu finden, ein Archetyp, welcher die Grundlage für alle Erscheinungsformen des Dipper Mouth Blues ist. / Comparing the copyright deposit of the Dipper Mouth Blues and the famous recording of King Oliver’s Creole Jazz Band, it becomes apparent that the music score is not intended to be used as a lead sheet in the sense of a playing score. The performance with the bandleader and cornet player King Oliver, the cornet player Louis Armstrong, the trombone player Honoré Dutrey, the clarinet player Johnny Dodds, Bill Johnson on banjo, Lil Hardin on piano and Baby Dodds on percussion instruments seems to only contain hints of the same tune in written form. The connection can be analysed by comparing the transcription of the recording with the score. It is found that the musicians apply a technique of modular counterpoint. The concept of archetypes as described by C.G. Jung is used in order to describe and find an appropriate classification for the notation of the copyright deposit. Despite the substantial differences between the score and the recording there is a common denominator, an archetype, that is the source of all manifestations of Dipper Mouth Blues.

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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Le présent mémoire est une analyse de trois pièces musicales composées dans le cadre de ma maîtrise en composition instrumentale. L’analyse se concentrera sur divers points importants pour chacune de ces œuvres et détaillera la structure formelle de chacune. Les œuvres présentées dans ce mémoire sont : 1. Groove, Fanfare & Finale pour quintette de cuivres ; 2. Voyage pour orchestre ; 3. Fantaisie pour piano et orchestre. La composition de ces œuvres s’est révélée être un laboratoire de recherche exceptionnel pour l’élaboration d’un langage musical personnel. Ce langage se caractérise entre autre par des textures hautement contrapuntiques, une économie de moyens, la recherche de transitions efficaces entre diverses idées et un souci d’unité formelle. / This memoir contains a musical analysis of three musical works. These works were composed as part of my master’s degree in instrumental musical composition. The analysis will focus on some important aspects for each of these works, and will detail the structure of each. The works analyzed in this memoir are: 1. Groove, Fanfare & Finale for brass quintet; 2. Voyage for orchestra; 3. Fantasia for piano and orchestra. The composition of these works has provided a tremendous opportunity for me to develop a personal musical style. This style is characterized by highly contrapuntal textures, economy of means, a constant search for efficient transitions between musical ideas and an emphasis on structural unity.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Ce mémoire atteste du résultat de mes deux années d’étude en composition à l’Université de Montréal. J’ai cherché à développé un langage musical personnel, bien qu’ancré dans la tradition et plus particulièrement dans l’héritable harmonique tonal, basé sur une utilisation plus ou moins libre d’accords par tierces superposées –bien que j’emprunte parfois d’autres langages harmoniques. De plus, j’ai voulu concilier la pratique de la composition dans les domaines de la musique de concert et de la musique de film, en démontrant comment ma démarche de créateur présente de nombreuses constantes indépendamment du champ dans lequel j’évolue. Celles-ci sont principalement de l’ordre de l’organisation musicale et de la structure formelle ainsi que, dans une moindre mesure, de détails harmoniques et contrapuntiques. Par exemple, j’aborde et je traite le leitmotiv (élément musical caractérisant un personnage, un lieu ou un sentiment en musique de film) de la même façon que j’ai recours extensivement aux motifs (unité minimale de signification musicale) dans ma musique de concert. La démonstration se fait à travers l’analyse et la critique d’extraits puisés à travers neuf œuvres de mon répertoire de concert et de musique à l’image. / This master’s thesis is the result of two years of studies in composition at the University of Montreal. Through my work, I have sought to develop a musical language of my own that is rooted in tradition and inspired by our vast tonal heritage. I use a mostly triad-based harmonic language while also borrowing from other techniques from time to time. Moreover, I have attempted to bring together my work as a concert composer and as a film music composer by showing how my compositional approach shares many common characteristics no matter the genre of music. These common features range from the way a piece is organized to how the form is underlined by musical means. To a lesser extent, harmonic and contrapuntal techniques might also be common elements. For instance, I have often been using the leitmotiv (a musical item that is associated with an on-screen element in film music) in the same way I use motives (the smallest elements of musical meaning one can perceive) as a mean of structuring my concert compositions. To make my point, I have analyzed and discussed many examples of nine of my works from both the concert or film music genres.

Theodore Fontane is best known as the author of numerous women's novels, which he wrote in the last ten years of his life. This diploma thesis deals with the topic of women's emancipation on the basis of textual analysis of two latter novels by Theodore Fontane - Effi Briest and Mathilde Möhring. In the first part, it characterizes the topic of the period women's emancipation and puts the author's biography into context. In the second part, it creates the picture of position of the main women characters. The last part describes the personal development of the women characters, on the basis of which I determine how much the women's emancipation reflects in the author's work and what is his attitude towards it. This thesis deals with the interpretation of the author's intent to illustrate the creation of an advanced character like Mathilde Möhring. Key words: Theodore Fontane, women's emancipation, Effi Briest, Mathilde Möhring, development of women's characters, women's novels, interpretation, author's intent, counterpoint

Este trabalho visa abordar conceitos estéticos, musicais e históricos (relacionados à época do Iluminismo) que envolvem as transcrições para violão \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 do compositor e violonista espanhol Fernando Sor (1778-1839), publicadas entre os anos de 1823 a 1825, em Londres, e baseadas em árias de A flauta mágica k620 (1791) de Mozart. O processo de transcrição empreendido por Fernando Sor exigiu, inclusive por necessidades históricas (aproximadamente 35 anos separam essas obras), uma mudança de concepção da escritura instrumental, pois, para Sor, tratava-se de verter a essência de um pensamento musical concebido no meio operático e apresentá-lo sob o conceito sonoro de um instrumento solo emergente, como foi o caso do violão no final do século XVIII e primeiras décadas do século XIX. Assim, do ponto de vista instrumental, elementos como textura, estilo de acompanhamento e conceito de condução de vozes, para citar apenas alguns aspectos, sofreram mudanças de concepção, resultando muitas vezes quase em uma nova composição e, até mesmo, outra percepção da forma musical, porque, acima de tudo, o elemento dramáticoliterário está ausente. / This paper aims at addressing the aesthetic, musical and historical concepts (related to the Enlightenment) that involve the guitar transcriptions \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 by Spanish composer and guitarist Fernando Sor (1778-1839), published between the years 1823 to 1825, in London, and based in Mozart\'s Die Zauberflöte k620 (The Magic Flute). The transcription\'s process undertaken by Fernando Sor required, even for historical purposes (the compositions were created 35 years apart), a change in the concept of instrumental writing. For Sor, it was a question of translating the essence of the musical thought conceived in an operatic way and presenting it under a sonorous concept of an emerging, solo instrument as had been the case of the guitar in the late 18th century and in the first decades of the 19th century. From the instrumental perspective, therefore, elements such as texture, style of accompaniment and the voice leading concept, to name but a few, have undergone conceptual changes, often resulting almost in a new composition and even a different perception of the musical form since, above all, the elements of drama and literature are absent.

Este trabalho visa abordar conceitos estéticos, musicais e históricos (relacionados à época do Iluminismo) que envolvem as transcrições para violão \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 do compositor e violonista espanhol Fernando Sor (1778-1839), publicadas entre os anos de 1823 a 1825, em Londres, e baseadas em árias de A flauta mágica k620 (1791) de Mozart. O processo de transcrição empreendido por Fernando Sor exigiu, inclusive por necessidades históricas (aproximadamente 35 anos separam essas obras), uma mudança de concepção da escritura instrumental, pois, para Sor, tratava-se de verter a essência de um pensamento musical concebido no meio operático e apresentá-lo sob o conceito sonoro de um instrumento solo emergente, como foi o caso do violão no final do século XVIII e primeiras décadas do século XIX. Assim, do ponto de vista instrumental, elementos como textura, estilo de acompanhamento e conceito de condução de vozes, para citar apenas alguns aspectos, sofreram mudanças de concepção, resultando muitas vezes quase em uma nova composição e, até mesmo, outra percepção da forma musical, porque, acima de tudo, o elemento dramáticoliterário está ausente. / This paper aims at addressing the aesthetic, musical and historical concepts (related to the Enlightenment) that involve the guitar transcriptions \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 by Spanish composer and guitarist Fernando Sor (1778-1839), published between the years 1823 to 1825, in London, and based in Mozart\'s Die Zauberflöte k620 (The Magic Flute). The transcription\'s process undertaken by Fernando Sor required, even for historical purposes (the compositions were created 35 years apart), a change in the concept of instrumental writing. For Sor, it was a question of translating the essence of the musical thought conceived in an operatic way and presenting it under a sonorous concept of an emerging, solo instrument as had been the case of the guitar in the late 18th century and in the first decades of the 19th century. From the instrumental perspective, therefore, elements such as texture, style of accompaniment and the voice leading concept, to name but a few, have undergone conceptual changes, often resulting almost in a new composition and even a different perception of the musical form since, above all, the elements of drama and literature are absent.