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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.

Schlesische Modernität um 1930 wird an zwei Breslauer Komponisten untersucht: Hans Zielowsky und Edmund von Borck. Von ihrer Herkunft und Ausbildung her könnten sie kaum unterschiedlicher sein, und so stecken sie Endpunkte ab, zwischen denen sich das Komponieren Breslauer Musiker der Zeit abspielte. Der eine, Zielowsky, schreibt mit anrührendem Dilettantismus, der andere, von Borck, mit bewundernswerter stilistischer Unabhängigkeit und mit großem handwerklichen Geschick. Der eine gelangt mit den meist kleinen Besetzungen seiner Werke kaum übers Private hinaus, der andere konzentriert sich dagegen auf das Schreiben von Orchesterliteratur. Dennoch ist ihnen etwas gemeinsam: die Orientierung an einer auf je eigene Weise verstandenen Linearität und die Verehrung sowie das Maßnehmen an Bruckner. In dem Beitrag wird die spezifische Bruckner-Rezeption untersucht unter Bezugnahme auf die damals neuartige Musiktheorie.

Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted. These works are situated historically and characteristics of both styles are highlighted with particular regard to Late or Post-Modernism. / Graduate

This thesis develops an analytical approach to the instrumental music of Orlando Gibbons (1583-1625) based on close readings of historical theory sources, primarily by Thomas Morley, John Coprario and Thomas Campion. Music of the early seventeenth century can be difficult to analyse, since it falls between the more extensively studied and theorised practices of classic vocal polyphony and common-practice tonality. Although English music theory of this period is recognised as strikingly modern in many respects, innovative aspects of English compositions from the same period receive little attention in standard accounts of the seventeenth century. I argue that concepts taken from this body of historical theory provide the basic terms of a technical vocabulary for analysis, which should be further refined through application to real compositions. Successive chapters deal with common counterpoint models or patterns, imitative invention and disposition, cadential progressions, and overall tonal structure. I argue that these analyses show Gibbons's music to be a contribution to new ways of conceiving of instrumental polyphony and tonal structure, which deserves re-evaluation in the context of broader seventeenth-century trends. In particular, Gibbons's use of extended cadential expectations as an expressive element, fascination with sequential progressions, and sectional structuring by harmonic area have clear parallels with later practices. At the same time, early seventeenth century style allows the composer considerably more freedom of harmonic procedures and implications than the musical styles which immediately followed it. Analysis grounded in historical theory provides the best approach to understanding and appreciating this unique musical language.

Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth-century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project will focus on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time will be included in this document. I will analyze these works, including a comparison between the works of Westhoff and those of other composers during his time, to prove that Westhoff's solo works establish multiple stops as a central factor of German violin playing of the time, and, thus, to promote Westhoff's works as a complement to the extant repertoire of unaccompanied violin music written in the Baroque era before Johann Sebastian Bach's solo violin works and Georg Philipp Telemann's twelve fantasias for violin solo. Furthermore, this project will help one to better understand the use and function of multiple stops in the German violin repertoire in the seventeenth century.