Thesis (M.M.)--Bowling Green State University, 2008. / Document formatted into pages; contains ix, 73 p. : music. Includes bibliographical references.

La première moitié du XIXe siècle germanique voit le sacré se déplacer de façon massive et multiple vers la sphère profane. Le vocabulaire, les schémas et les idéaux religieux se refondent dans le prisme historique pour pénétrer philosophie, littérature, arts visuels et musique. Dans un climat esthétique, politique et social tendu vers la Bildung, l’édification morale mais aussi religieuse de la société, la représentation communautaire devient l’objet privilégié de l’art. En témoignent le ressourcement architectural gothique, les tableaux d’activisme nazaréen, ainsi que des modalités de représentation grandioses dans l’opéra et l’oratorio. L’insertion plus insolite du religieux dans la symphonie trouve ici un champ de contextualisation qui permet d’élucider les mutations contradictoires du genre en plein essor. Engagée depuis le classicisme dans une vocation spirituelle récusant l’intelligible, la symphonie ne s’en trouve pas moins investie de représentations religieuses se focalisant sur l’image communautaire. Dans l’attraction de l’œuvre beethovénien, Mendelssohn et Schumann, parallèlement à Spohr, font dans leurs symphonies une place décisive aux topoï connotant ou dénotant le religieux, à commencer par les cantiques et les styles anciens. Leurs corpus symphoniques respectifs apparaissent singulièrement homogènes, non moins qu’en correspondance. Par l’amplification des représentations spirituelles via la technique cyclique, ils s’appréhendent dès lors dans une vocation religieuse d’accomplissement, en probable résonance avec les conceptions historicistes d’immanence ou de transcendance. / The first half of the Germanic Nineteenth Century saw the shift of the religious expression in a massive and multiple way towards the profane sphere. Vocabulary, patterns and religious ideals are recast in the historical prism to enter philosophy, literature, visual arts and music. In a tense aesthetic, political and social climate to « Bildung », the moral and religious edification of society, the community representation becomes the privileged aim of art. Evidence of this is found in the Gothic architectural renewal, the activism of Nazarene paintings and grandiose representation arrangements in historical-religious opera and oratorio. The more unusual religious penetration into the symphony finds a significant field of contextualization that allows to elucidate the contradictory mutations of the booming genre. Committed since classicism to a spiritual vocation rejecting the intelligible, it is nonetheless true that the symphony is invested with religious representations focusing on community image. In the attraction of the work of Beethoven, symphonies by Mendelssohn and Schumann, along with those of Spohr, give emphasis to topoï connoting or indicating the religious, starting with hymns and old styles. Their respective symphonic corpus appear remarkably homogeneous, no less than in retrospect correspondence. By amplifying the spiritual representations via the cyclic technique, they are subsequently grasped in a religious vocation of accomplishment, likely in resonance with the historicist conceptions of immanence and transcendence.

O Quarteto de cordas em sol menor de Claude Debussy é uma obra marcada por importantes dicotomias. Composta em 1893, ela se encontra permeada de elementos harmônicos e formais ligados à tradição tonal e ao final do século XIX, particularmente ao compositor César Franck. Ao mesmo tempo, a peça utiliza procedimentos que são observados apenas em obras maduras do compositor, nas quais o tonalismo se encontra pouco presente, e análises que dependam exclusivamente de elementos tonais mostramse pouco eficientes para o Quarteto. Essa relação entre tradição e inovação é investigada nesta pesquisa, que traz como enfoque duas características diretamente relacionadas: a maneira como Debussy utiliza elementos repetidos nesta peça, assunto pesquisado por Sylveline Bourion, e aspectos relativos à forma cinética, elemento descrito por Richard Parks. Uma comparação entre o primeiro movimento do Quarteto e o primeiro movimento da Sonata para flauta, viola e harpa, peça do final da carreira de Debussy, é oportuna para que sejam observados elementos formais semelhantes aplicados em contextos diferentes. / Claude Debussy\'s String quartet in G minor is a work characterized by important dichotomies. Written in 1893, the piece is permeated by harmonic and formal elements attached to the tonal tradition and to the end of the 19th century, and specially to the composer César Franck. At the same time, the Quartet uses procedures observed only in Debussy\'s mature works, in which the presence of tonalism is weak, and analyses that rely exclusively on tonal elements are proven to have little efficiency regarding this piece. The relation between tradition and innovation is examined in this research, which focuses on two related characteristics: the way in which Debussy uses repeated elements in this piece, a matter also examined by Sylveline Bourion, and aspects related to the kinetic form described by Richard Parks. A comparison between the Quartet\'s first movement and the first movement from the Sonata for flute, viola and harp, composed at the end of Debussy\'s career, is useful for observing similar formal elements applied in different contexts.

O Quarteto de cordas em sol menor de Claude Debussy é uma obra marcada por importantes dicotomias. Composta em 1893, ela se encontra permeada de elementos harmônicos e formais ligados à tradição tonal e ao final do século XIX, particularmente ao compositor César Franck. Ao mesmo tempo, a peça utiliza procedimentos que são observados apenas em obras maduras do compositor, nas quais o tonalismo se encontra pouco presente, e análises que dependam exclusivamente de elementos tonais mostramse pouco eficientes para o Quarteto. Essa relação entre tradição e inovação é investigada nesta pesquisa, que traz como enfoque duas características diretamente relacionadas: a maneira como Debussy utiliza elementos repetidos nesta peça, assunto pesquisado por Sylveline Bourion, e aspectos relativos à forma cinética, elemento descrito por Richard Parks. Uma comparação entre o primeiro movimento do Quarteto e o primeiro movimento da Sonata para flauta, viola e harpa, peça do final da carreira de Debussy, é oportuna para que sejam observados elementos formais semelhantes aplicados em contextos diferentes. / Claude Debussy\'s String quartet in G minor is a work characterized by important dichotomies. Written in 1893, the piece is permeated by harmonic and formal elements attached to the tonal tradition and to the end of the 19th century, and specially to the composer César Franck. At the same time, the Quartet uses procedures observed only in Debussy\'s mature works, in which the presence of tonalism is weak, and analyses that rely exclusively on tonal elements are proven to have little efficiency regarding this piece. The relation between tradition and innovation is examined in this research, which focuses on two related characteristics: the way in which Debussy uses repeated elements in this piece, a matter also examined by Sylveline Bourion, and aspects related to the kinetic form described by Richard Parks. A comparison between the Quartet\'s first movement and the first movement from the Sonata for flute, viola and harp, composed at the end of Debussy\'s career, is useful for observing similar formal elements applied in different contexts.

Die zyklische Anordnung von György Kurtágs Kafka-Fragmenten op. 24, wie sie in der gedruckten Partitur erscheint, ist kein direktes Ergebnis des Kompositionsprozesses, sondern basiert auf einer vom Musikwissenschaftler András Wilheim vorgeschlagenen Reihenfolge. Dieser Umstand erlaubt es, das Werk sowohl als Fragmentsammlung, die keinerlei Verkettungskonzept folgt, als auch als Zyklus, der durch genau kalkulierte Gegenüberstellung seiner Einzelstücke entsteht, zu betrachten. Mithilfe einer Detailanalyse zur architektonischen Form der unterschiedlichen Fragmente wird untersucht, inwieweit verschiedene aus der Analyse abgeleitete Formkategorien auf diese beiden formalen Konzepte jeweils einheitsstiftend wirken können. Des Weiteren geht dieser Beitrag der Frage nach, auf welche Weise die Anordnung und Verbindung der einzelnen Fragmente innerhalb des Zyklus durch ihre architektonische Form und ihre Rahmentöne begründbar sind. / The cyclic arrangement of György Kurtág’s Kafka-Fragmente op. 24 as it appears in the printed score is not a direct product of the compositional process but based on a layout suggested by musicologist András Wilheim. This circumstance makes possible an analysis of the work both as a collection of fragments, disregarding any concept of concatenation, as well as a cycle featuring a strictly calculated juxtaposition of its individual parts. Following the results of a previous detailed study of each fragment’s architectonic form, this paper investigates how different formal categories derived from analysis can act as a unifying factor for both concepts. Furthermore, this essay aims to examine how the positioning and interconnection of the individual fragments within the cycle can possibly be explained by their architectonic form as well as their framing tones.

Ce mémoire porte sur la Symphonie en ré de César Franck, une œuvre écrite entre 1887 et 1888 et créée en 1889. Plus précisément, nous nous intéressons à l’organisation du matériau unificateur de cette œuvre tout en observant les problèmes que pose l’approche cyclique développée par Vincent d’Indy. Nous faisons ainsi valoir les apports et avantages à adopter plutôt la transformation thématique, une méthodologie fortement associée à l’œuvre de Franz Liszt. Théorisée en 1909 au sein du Cours de composition musicale, la forme cyclique exerce une emprise dominante dans la littérature musicologique s’intéressant à l’analyse de l’œuvre de César Franck. Nous mettons en lumière des biais idéologiques et nationalistes du discours de Vincent d’Indy visant à promouvoir la supériorité légitime des compositeurs français sur les Allemands en développant une conception de l’excellence fondée sur des métaphores chrétiennes (la trinité, la cathédrale gothique). Cette argumentation a pour effet néfaste de gommer des données historiographiques importantes telles que les échanges culturels s’établissant de part et d’autre du Rhin ou encore les contacts significatifs qu’ont entretenus César Franck et Franz Liszt. Cette recherche permet ainsi de nuancer la théorie de d’Indy et d’enrichir la perspective analytique de la Symphonie de César Franck en la remettant dans son contexte sociohistorique. L’étude de la transformation thématique a l’avantage de prendre en compte la dimension expressive des thèmes de la Symphonie en plus de la notion d’unité inhérente à l’œuvre et aide à approfondir les affinités musicales qui rapprochent Franck et Liszt. / This thesis focuses on César Franck's Symphony in D, a work written between 1887 and 1888, and premiered in 1889. More precisely, we are interested in the organization of the unifying material of this work while observing the problems posed by the cyclical approach developed by Vincent d'Indy. We thus highlight the contributions and advantages of adopting thematic transformation instead, a methodology strongly associated with the work of Franz Liszt. Theorized in 1909 as part of the “Cours de composition musicale”, the cyclical form exerts a hegemonic hold in the musicological literature interested in the analysis of the work of César Franck. We highlight the ideological and nationalist biases of Vincent d’Indy’s speech, aimed at promoting the legitimate superiority of French composers over the Germans by developing a conception of excellence based on Christian metaphors (the Trinity, the Gothic cathedral). This argument has the detrimental effect of erasing important historiographical data such as the cultural crosscurrent taking place on both sides of the Rhine or the significant contacts that César Franck and Franz Liszt maintained. This research thus makes it possible to qualify d’Indy’s theory and enrich the analytical perspective of César Franck’s Symphony by placing it in its socio-historical contexts. The study of the thematic transformation has the advantage to consider the expressive dimension of the themes of the Symphony while focusing on the unity of the piece, and helps deepen the musical affinities that bring Franck and Liszt close together.