Texte remanié de: Diss.--Fachbereich Geschichtswissenschaften--Philipps-Universität Marburg, 1997. / Bibliogr. p. 361-393. Index.

This study concentrates on the piano music of Hubert du Plessis, a South African composer who, apart from some years spent studying in England, has lived and worked in this country. He was born in 1922 on a farm in the Malmesbury district. After completing his schooling, he studied at the University of Stellenbosch , gaining a B A degree. Later, he continued his studies at Rhodes University, obtaining a B Mus degree. The Performing Right Society's scholarship gave him the opportunity of studying in London for three years (1951-1953). After his return, he became involved in the academic sphere, and lectured simultaneously at U C T and Stellenbosch, and then later just at Stellenbosch until his retirement in 1982. A number of his compositions for piano are as yet unpublished. This thesis has been limited to the published works for solo piano . The works studied are: Four Piano Pieces (Op. 1 ), Six Miniatures (Op. 3 ), Sonata No . 1 (Op. 8 ), Seven Preludes (Op. 18), Toe ek 'n kind was (Op. 33). Some biographical details have been given - in most cases to provide the background for the writing of each work - but the main thrust of this study has been towards a detailed structural analysis of each work. In my analysis, I have favoured the type of "Formal analysis" defined by Groves¹ in the article on analysis. In other words, I have used the traditional structural patterns i.e. Binary and Ternary form , Sonata form etc. insofar as it applied to the music under discussion. However, I felt that this was not sufficient for a study in depth of the music, as I had envisaged. Like Beethoven, du Plessis is a meticulous craftsman, who constructs and re- constructs , revises and rethinks. This means that the fullest attention is given to every detail of composition. Hence, like Tovey in his analysis of Beethoven sonatas, I have tended towards a bar-by-bar approach which, I hope, will reveal not only the structural detail, but also the relationships between phrases and motifs, where this is relevant. I felt that it was imperative to take this down to the real fundamentals, for without that basic approach, certain compositional techniques might be overlooked. Hence, I then hoped to draw some general conclusions about du Plessis' work. Groves¹ says of Tovey's method that it " represents the tradition of analysis and descriptive criticism in Britain as a whole . " However , despite this rather dry and academic approach there are times when, like Tovey, my analysis contains metaphor, or personification of the music. I have chosen what may be criticised as a rather old-fashioned approach to the analysis because of the basic intention behind this piece of research. As a school teacher I am aware of the pitiful paucity of source material on the music of the South African composers, which are set for study by Matriculation candidates. By this work, I had hoped to shed some light on at least one corner of this section of the syllabus, for both teacher and pupils. Hence, I did not attempt a distributional analysis or a category analysis , coded by computer and shown in graphical form. I chose a straightforward linear and logical progression through the pieces which, even with the limited musical vocabulary of the average school pupil, should be easily comprehensible. ] have also attempted to draw attention to interrelationships between movements or sets of pieces, and to see each work as a unit. In a study limited, by necessity, in its subject matter, as this is, it would be presumptuous to draw conclusions about du Plessis' work in general. This would necessitate an indepth survey of his other genres, especially his vocal works, which are so important an area of his creativity. However, it is possible, even in so limited a study, to gain an appreciation of Hubert du Plessis' meticulous craftsmanship and attention to detail that must gain him his rightful place among the South African musical "greats " of this century.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Thesis (S.T.D.)--Catholic University of America, 1944. / "Bibliographie": p. [xiv]-xxviii.

Thesis--Faculté des lettres de Paris. / The supplement is attributed by Parmentier to père Ange; and by Dedouvre, Le père Joseph de Paris, to Claude Lepré-Balain. Includes bibliographical references.

Thesis--Faculté des lettres de Paris. / The supplement is attributed by Parmentier to père Ange; and by Dedouvre, Le père Joseph de Paris, to Claude Lepré-Balain. Includes bibliographical references.

No description available.

A part les quelques pages écrites, dans les années soixante, par Orest Ranum sur Claude et Léon Bouthillier et leur activité de secrétaires d'Etat des Affaires étrangères entre 1635 et 1642, la famille Bouthillier n'avait jamais fait l'objet d'aucune étude. Pourtant, du surintendant des finances Claude Bouthillier à l'abbé de Rancé, Armand-Jean Bouthillier, du secrétaire d'Etat Léon Bouthillier, mieux connu sous le nom de Chavigny, à Marie Bouthillier, femme du maréchal-duc de Choiseul, cette famille compte des personnages éminents.<br />L'obscurité de ses origines n'en rendait l'étude que plus attrayante. Rien, ou peu de choses, sur l'avocat Denis Bouthillier, père de Claude. Pas davantage sur les avocats à cette époque.<br />L'accent a été mis sur l'étude du mouvement qui a porté Denis et Claude Bouthillier, dans leur carrière et dans la formation de leur fortune. Cela a permis, entre autres choses, de se pencher sur la vie d'un avocat à la fin du XVIe siècle et au début du XVIIe siècle, mais également de suivre pas à pas la formation de la fortune d'un surintendant des finances.

In 1750, the architect Giovanni Niccolo Servandoni built a Temple of Love in Gennevilliers, just north of Paris for the notorious libertine, the Duc de Richelieu. The new social freedom gained by the decline of the ancien regime gave birth to a democratic space that first appeared in the theatre and a personal freedom which changed the currents of thought on love. Servandoni's work as a painter, theatre designer and engineer of spectacles are promoted in the theory of Jacques-Francois Blondel and later Nicolas Le Camus de Mezieres as prime examples of architecture in their theories of sensation. Libertine love, read through the literature of the time, clearly understands the limit of sensation and the "terrible state/loss of freedom" produced by real love. By general consensus an agreement to operate within the realm of sensation governs the ethics of libertine love and architecture. Servandoni's Temple of Love provides an ironic statement on love in the eighteenth century.