George Frederick Bristow (1825-1898) was a prominent American instrumental performer, teacher, conductor, and composer working in New York City in the mid-nineteenth century. His compositions provide valuable insight into the musical life of New York at that time, and into the development of American music. Presently, the New York Public Library for the Performing Arts holds a wealth of manuscripts of his work, and very little of it has been published. Bristow's Niagara Symphony, Op. 62, was composed in 1893 and received its first performance under the baton of the composer shortly before his death in 1898, and represents the culmination of his compositional output. The symphony is divided by Bristow into two large parts of equal duration: the first part consists of three movements scored for orchestra only, and the second part is a multi-section cantata for vocal soloists, chorus, and orchestra. I have here created a critical edition of the fourth movement of George Frederick Bristow's Niagara Symphony that faithfully and accurately represents the composer's intentions. I also provide here a meticulous recounting and justification of my editorial decisions, a thorough analysis of the work including an examination of compositional influences, and a discussion of performance considerations. This completion of a modern performing edition of the fourth movement of the Niagara Symphony is intended to help make the work of George Frederick Bristow more widely known, and to help scholars, performers, and audiences grasp our own American musical heritage.

The objective of this dissertation is to review the discrepancies between the first edition, Stradal’s edition and Marzocchi’s edition of Reubke’s piano sonata, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as fingerings, pedaling, phrasing, tempo markings is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Detailed assessment of these discrepancies, accompanied by the author’s comments are listed in the comprehensive comparison table in Appendix A. Additionally, directions are given in cases of presumptive errors, and discrepancies are addressed with possible variant solutions. In conclusion, the relative merit of the three editions is assessed in Chapter 4.

The Concerto in F, Op. 4 (BI 549) by Alessandro Rolla (1757-1841) is a relatively unknown work that can serve as a complement for existing standard Classical repertoire for the viola, thus providing the means for greater stylistic education and technical foundation for viola study from this time period. In order to make the music from this lesser-known composer more readily available for future performers, a performance edition has been created from uncirculated sources using the notation software “Finale,” combining separate parts into a conductor’s full score, which did not exist before. This performance edition will provide greater access to Rolla’s music for viola performance and study. In addition to addressing the challenges to creating a performance edition, this lecture secondarily addresses Rolla’s biographical details relevant to the concerto and his stylistic influences.

Sir William Herschel (1738–1822) was a prominent musician and composer in the 18th century England. He worked as a concert director in several cities. In addition, he was a master of various instruments, and an active solo performer. Herschel composed numerous orchestral and solo works. His music, however, is hardly known today. Many of his compositions remained unpublished, among them the Twenty-Four Caprices for Solo Violin. These caprices are one of the earliest technical studies for the instrument, which must be brought to the intermediate violin students’ and violin teachers’ attentions. The purpose of this study is to create a practical edition of the Twenty-Four Caprices for Solo Violin, and to make it available for violinists by publishing them. The dissertation will look into the performance practice of Hershel’s caprices. Based on a thorough research of the violin methods, the edition will provide fingerings, bowings, and practicing suggestions which are useful for students who wish to improve violin technique. The author of this study strongly believes that these neglected technical studies are extremely beneficial works for violinists, and they deserve to be made public.

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In starting the Demotic Palaeographical Database Project, we intend to build up an online database which pays special attention to the actual appearance of Demotic papyri and texts down to the level of the individual sign. Our idea is to analyse a papyrus with respect to its visual nature, inasmuch as it shall be possible to compare each Demotic sign to other representations of the same sign in other texts and to study its occurrences in different words. Words shall not only be analysed in their textual context but also by their orthography and it should be possible to study even the papyrus itself by means of its material features. Therefore, the Demotic Palaeographical Database Project aims for the creation of a modern and online accessible Demotic palaeography, glossary of word spellings and corpus of manuscripts, which will not only be a convenient tool for Egyptologists and researchers interested in the Demotic writing system or artefacts inscribed with Demotic script but also will serve the conservation of cultural heritage. In our paper, we will present our conceptual ideas and the preliminary version of the database in order to demonstrate its functionalities and possibilities.

La partition de "Sept, ils sont sept" pour ténor solo, chœur et orchestre ayant été imprimée en Russie en 1922 sans l'accord du compositeur, la question de l'authenticité du texte musical de cette œuvre, méconnue et néanmoins l'une les plus chères à Prokofiev, est fondamentale. L'origine de l'incantation mésopotamienne transcrite par le poète Constantin Balmont, à partir de laquelle Prokofiev rédigea le texte mis en musique, a pu être retracée en confrontant les ouvrages du poète aux écrits du compositeur. Des liens ignorés jusqu'à présent ont ainsi pu être tissés, et les rôles successifs joués par chacun dans la constitution du texte final clairement établis. Les recherches menées à la lumière documents inédits ont permis d'établir l'histoire de la genèse de cette œuvre et de comprendre dans quelles conditions la 1ère édition fut réalisée, à partir d'un manuscrit autographe récemment découvert. Ce sont également quatre traductions françaises réalisées en vue de la création qui ont été retrouvées, et dont l'étude comparée a permis d'établir le rôle primordial joué par Prokofiev dans ce processus. Lors de la réalisation de l'édition critique de cette partition, nous avons systématiquement confronté cinq manuscrits inédits, aux trois versions imprimées en 1922 et 1933, en tenant compte de leur histoire, de leur spécificité, et de leur mode de rédaction.En même temps qu'elle représente le premier travail d'édition critique mené sur une œuvre de Prokofiev, cette recherche s'inscrit dans la continuité des publications les plus récentes, afin d'offrir aux interprètes autant qu'aux musicologues une partition claire qui corresponde au mieux à la pensée musicale de Serge Prokofiev. / As the score of "Seven, They Are Seven" for tenor solo, choir and orchestra has been printed in Russia in 1922 without the composer's consent, a basic question is to know whether the musical text of this work, neglected and yet one of Prokofiev's dearest, is authentic.The origin of the Mesopotamian incantation transcribed by the poet Constantin Balmont, from which Prokofiev drafted the text finally put in music, was recalled by comparing at once the works of Balmont to the composer's writings.Previously unknown connections could thus be weaved, and the successive roles played by each in the constitution of the final text were clearly established. Research conducted in light of unpublished documents made possible to trace the origins of this work and to understand the conditions in which the 1st edition had been made, from a recently discovered autograph manuscript.Also, four rediscovered French translations made for this work's creation confirmed in a comparative study the key role played by the composer in this process. By taking into account their history, their specificity, and how they were drawn up, we systematically compared, for the realization of the critical edition of this score, three complete manuscripts as well as a vocal score and an annotated edition completed by a manuscript, all unpublished, to the three versions printed in 1922 and 1933. Representing the first critical edition of a work by Prokofiev, this research fits in line with the most recent publications, in order to provide interpreters as well as musicologists a clear score which agrees, at best, to the musical thought of Sergey Prokofiev.

À partir de l’inventaire des archives de Jean Tardieu, déposées à l’IMEC (Institut Mémoires de l’édition contemporaine), l’étude propose une analyse de la posture et de la poétique de l’auteur. Des premières expérimentations inédites de sa jeunesse à la somme de ses publications de prose, de poésie et de théâtre, on peut suivre au fil des archives l’invention et la définition d’une figure d’écrivain, dans l’histoire littéraire qu’il s’est choisie et dans la position qu’il s’est forgée dansle champ littéraire, tout comme on peut observer ses questionnements théoriques, ses constantes rhétoriques et les motifs obsédants de son imaginaire. Enfin, le détail des stratégies éditoriales de Jean Tardieu permet de comprendre tant ses choix esthétiques, dans le jeu inépuisable de la composition des recueils, que ses choix rétrospectifs au moment de la recomposition de son œuvre dans des rééditions successives, destinées à reconstituer un itinéraire. / Resting on a complete inventory of the Tardieu archives stored at the Institut Mémoires de l'édition contemporaine (a research institute dedicated to the preservation of 20th century literary documents), this research attempts to chronicle how he shaped his poetic style and his creative persona. From his first unpublished experimental work to later collections of prose, poetry and theatre, his self-fashioned figure as a writer, in a tailor-made literary history and literary field, progressively emerges. Along the way his theoretical interrogations, his rhetorical habits, his recurring images come into view. Jean Tardieu’s editing choices are, in this respect, particularly significant: studying the evolution of his selection principles in the composition of his collections, when they were first published and in the successive editions, can help reveal his various aesthetic and biographic strategies.

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