La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la bibliothèque de musique de l'Université de Montréal (http://www.bib.umontreal.ca/MU). / L’œuvre musicale de Pierre Boulez est l’une des œuvres majeures de la seconde moitié du vingtième siècle. Celle-ci a évolué entre 1945 et 2008 conjointement avec les écrits de Boulez, dans lesquels sa réflexion traite, successivement, les différents aspects de son langage : la théorie entre 1948 et 1963, puis l’esthétique entre 1963 et 1995. Cette évolution, les enjeux et les contours de l’œuvre musicale de Boulez ne pouvaient être envisagés par la seule étude des œuvres officiellement acceptées. Il était nécessaire d’étudier l’ensemble des compositions secondaires, achevées ou non, reconnues ou non, de même que l’ensemble des versions successives pour chaque œuvre ; cette démarche a donc nécessité la collecte et l’analyse de l’ensemble de ces sources. Depuis 1986, les archives de Boulez sont contractuellement destinées à la Fondation Paul Sacher de Bâle, cependant de nombreuses sources, esquisses, manuscrits et correspondances restent dispersés, voire perdus. C’est le cas notamment des œuvres de jeunesse, ainsi que des œuvres récentes dont les fonds n’ont pas encore été déposés à la Fondation. Cette thèse est avant toute chose une thèse d’analyse. Au regard des travaux déjà existants, nous avons choisi de restreindre notre corpus d’œuvres aux compositions des deux périodes 1945-1949, puis 1965-2008, à la fois extrêmes et représentatives de l’évolution esthétique et scripturaires de Boulez. En fonction de la disponibilité des sources, nous avons privilégié une approche poïétique inductive, pour reprendre l’idée de la tripartition, dans le cadre de la sémiologie musicale telle qu’élaborée par Jean Molino et Jean-Jacques Nattiez au milieu des années 1970, c’est-à-dire avec pour seul support la ou les partitions disponibles (Répons, Initiale, Incises et sur Incises), ou une approche poïétique externe, c'est-à-dire de reconstitution, à l’aide des esquisses, des processus compositionnels (œuvres de jeunesse, Dérive 2, Domaines, Dialogue de l’ombre double, Anthèmes, Anthèmes 2). Le premier livre de cette thèse traite des évolutions esthétiques de Boulez. Les deux analyses proposées dans le second livre, consacrées aux deux groupes d’œuvres Domaines/Dialogue de l’ombre double et Anthèmes/Anthèmes 2, ont pour objectif de démontrer la complexité toujours présente ainsi que la rigueur de la démarche compositionnelle de Boulez à la lumière des esquisses, nonobstant une simplicité apparente des éléments constitutifs. Nous espérons que notre travail contribuera à clarifier la construction progressive du langage de Boulez, ainsi que la perception de ses œuvres. / Pierre Boulez’s musical compositions are one of the most important compositions in the second half of the twentieth century. They moved a lot between 1945 and 2008 together with his written works, in which his thought deals successively with the different aspects of his language : the theory between 1948 and 1963, then the esthetics between 1963 and 1995. Studying only the officially accepted works is not sufficient to understand this evolution, the issues and the outlines of Boulez’s music. It was necessary to study all the compositions of secondary importance - even if they were not finished or recognized - and all the successive versions of each work ; that’s why all these sources had to be collected and analyzed. It has been contractually intended since 1986 that the Paul Sacher Foundation in Basel should have Boulez’s archives, however many sources, sketches, manuscripts and mails are still scattered or lost. That is what happened to some early works and some recent works that have not been registered in the Foundation yet. This doctoral dissertation is above all a work of analysis. From the viewpoint of the works that have already been done, I chose to restrict my study to the compositions of two periods – 1945-1949 and then 1965-2008 – which are extreme and representative of the evolution of Boulez’s esthetic and composition. According to the sources’ availability, I favored an approach called “poïétique inductive” – to take up again the idea of “tripartition” – within the context of music semiology as it was elaborated by Jean Molino1 and Jean-Jacques Nattiez2 in the middle of the seventies, that is to say by studying only the available scores – Répons, Initiale, Incises and sur Incises- or an approach called “poïetique externe”, that is to say by reconstituting with sketches processes of composition (early works, Dérives 2, Domaines, Dialogue de l’ombre double, Anthèmes, Anthèmes 2). The first part of this doctoral dissertation deals with Boulez’s esthetic evolutions. The two analyses in the second part – devoted to Domaines/Dialogue de l’ombre double and Anthèmes/Anthèmes 2 – aim at demonstrating in the light of the sketches the complexity and the rigour of Boulez’s reasoning when he composes, although the constituents seem apparently simple. I hope that this work will contribute to making clearer the gradual construction of Boulez’s language and the perception of his works.

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). / Cette thèse aborde l’intégration de la spatialisation en composition acousmatique et de son interprétation en concert. Ces recherches furent réalisées au cours d’une maîtrise en composition à la Faculté de musique de l’Université de Montréal. Un survol historique des compositions ayant l’espace comme paramètre principal de composition permettra de me situer dans cette pratique artistique. J’aborderai aussi les différentes propositions de spatialisation ainsi que les principaux lieux dédiés à cette activité, de ses débuts jusqu’à nos jours. Il sera également question de l’importance de l’écriture spatiale dans mon travail de création. Ensuite, je mettrai en contexte mon cheminement musical et mon intérêt constant pour la spatialisation en musique. Je démontrerai que grâce à l’accès à des technologies puissantes, simples et efficaces, nous sommes en mesure d’intégrer la spatialisation des sons en musique électroacoustique aussi bien en amont qu’en aval de la création. Plusieurs techniques et outils permettent l’écriture des sons dans l’espace. J’examinerai donc comment mon approche compositionnelle et ma méthodologie de travail les intègrent lors du processus de création. Je poursuivrai avec l’analyse des œuvres que j’ai composées durant ma maîtrise. J’exposerai les faits saillants de mes recherches. Finalement, je livrerai les réflexions qu’a suscitées mon projet de recherche. / This thesis is about the integration of spatialization in acousmatic music as well as its performance in concert. These researches were conducted during a Music Master in Composition at the Faculté de musique de l’Université de Montréal. A historical overview of compositions with spatial considerations as main musical parameter will allow to situate my work within this artistic practice. Different implementations and propositions of spatialization that have been used (as well as the principal locations dedicated to this form of activity) from the beginning to this day will be discussed. I will then put the emphasis on spatial writing in my creative works. Furthermore, I will contextualize my musical background and of my constant interest in musical spatialization. I will demonstrate that, with better access to powerful, yet simple and efficient technologies, spatialization in electroacoustic music can be integrated before and after the creative process. A wide array of techniques and tools can provide methods for spatial writing, thus I will examine how the compositional approach of my work’s methodologies incorporates these during the creative process. I will conclude with the analysis of the work composed during my MM, which will also reiterate the highlights of this research. Finally, I will give my very own reflections and observations on this project.

Master of Music / Department of Music / Frank C. Tracz / This document is comprised of research and analysis of the comprehensive examination of the graduate conducting recital of Luke D. Johnson. This recital was performed by the Lansing High School Wind Ensemble on February 24, 2008 at McCain Auditorium in Manhattan, KS, and again on February 25, 2008 at Lansing High School in Lansing, KS. The examined repertoire for these recitals includes Mother Earth by David Maslanka, English Folk Song Suite by Ralph Vaughn Williams, Symphony #1 In Memoriam Dresden – 1945 by Daniel Bukvich, and Concertino for Solo Clarinet with Band Accompaniment by Carl Maria Von Weber, OP. 26. This document contains theoretical and historical analysis and outlines the methods of planning and preparing a graduate conducting recital according to the Blocher/Miles and Tracz formats.

Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2006. / Includes bibliographical references (p. 160-168).

The purpose of the study was to explore metacognitive strategy usage in young choristers engaged in notational literacy tasks. Constructivist approaches encouraging metacognition are used in many subject areas, but have not been studied within a music context. Music-specific strategies (Killian & Henry, 2005) and metacognitive self-regulatory strategies (Zimmerman & Pons, 1986) were sought to learn how students become musically independent. Ten extra-curricular honour choir participants were studied using a collective case design. Participants completed a background questionnaire, a notational reading session, a performance of the piece studied in the reading session, and an interview describing their learning, which was recorded, analysed and transcribed. Processes of analysis included case aggregation, direct interpretation, and triangulation. Results indicate 1) learning is an individual process, 2) all students used strategies deliberately, though none evaluated the effectiveness of their choices, 3) students using the most strategies achieved the highest accuracy, and 4) students seemed to enjoy and benefit from discussing metacognitive processes.

This thesis examines the way refugee and immigrant children, newly-arrived in Australia, perceive and describe music learning and music making. Sited in a specialist English Language School for primary school-age new arrivals, it explores the meaning that children from diverse cultural backgrounds and prior schooling experiences ascribe to their music classes and experiences, inviting their perceptions of what they are learning, how they learn it, what aspects of the music program most engage and motivate them, and what sense they make of the music program and its existence at this school. / The study also focuses on the methodological issues at play in a research context where multiple languages, culture shock, and pre-adolescent children with unknown pre-migration experiences, coincide with a subject matter that does not lend itself easily to spoken descriptions. These include issues of interpretation and assigning meaning, and the way that different cultural values and expectations can influence participants’ responses. The researcher sought to develop research methods and tools that would effectively elicit the children’s responses, supporting them in the unfamiliar research environment, while remaining sensitive to their preferred ways of communicating. / This is a qualitative multiple case study that focuses on three individual students from diverse cultural and schooling backgrounds, with the school’s music program being the issue or concern upon which they offer their different perspectives. Both within-case and cross-case analysis was utilised, and a phenomenological approach to the inquiry was embedded within the case-study structure and research design. Data were gathered by means of interviews and participant observation, and were analysed and interpreted for emergent categories and themes, and for the additional meanings hidden between what was not said, or within awkward language, using interpretive poetics methods and direct interpretations of individual instances. / Discussion points and conclusions include the significance of the music pedagogy in building shared understanding among culturally-diverse children, the impact of culture shock on children’s perceptions, the importance of social learning contexts for newly-arrived children, and methodological challenges and recommendations for research with a similar cohort of children.

This thesis examines the way refugee and immigrant children, newly-arrived in Australia, perceive and describe music learning and music making. Sited in a specialist English Language School for primary school-age new arrivals, it explores the meaning that children from diverse cultural backgrounds and prior schooling experiences ascribe to their music classes and experiences, inviting their perceptions of what they are learning, how they learn it, what aspects of the music program most engage and motivate them, and what sense they make of the music program and its existence at this school. / The study also focuses on the methodological issues at play in a research context where multiple languages, culture shock, and pre-adolescent children with unknown pre-migration experiences, coincide with a subject matter that does not lend itself easily to spoken descriptions. These include issues of interpretation and assigning meaning, and the way that different cultural values and expectations can influence participants’ responses. The researcher sought to develop research methods and tools that would effectively elicit the children’s responses, supporting them in the unfamiliar research environment, while remaining sensitive to their preferred ways of communicating. / This is a qualitative multiple case study that focuses on three individual students from diverse cultural and schooling backgrounds, with the school’s music program being the issue or concern upon which they offer their different perspectives. Both within-case and cross-case analysis was utilised, and a phenomenological approach to the inquiry was embedded within the case-study structure and research design. Data were gathered by means of interviews and participant observation, and were analysed and interpreted for emergent categories and themes, and for the additional meanings hidden between what was not said, or within awkward language, using interpretive poetics methods and direct interpretations of individual instances. / Discussion points and conclusions include the significance of the music pedagogy in building shared understanding among culturally-diverse children, the impact of culture shock on children’s perceptions, the importance of social learning contexts for newly-arrived children, and methodological challenges and recommendations for research with a similar cohort of children.

Thesis (PhD)--Macquarie University, Faculty of Science, Dept. of Computing, 2009. / Bibliography: p. [265]-280.

Master of Music / Department of Music / Kurt R. Gartner / This is a report intended for musicians planning to perform any number of, or scholars seeking to enrich understanding of, the following compositions: Concerto for Marimba and Wind Ensemble by David Gillingham, XL Plus One by Alvin Etler, March from Eight Pieces for Four Timpani by Elliott Carter, 42nd Street Rondo by Wayne Siegel, and Oceanus by Steve Houghton and Wendell Yuponce. Each work is analyzed in accordance with Jan Larue's method of style analysis. For some compositions, analysis of harmony has been omitted. For all compositions, the author has added a pedagogical realm of analysis, dedicated to notable performance considerations, interpretive possibilities, and technical considerations, to Larue's organizational scheme. Therefore, the approach taken in this document can be expressed as: Sound, Harmony, Melody, Rhythm, Growth, and Performance.

This study was developed for the teacher who may have limited resources in music education. The purpose of this study was to design a curriculum in music education for the intermediate grades so that a non-music major teacher could easily instruct music lessons. The characteristics of musical growth have been outlined and research has been shown to support the musical characteristics. A set of objectives has been formed as the foundation for teaching music to children of the intermediate grades. The curriculum devised has three components for the teacher to follow: songs appropriate for each season, holiday or month, listening to American composers, and creating musical instruments. The activities listed have been selected for student appeal and enrichment suggestions are given to allow the teacher the opportunity to expand the, music lesson. It is with great hope that this study will give the teacher confidence to undertake a program of music that may have been otherwise nonexistent in the classroom.