Gabriel Faure (1845-1924) was one of the most important composers in the music history of France from the late nineteenth century to the early twentieth century. Faure's output in piano music was abundant, including Nocturnes, Barcarolles, Preludes, and Impromptus. His piano works were rarely performed outside France compared to the works of the two French impressionist composers, Maurice Ravel and Claude Debussy. The reason why Faure received relatively less international attention mainly because he was only active on the musical stage of France and could be regarded as the representative of the French music of the epoque. In his musical career from 1875 to 1921, Faure composed thirteen nocturnes among which the Nocturne No. 13 was his last piano work. His creation of nocturnes can be divided into three stages according to their time of production and his composing style. Faure's nocturnes in the first stage bore the influences of his predecessors such as John Field and Frederic Chopin. The second stage exhibited the composer's attempt at innovation. The nocturnes in the third stage were marked in style by a shift from exquisiteness to simplicity. Besides these significant differences, the three stages demonstrated Faure's specific techniques, such as the merging of church modes in the tonality of works and inserting rests on downbeat. This thesis includes three parts and begins with the introduction on Faure¡¦s life and on the origin, definition and development of nocturnes. The second part of the thesis elaborates on each of Faure's thirteen nocturnes in respect to their music periods, background and composing techniques. The discussion on the interpretation and techniques required in the performance of Faure's nocturnes will be the conclusion of the thesis.

Abstract The Société Nationale de Musique was founded by Camille Saint-Saëns (1835-1921) and his colleagues in 1871; its establishment marked the beginning of the French Musical Renaissance. Gabriel Fauré (1845-1924) was one of the most important composers among this movement, and all his ten works for different combinations of instrument enriched the repertoire of the French chamber music. Among these ten works, Sonata for Violin and Piano No.1 in A major, Op.13 is a masterpiece among Faur顦s early works. Although Faure wasn't an expert in violin, he still experimented on a variety of timbre in this work with the help of violinist Hubert Léonard (1819- 1890). This document can be divided into three parts. The first part focuses on the Faure¡¦s life, style, and chamber music works. The second parts briefly introduce the work¡¦s background and composing techniques of Faur顦s Op.13. The third part further discusses with performing techniques and interpretations of this sonata. Through the research of this work, author, hopefully, could help violinists will not only focus on the technique stage but also convey the idea of the composer more accurately while playing this work.

The purpose of this study was two-fold. The biographical study was undertaken to provide an English-language source which would incorporate materials not easily available to the English speaking reader and scholar and include interpolated information concerning historical and cultural events which affected Faure's life. The historical style analysis was undertaken to document ways in which the musical style of the nine chamber works seemed to evidence influences of cultural, educational, and historical forces which acted upon Faure's life and work. The biographical study pointed to certain specific forces which seemed to affect the style of the nine works: the attitude of nineteenth-century musicians towards the sonata as an influence on Faure's decision to use the sonata plan for the nine works and sonata-form for the preponderance of single movements; and the education Faure received at the Niedermeyer School--incorporating a study of Renaissance music and a unique method of plainchant accompaniment, and leading to Faure's long employment as a church musician--which affected his compositional choices, as seen in his melodic and harmonic syntax, which feeely mingles tonal and modal systems. Three style characteristics arising from this amalgam of systems were documented: major mode conclusions of final movements, which suggested Faure's hierarchical use of the major mode as his fundamental and conclusive mode; harmonic assertion of tonality--represented by cadential affirmation of tonality at first period closes and at the point of recapitulation entrances--which showed Faure's use of classical harmonic practice; melodic assertion of tonality, which suggested that Faure's melodic structures may independently affirm a tonality, as melodic formulas or patterns define a plainchant mode. Three rhythmic style characteristics not evidencing influences from a specific source have been included to complete the study.

Texte remanié de: Th. doct.--Sc. de l'éducation--Lyon 2, 1997. / Bibliogr. p. 273-303.

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Le premier objectif de cette thèse est de réfléchir aux conditions de la genèse des grandes réformes universitaires à travers l’étude de la loi Faure de 1968 et de la loi Savary de 1984. Il s’agit d’essayer d’évaluer les rôles des différents acteurs, selon leur fonction et leur mode de pensée, dans le cadre du processus d’élaboration de la réforme. L’autre ambition assignée à ce travail est de tenter d’évaluer le degré d’application de la loi Faure de 1968 dans les universités. Une telle étude revêt une importance toute particulière dans la mesure où les historiens ont montré que cette loi est la première qui offre les moyens aux universités de devenir autonomes. Jusqu’à cette date, et malgré les réformes républicaines de la fin du XIXe siècle, l’enseignement supérieur français est resté tributaire de la « tyrannie des facultés » instituée par Napoléon en 1808. Nous avons donc cherché à évaluer le degré d’autonomie dont disposent les universités au lendemain de la loi de 1968 dans les domaines des diplômes, des finances et de la participation. Les sources autorisant la conduite d’une telle analyse sont très variées : dossiers des ministres en charge des universités, archives de l’Élysée, de différents rectorats, transcriptions des débats tenus à l’Assemblée nationale et au Sénat, rapport des commissions parlementaires, témoignages oraux a posteriori, etc... Pour ce qui concerne les sources émanant des universités, nous avons axé nos recherches sur les archives relatives à trois établissements : Paris VII, Rennes I et l’université de Picardie. / Our project strives for pondering the conditions for gradually implementing self-governance in the French universities. From this point of view however, the time frame spanning 1968 to 1984 is apparently a great opportunity for reflection. In fact the laws advocated by the Ministers Faure and Savary can be considered as the first steps towards practical autonomy of the universities.. History shows abundantly that despite republican reforms passed by the end of the 19th century, until 1968 the French higher education systems remained dependent on the “Colleges’ tyranny” established by Napoleon in 1808. A description of the French education system before 1968 will shed light on the administrative burdens on the universities, which may have aroused a willingness to change in some individuals. But in most cases, a reform derives from a trade-off whose origin may be tracked by historians. For such a quest, the sources of information flow from politicians of the time, or from their assistants, from academics or from teachers unions: proceedings of the Parliament or the Senate, reports from ministerial staffs, university bodies, ex post facto oral evidence etc…Confronting the material should allow one to gauge the part played in the reform preparation process by the various stakeholders, according to their function and mindset.

Cette thèse étudie les liens qui s'établissent entre destruction, savoir et création dans l'ensemble des écrits de Céline (romans, pamphlets, écrits de jeunesse, correspondance) pour montrer comment la création y est conçue comme l'expression d'une vérité fuyante et brutale destinée à échapper aux supposés savants. On comprend mieux les évolutions du désir de « connaître et savoir » manifesté dès 1912 et les voies qu'empruntent progressivement les recherches littéraires de Céline en comparant ses écrits à un certain nombre de textes parfois méconnus dont ils se nourrissent : la revue Le Correspondant pendant son séjour en Afrique, les articles du metteur en scène Charles Dullin au moment de la rédaction de Voyage au bout de la nuit, les ouvrages de l'historien de l'art Élie Faure dans les années trente, puis, après la seconde guerre mondiale, des textes qui datent de la Belle-Époque, qu'il s'agisse de vieux numéros de la Revue des Deux Mondes ou d'ouvrages du philosophe Théodule Ribot. La comparaison des écrits de Céline avec ces textes très divers permet de voir que l'écrivain y découvre un certain nombre d'idées qu'il fait siennes, transforme ou renverse pour faire du savoir presque absolu qu'il revendique souvent une arme littéraire destinée à le faire triompher de ceux qu'il considère comme des usurpateurs ou de faux savants – au premier rang desquels se trouvent ses contemporains, qu'ils soient simples lecteurs, médecins, critiques littéraires ou écrivains / This dissertation focuses on the links between destruction, knowledge and creation in all of Céline's writings (novels, lampoons, early writings, letters), in which knowledge is often depicted as the expression of an elusive and brutal truth so-called scholars are unable to find. It is easier to understand the evolution of this absolute desire to know, expressed by Céline very early on, and to examine his literary innovations when we compare his books to several texts, sometimes little-known, that he was a great reader of : the review Le Correspondant that he used to read during his stay in Africa, the articles of the director Charles Dullin when he was writing Journey to the End of the Night, the books of the art historian Élie Faure in the 1930s, and, after World War II, texts that are typical of the Belle-Époque, such as old issues of the Revue des Deux Mondes or the works of the philosopher Théodule Ribot. The comparison between Céline's writings and these very diverse sources shows where Céline discovers and how he appropriates, transforms or reverses many of the ideas he uses in his books, in which he often tries to make a literary weapon out of this one-of-a-kind knowledge he claims to possess

Masters Research - Master of Creative Arts / The study of Love and Death in Art Song and Opera is all- encompassing, threading the study of music with the other arts – literature, especially poetry and drama, and the visual arts, especially painting – and linking the study of philosophy and history, to provide a reference point for the societal attitudes of the time in which my repertoire was written. As the themes of love and death began to be expressed in literature and the arts in the late eighteenth and early nineteenth centuries, my exploration of this theme has grown into a journey through some of the most beautiful, expressive and well-known vocal music of the Romantic era, and into the twentieth century. The Romantics were intimately concerned with the expression of individual emotions, providing me with many opportunities to study repertoire relating to the many aspects of both love and death. It was interesting to discover how musical expression changed within the different national schools I studied – German, French, Spanish, and some Italian arias. I began my study in 1810 with the songs of Franz Schubert. As the master who revolutionized the German Lied, I felt it appropriate to open my first recital, indeed the first two recitals, with a set of Schubert Lieder. I also studied the works of Robert Schumann in the first two recitals, the only composer whose Lieder I studied as single songs and as a song cycle, the well-loved Frauenliebe und Leben. In Recital 2 I turned my attention to French repertoire, with the study of the magnificent song cycle of Hector Berlioz, Les nuits d’été. In the first two recitals I also studied bel canto and French arias. In the third recital I decided to continue my exploration of French Romantic music in relationship to love and death with a set of songs by Gabriel Fauré. My attention turned back to German repertoire - very different, however, from the works of Schubert and Schumann, in the famous song cycle by Richard Wagner, Wesendoncklieder. Two French songs completed this recital. My final recital featured an all-Spanish program, in which I explored my theme in two song cycles, Spanish opera and zarzuela.

Installé à Paris en 1911, Diego Rivera se rallie au cubisme pour retourner au réalisme en 1918. A cette époque, il tisse une amitié riche en échanges avec Élie Faure, socialiste comme lui. Faure voit chez l'artiste "une source inépuisable de surprises et d'enseignements»; Rivera considère l'historien de l'art comme l'un de ses« maîtres". Élie Faure a une compréhension de la société et de l'art basée sur la contribution de personnalités qui ont bouleversé la pensée et les arts depuis la Révolution française: Saint-Simon, Nietzsche, Dostoïevski, Tolstoï, Cézanne, entre autres. Déclarant l'échéance de l'esprit individualiste de la Renaissance, il annonce l'avènement d'un rythme collectif d'expression artistique sociale et monumentale, notamment architecturale, dont l'intention de «construire» en peinture est un symptôme. Le Moyen-âge français lui fournit un paradigme de l'ordre collectif et de I' «Art social», la cathédrale comme étant la plus parfaite expression, manifestation de la collaboration humaine et symbole même d'une civilisation. En 1921, décidé à militer pour l'établissement d'un nouvel ordre social, Rivera rentre dans son pays. Il est passionné par la socialisation de l'art et par l'architecture. Son discours et ses démarches révèlent ses affinités intellectuelles avec l'historien de l'art français et exprime une volonté de mener à son accomplissement l'"Art social". Cependant, les idées du peintre évoluent avec les évènements politiques, sociaux et culturels du Mexique, tenant compte du contexte mondial. Cet échange franco-mexicain illustre la complexité des transferts qui conduisent aux discours actuels de la mondialisation artistique. / Moving to Paris in 1911, Diego Riverais won over to Cubism only to return to Realism in 1918. During that period, he builds a rich friendship with Elie Faure, a socialist like him. Faure sees in the artist ''an endless source of surprises and lessons." Rivera considers the art historian Faure as one of his "masters. "Elie Faure has an understanding of society based on the contribution of individuals who have changed thinking and the art since the French Revolution : Saint-Simon, Nietzsche, Dostoïevski, Tolstoï, Cézanne, and others. Declaring the end of the individualistic spirit of the Renaissance, he announces the beginning of a collective rhythm of social and monumental artistic expressions, especially in architecture, with the intention to "construct" by painting as an indication. The French Middle Ages provides Elie Faure with a paradigm of collective order and "Social Art," of which the cathedral is the most perfect expression - a manifestation of perfect human collaboration and a symbol of a civilization. In 1921, having decided ta campaign for the establishment of a new social order, Rivera returns ta his country. He is passionate about the socialization of art and architecture. His speech and his actions reveal his intellectual affinity with the French art historian and show a willingness to carry to completion "Social Art. "However, the painter 's ideas evolve with the political, social, and cultural events of Mexico, taking into account the global context. This Franco-Mexican exchange illustrates the complexity of the transfers that lead to the current globalization of artistic discourse.