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This thesis is organised into two chapters and an appendix. The first chapter explores the significant American expatriate movement in France in the early part of the twentieth century, in an effort to answer the question ―Why France?‖ The second chapter examines the life and work of Natalie Clifford Barney, an American expatriate writer in Paris, who wrote predominantly in French and ran an important weekly salon for over sixty years. Specifically, her aesthetic and subject matter, her life, and her fraught publishing history are considered. The appendix is a translation of Barney's 1910 book of aphorisms entitled Éparpillements. / v, 110 leaves ; 29 cm

This study traces in Mallet-Stevens' architecture a temporality proper to the photographic image, latent in the space of the moderns of the 1920--1930. To this end, I present both an analyses of Mallet-Stevens' work and a photomontage on the Noailles and Cavrois villas, which combines my photos with historical documents. The montage reveals in these spaces a perceptual quality of the image germane to Merleau-Ponty's notion of flesh. The analysis develops this notion along the lines of 'the grain and the skin'. It reveals in Mallet-Stevens' work the capital importance of his experience, as movie set designer. Indeed, space is conceived by Mallet-Stevens in relationship to a camera frame: therefore the primary medium is the surface (the grain), where the emotional effect of temporality takes place (the skin).

This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed and examined.

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Five French organ composers, representative of the period from Widor to the present time, are identified in this study, and a comparative analysis of the works of each is made. The introduction includes the source of the data, the scope of the problem, the purpose of the study, the method of procedure, a brief historical background of the new French school of music, general characteristics of modern French music, and specific idioms of contemporary French organ composers, as exemplified in the works of the organists selected: Charles Marie Widor, Louis Vierne, Charles Tournemire, Marcel Dupre, and Joseph Bonnet. The compositions and musical contributions of Widor, Vierne, Tournemire, Dupre, and Bonnet, respectively, are discussed in Chapter II through Chapter VI. Chapter VII states a summary of the study and the conclusions drawn,

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-11-22T13:00:19Z No. of bitstreams: 1 Luciana Costa Lima-Thomaz.pdf: 8687977 bytes, checksum: 54cb7b48c29fd380301c6acd9e33e539 (MD5) / Made available in DSpace on 2016-11-22T13:00:19Z (GMT). No. of bitstreams: 1 Luciana Costa Lima-Thomaz.pdf: 8687977 bytes, checksum: 54cb7b48c29fd380301c6acd9e33e539 (MD5) Previous issue date: 2016-08-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Along the first decades of the twentieth century European and North American doctors became increasingly interested in medical practices rated heterodox and that overall sought to develop a more humane approach to medicine. Later on such practices became known as holistic, for their attempt to take all aspects of human beings into consideration. In France, that movement gained particular momentum in the interwar period and acquired peculiar features that distinguished it from the rest of Europe, Germany in particular, where medical holism was firmly consolidated by that time. Several of the most outstanding French holistic doctors coauthored a book entitled Médecine officielle et médecines hérétiques, published in 1945. This book can be seen as a manifesto against the contemporary official medicine, which according to the authors had surrendered to the evils of the modern civilization. Taking that book as point of departure, our analysis sought to understand the epistemological dialogue established between the holistic and the official medicines within the context circumscribed by the main lines of thought in the beginning of the twentieth century / Nas primeiras décadas do século XX, desenvolveu-se no cenário médico europeu e norte-americano um maior interesse por práticas médicas consideradas heterodoxas, que visavam, acima de tudo, uma medicina mais humanista. Posteriormente foram qualificadas como abordagens holísticas, por terem uma visão integradora dos diversos aspectos do ser humano. Na França, esse movimento apresentou um impulso maior no período entreguerras, com características próprias que o diferenciaram do restante da Europa, especialmente da Alemanha, onde o holismo médico encontrava-se bem consolidado no mesmo período. Em 1945 foi publicada a obra Médecine officielle et médecines hérétiques, reunindo personalidades importantes do holismo médico francês. A obra constituiu um manifesto frente à medicina da época, que, segundo os autores, necessitava de humanização, pois estava rendida aos males da modernidade. Nossa análise, apoiada nessa mesma obra, visa compreender o diálogo epistemológico entre a medicina holística e a hegemônica naquele período, dentro do contexto traçado pelas principais linhas de pensamento do início do século XX

No human condition is invested with more diverse and complex perceptions, ideals and emotions than childhood. Although it has long been accorded a particular significance in the context of his life and work, Maurice Ravel’s conception of childhood, together with the musical language through which it found expression, has never been the subject of a detailed, extended study. This thesis, therefore, explores the roles and realisations of childhood in Ravel’s music, arguing that they were inextricably linked with the language, traditions and idioms of the literary fairytale – an hypothesis Ravel himself supported when he wrote that his intention in his fairytale-based Ma mère l'Oye was to evoke ‘the poetry of childhood’. Through a study of these intertwined themes, the thesis develops new analytical and interpretative approaches to three major works: the piano duet suite Ma mère l’Oye (1910), the Trois chansons for mixed choir (1914-1915), and the opera L’Enfant et les sortilèges (1919-1925). These works span a fifteen-year period that saw a decisive evolution in Ravel’s compositional style, and was crucially impacted by the great cataclysm of the First World War. Ravel deliberately aligned his music with the traditions of the fairytale through the creation and expressive manipulation of musical and dramatic structure, language, gesture and perspective. One may trace the voice and presence of the storyteller in Ma mère l’Oye, a work dedicated to two children for whom Ravel was a favourite companion and teller of fairytales. L’Enfant et les sortilèges presents a detailed portrait of its eponymous Child, set within a fairytale in which traditional elements combine with a complexity of dramatic, musical and psychological construction that invokes the zeitgeist of the 1920s. The shadows of real events intrude more disturbingly upon the Trois chansons, whose distorted fairytale narratives represent a direct and personal response to the War. In its balance of musical interpretation and explication, supported by a clearly defined historical and philosophical context, the study yields new insights into a central facet of Ravel’s musical identity. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1348982 / Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008

French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.

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