This study examines the five late keyboard works of Cesar Franck: the Prelude, Chorale, and Fugue and the Prelude. Aria, and Finale for piano, and the three organ chorales. The study focuses on harmonic and contrapuntal techniques and their interrelationships, placing the discussion in the context of an analysis of the whole piece. The primary goal is to identify the salient characteristics of each piece; a secondary goal is to identify common harmonic and contrapuntal aspects of Franck's style.

Orientador: René Alfonso Nome Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Química / Made available in DSpace on 2018-08-27T06:54:35Z (GMT). No. of bitstreams: 1 Dantas_WillianFranciscoCordeiro_M.pdf: 2446830 bytes, checksum: a6ef77a86d65956736e20e7c5e22ff59 (MD5) Previous issue date: 2015 / Resumo: A espectroscopia vibracional de femtossegundos da vizinhança é ideal para caracterizar os movimentos moleculares da vizinhança acoplados com o sistema eletrônico captador de luz. No caso dos movimentos nucleares intramoleculares, isto pode ser realizado tanto por infravermelho quanto por Raman, ambos de femtossegundos. No caso de movimentos intermoleculares, a dinâmica de femtossegundos somente pode ser caracterizada com experimento Raman coerente, e, por essa razão, é importante sabermos qual é o comportamento do clorofórmio em um experimento de femtossegundo. Dessa forma, pode-se realizar a comparação entre os dados experimentais e teóricos e concluir se o comportamento observado experimentalmente é o mesmo que o esperado. Este trabalho explora a análise de Franck-Condon para os espectros de emissão do pireno com dependência da temperatura. Assume-se que uma progressão vibrônica de bandas no formato de Lorenzianas pode representar o formato das bandas de emissão do fluoróforo. Consequentemente, é possível obter alguns parâmetros, como a largura de linha das bandas obtidas, as intensidades relativas dos picos observados (valores que são utilizados para encontrar os fatores de Huang-Rhys), a variação do comprimento de onda de emissão com o aumento da temperatura e a área integrada dos espectros / Abstract: The femtosecond vibrational spectroscopy of the neighborhood is ideal to characterize the molecular movements of the neighborhood coupled with the electronics pickup light. In the case of intra-molecular nuclear movements, this can be accomplished either by infrared and Raman both femtosecond. In the case of intermolecular movements, the dynamics of femtosecond can only be characterized with coherent Raman experiment, and so it is important to know the behavior of chloroform in a femtosecond experiment. Thus, it is possible to make a comparison between experimental and theoretical data and conclude that the observed experimentally is the same behavior expected. This work explores the Franck-Condon analysis for the emission spectra of pyrene in dependence on temperature. It is assumed that a vibronic bands in the progression Lorenzianas shape may represent the format of fluorophore emission bands. Consequently, it is possible to obtain some parameters such as the line width of the bands obtained, the relative intensities of the observed peaks (values that are used to find the Huang-Rhys factors), the variation of emission wavelength with increasing temperature and the integrated area of the spectra / Mestrado / Físico-Química / Mestre em Química

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Thesis (doctoral)--Universität zu Köln, 1983. / Includes bibliographical references (p. 212-220) and index.

Treatise (D.M.A.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI Company.

Diss.--Fakultät Sprach- und Literaturwissenschaften--Bamberg--Otto-Friedrich-Universität, 1990/91.

abstract: Nineteenth-century French organ builder Aristide Cavaillé-Coll and organist-composer César Franck established a foundation for the revival of organ music in France. Following the French Revolution, organ culture had degenerated because of the instrument's association with the church. Beginning with his instrument at St. Dénis, Cavaillé-Coll created a new symphonic organ that made it possible for composers to write organ music in the new Romantic aesthetic. In 1859, Franck received a new Cavaillé-Coll organ at the Parisian church where he served as organist, Sainte-Clotilde. He began experimenting with the innovations of this instrument: an expressive division, mechanical assists, new types of tone color, and an expanded pedal division. From about 1860, Franck began composing his first pieces for the Cavaillé-Coll organ; these were published in 1868 as the Six Pièces. With these compositions, Franck led the way in adapting the resources of the French symphonic organ to Romantic music. In this paper, I provide an analysis of the structure of each of the Six Pièces as a foundation for exploring ways in which Franck exploited the new features of his Cavaillé-Coll organ. I have made sound recordings to demonstrate specific examples of how the music fits the organ. Thanks to Cavaillé-Coll's innovations in organ building, Franck was able to write large-scale, multi-thematic works with the sonorous resources necessary to render them convincingly. The Six Pièces reveal a strong creative exchange between organist and organ builder, and they portend many of the subsequent developments of the French symphonic organ school. / Dissertation/Thesis / D.M.A. Music 2012

abstract: The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions. / Dissertation/Thesis / D.M.A. Music 2013

Disciple de César Franck, Charles Bordes a tracé son parcours de musicien en marge du Conservatoire et des institutions officielles. De son intégration à la « bande à Franck » jusqu’à la fondation des Chanteurs de Saint-Gervais et de la Schola cantorum, il a tissé un vaste réseau relationnel formé de compositeurs, d’interprètes, d’écrivains et de mélomanes, qui l’ont, par la suite, décrit comme un fervent artisan du renouveau musical français. Cette image a, en contrepartie, partiellement occulté l’œuvre de compositeur de Bordes. Ses mélodies présentent pourtant un remarquable intérêt. L’histoire de leur publication permet de mettre en évidence la complexité des relations avec le monde de l’édition à la fin du XIXe siècle et la nature du travail de révision posthume effectué par son ami Pierre de Bréville. L’analyse du corpus témoigne de l’originalité de la production, aussi bien sur le plan des choix littéraires – Bordes fut l’un des pionniers de la mise en musique des poèmes de Paul Verlaine et de Francis Jammes – que d’une écriture musicale inspirée et aux frontières de l’académisme sur le plan harmonique. Auteur de plus de trente-cinq mélodies avec piano, Bordes s’essaya également à la composition de mélodies orchestrées ou « symphoniques », comme nombre de ses contemporains au tournant du siècle. / Student of César Franck, Charles Bordes established himself as a musician outside the Conservatoire and the official institutions. From his integration with the “bande à Franck” to the founding of the Chanteurs de Saint-Gervais and the Schola cantorum, he formed a vast network of relationships among composers, interpreters, writers and music lovers, who would later describe him as a fervent architect of the French musical revival. This image overshadowed his contributions as a composer; his mélodies, however, still stimulate a remarkable interest. An examination of the history of their publication reveals the complexity of relationships within the musical publishing world at the end of the nineteenth-century and the nature of the posthumous reviewing work executed by his friend Pierre de Bréville. The analysis of the corpus shows the originality of the production, either about its literary aspects – Bordes was among the first artists to set the poetry of Paul Verlaine and Francis Jammes to music – or about his inspired musical language at the boundaries of academia from an harmonic point of view. Author of more than thirty-five songs for voice and piano, Bordes also tried his hand at the composition of orchestrated or “symphonic” songs like many of his contemporaries at the end of the century.