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L'étude de la musique à l'église au XIXe siècle est une thématique de recherche en plein essor. Depuis quinze ans, lesrecherches menées ont permis d'appréhender ce large sujet et d'ouvrir les perspectives de recherche qui en découlent,mais une part de cette thématique reste encore à explorer. En effet, le mouvement de restauration de la musique d'égliseest à ce jour peu abordé de façon singulière.Notre objectif étant de mettre en évidence l'étendue du champ de recherche, musicologique et pluridisciplinaire liée àl'étude de ce mouvement, Félix Clément est apparu être une entrée appropriée. Bien que n'étant pas chef de file, Clémentsemblait s'engager dans toutes les voies qui s'ouvraient à lui pour aborder et développer la question de la restauration dela musique à l'église.Dépassant le domaine du religieux, Clément fait montre, dans son travail de restaurateur du chant liturgique et selon sesdifférentes approches, d'une réelle acuité d'esprit et prend bien en considération toute la complexité d'une telleentreprise. Surtout, il permet d'intégrer le mouvement auquel il appartient dans le flux historiographique, sociétal,politique et cultuel et d'en révéler toute la profondeur. li ouvre la voie de plusieurs axes de recherches liés à l'étude de larestauration du chant liturgique de sorte qu'un vaste paysage du mouvement se dépeint au seul regard de ses activités.Notre étude s'applique à replacer les démarches de Clément dans leur contexte afin d'en dégager le rapport àl'environnement politique et cultuel et de définir l'importance et les retombées de ses travaux. / 19th century church music is a research area that is greatly expanding. The last 15 years of research has Iead to a better understanding of this expansive subject, but much remains to be examined. ln particular, the 19th century French Church Music Restoration Movement has yet to be studied in its own right.Our goal was to demonstrate the breath of the musicological and multidisciplinary research opportunities related to this movement, and Félix Clément emerged as an ideal starting point. Although he was nota principle leader, he was involve in ail areas of the Church Music Restoration Movement that were open to him. Beyond the field of religion, Clément revealed a real insight, through his work as a Iiturgical chant restorer and his different methodological approaches, and understood the entire complexity of the field. Above all else, his experience allows for a deeper understanding of the societal, political, religious and historiographical currents involved in this kind of work. His work opens the door to many research possibilities relating to the study of the restoration of Iiturgical chant in such a way that an entire field is revealed by looking at his activities. Our study attempts to place the work of Clément in their context in order to extract the political and religious relationship and to define the importance and Iegacy of his work.

How have we come to hear melody as going “up” or “down”? Why does the Western world predominantly adopt spatial terms such as “high” and “low” to distinguish musical notes while other non-Western cultures use non-spatial terms such as “large” and “small” (Bali), or “clear” and “dull” (South Korea)? Have the changing concepts of motion and space in people’s everyday lives over history also changed our understanding of musical space? My dissertation investigates the Western concept of music space as it has been shaped by social change into the way we think about music today. In our understanding of music, the concept of the underlying space is so elemental that it is impossible for us to have any fruitful discourse about music without using inherently spatial terms. For example a term interval in music denotes the distance between two combined notes; but, in fact, two sonic objects are neither near nor far from each other. This shows that our experience of hearing interval as a combination of different notes is not inherent in the sound itself but constructed through cultural and social means. In Western culture, musical sound is often conceptualized through various metaphors whose source domains reflect the society that incubated these metaphorical understandings. My research investigates the historical formation of the conceptual metaphor of music. In particular, I focus on historical formation of the three underlying assumptions we bring to our hearing of music: (1) “high” and “low” notes and motion between them, (2) functionality of musical chords, and (3) reliance on music notation. In each chapter, I contextualize various music theoretical writings within the larger framework of philosophy and social theory to show that our current understanding of musical sound is embedded with the history of Western culture.

Made available in DSpace on 2016-04-27T19:30:17Z (GMT). No. of bitstreams: 1 Victor Homburger Lacerda.pdf: 23561668 bytes, checksum: 362dcda0512d63318b31c92b7dbbdf90 (MD5) Previous issue date: 2011-05-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The herein paper looks at nationalism through the musical works of Alberto Nepomuceno and Francisco Mignone. The internal logical analysis of the sources requires a research that captures not only the social environment at that moment but also the development of these relations, making it possible to understand the use of nationalism in music; the relation between music and society shows itself, then, objectively. Setting out from musical works urges us to contextualize them; for that, the History of Brazil in the 19th and 20th centuries is slightly rescued in order to determine the limitations and presumed conditions, both material and spiritual in which the songs were created. The tight relation of the country with the dominant nations at that time, as well as the observation of the Brazilian Erudite Music tradition led us to include the nationalist music of these two composers in a very lively world scenario. The Nationalist Music reveals itself then, as a historical one / O trabalho aqui apresentado observa o nacionalismo pelas produções musicais de Alberto Nepomuceno e Francisco Mignone. A análise da lógica interna das fontes exige uma pesquisa que apreenda o momento social, assim como o movimento dessas relações, e torna possível compreender a utilização do nacionalismo na música; a relação entre a música e a sociedade aparece, então, objetivamente. Partir das obras musicais obriga-nos a contextualizá-las; para tanto, a história do Brasil do século XIX e XX é brevemente resgatada a fim de determinar os limites, pressupostos e condições, materiais e espirituais, nos quais a música era realizada. A estreita relação que o país tivera com as nações dominantes, assim como a observação da tradição da música erudita brasileira nos levaram a inserir as músicas nacionalistas dos dois compositores em um movimentado cenário mundial. A música nacionalista revela-se, então, histórica

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: 2239. Adviser: Donna Buchanan. Includes bibliographical references (leaves 217-231) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4030. Adviser: William Kinderman. Includes bibliographical references (leaves 261-272) Available on microfilm from Pro Quest Information and Learning.

In this thesis I explain how Western art music gained a political, social and cultural role in Colombia during the decades that spanned from 1848 to 1910. This analysis engages the different attributes that Colombian political and cultural leaders of the time ascribed to art music in order to integrate it as part of their projects of Nation and confronts them with what is known about traditional music practices. In doing so, I explain discourses and social practices that developed around and because of the integration of art music to urban life in Colombia during the period of research. The purpose of this analysis is to elucidate the processes and contradictions that characterized the social practice of art music in Colombia as well as the limitations of the implementation of art music as an inclusive practice during the second half of the nineteenth century. This last notion underlies cultural policies implemented during present times and highlights the contradiction between art music as an exclusive social practice and the political discourse about art music as a space for learning democratic republican values.

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