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1	Aspects of structure in Gabriel Fauré’s Le jardin clos and related works Skoumal, Zdenek Denny January 1982 (has links) Despite an ever-increasing number of specialized studies in music theory, only a limited number can be found which examine the music of Gabriel Faure. Most discussions of this music are in context of a historical overview, with emphasis on Faure's use of modality. This thesis presents detailed analyses of songs from the cycle Le Jardin Clos, Op. 106, and highlights several aspects of Faure's style. Various earlier songs are brought into the discussion in order to trace stylistic development and present evidence for views taken with regard to Le Jardin Clos. Although modality is periodically discussed (particularly in Chapters III and IV), the focus is not on this feature. Chapter I introduces the notion of ambiguity, a problem encountered commonly in the analysis of Faure's music. It then proceeds to point out one source of ambiguity--harmonic progressions derived from the implications inherent in the motions of outer voices. Particular attention is given to instances where the outer voices move "in contrary motion to create wedge-shaped structures. In this chapter, linear motion is emphasized. Chapter II turns to various structures of third-relation. The most extended portion of the chapter is devoted to a discussion of the "superchord", a tertian structure which, although heard in segments only, appears as a controlling element in larger areas of music. Distinction is made between this phenomenon and a normal progression in thirds (i-VI-iv). Other structures related to the superchord are also considered. The last example of Chapter II shows a structure based on a combination of a tertian design and a wedge shape. In Chapter III, various non-traditional ways of treating the leading tone are examined. In addition to leading tones which are lowered (in modal and tonal contexts) or avoided, the discussion concentrates on melodic lines which rise to the leading tone and retreat downward. Chapter IV reviews melodic characteristics encountered up to that point, and, with the addition of further features, presents a melody typical of Faure's later style. The major issue in this chapter concerns melodies that center around the fifth degree of the scale. The final chapter returns to the topic of ambiguity by discussing instances where two tonal centers are juxtaposed. This feature of Faure's music is distinguished from bitonality, as the latter is generally understood. / Arts, Faculty of / Music, School of / Graduate
2	D'Azay-Le-Rideau à Chenonceau : l'eau et la mise en scène de l'ensemble château-jardin à la Renaissance (1513-1560) / From Azay-Le-Rideau to Chenonceau : the water and the staging of the set castel-garden at the Renaissance Brochier, Diane 27 January 2017 (has links) Châteaux bâtis sur une rivière, Azay-le-Rideau et Chenonceau entretiennent des rapports privilégiés avec l’élément aquatique. Comment celui-ci était-il mis en scène dans le cadre du jardin ? Plantés sur des îles naturelles ou artificielles, ces derniers sont-ils le fruit d’une mode ou ont-ils été influencés par des oeuvres littéraires contemporaines ? Le jardin d’île du Songe de Poliphile de Francesco Colonna a-t-il été déterminant dans l’évolution du jardin français de la Renaissance et en particulier dans ceux d’Azay-le-Rideau et de Chenonceau ? La thèse aura pour objectif de préciser leurs caractéristiques (accès, clôture, terrassement, structuration, plantations) dont la place des aménagements hydrauliques dans la mise en scène de l’ensemble château-jardin entre 1513-1560. Nous aborderons également la question de l’importance de la promenade et de la vue sur le paysage autour de la demeure. Puis, nous envisagerons la possibilité que le végétal ait participé à la création d’un discours iconographique dans le parterre de Diane à Chenonceau / Built near a river, the casltes of Azay-le-Rideau and Chenonceau have a special relationship with the water element. What relationship did these gardens have with water? How was it used to showcase the garden? Planted on natural or artificial river islands, are these gardens the result of a trend or do they owe their creation to litterary works of their time? Was Francesco Colonna’s Island Garden of the Hypnerotomachia Poliphili determining in the evolution of French Renaissance gardens and particularly at Azay-le-Rideau and Chenonceau? The Phd we are presenting will aim to explain their caracteristics between 1513-1560, including the role of hydraulic constructions in the staging of the whole castle garden. We also will endeavor to study the importance of the question of the promenade and of the view of the landscape around the castle. Then, we will consider the possibility that plants had participated to an iconographic lecture of the « parterre de Diane » Château Jardin Eau Rivière Fossés Levée de terre Azay-le-Rideau Chenonceau Renaissance Fontainebleau Dampierre Ancy-le-Franc Anet Promenade Jardin clos Paysage Poliphile Jardin d’île Île de Cythère Vénus Diane Apolidon Castle Garden Moat Embankment Azay-le-Rideau Chenonceau Renaissance Fontainebleau Dampierre Ancy-le-Franc Promenade Walled garden Landscape Poliphilo Island garden Island of Cythera Venus Diana Apolidon

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Aspects of structure in Gabriel Fauré’s Le jardin clos and related works

D'Azay-Le-Rideau à Chenonceau : l'eau et la mise en scène de l'ensemble château-jardin à la Renaissance (1513-1560) / From Azay-Le-Rideau to Chenonceau : the water and the staging of the set castel-garden at the Renaissance