Au lycée professionnel, l'école peut-elle être le vecteur de l 'expérience de lecture? Pour répondre à cette question nous avons favorisé la lecture subjective d'élèves et observé leurs lectures personnelles. Une recherche comparative sur trois ans et sur deux classes permet de mettre en lumière ce qui unit lecture scolaire et lecture ordinaire. Dans toute lecture nous trouvon s le besoin de récits qui offrent une voie d'accès à la connaissance, celle que Claude Lévi-Strauss nomme la p ensée my thique. Nous identifion s trois usages du texte scolaire dont un subtil mélange perm et l'entrée dans la lecture littéraire et 1'avènement du sujet lecteur / In vocationa l schools, can the school become a vector for the enhancemeht of the reading experience ? To answer this question, we encouraged the pupils to read subjec tively and analysed the persona!readin gs of each student. A comparative study over three years took place in two different classes which allowed us to highlight the links between school reading and everyd ay literature. In each case, we find the need for stories which provide the means to access knowledge, the very knowledge Claude Lévi-Strauss termed the mythical thought. We identify three uses of school texts which, once subtly mixed, allow access to literary reading and the birth of the subject-reader.

One who undertakes the task of completing an unfinished work must perform it with conviction and with authority. The attempt to achieve a total synthesis between the work of the original composer and that of the secondary composer demands a concentrated study on both conscious and subconscious levels. The obvious characteristics of a given style, such as lengths of phrases, voicing of chords, harmonic progressions, and treatment of sequential material can be understood by analyzing many works of the composer in question. The more elusive and intangible characteristics, such as the emotional content and the manner in which feelings are expressed are absorbed more by osmosis than formal study. To write a parody and to create a work in the style of a given composer are, respectively, the lighter and more serious methods of composition which can be utilized in order to gain familiarity with and control over any given style. This is necessary groundwork for the more serious art of reconstruction, because within the creation of such a work, one gains familiarity with stylistic idioms through blatant exaggeration. Writing a work within the style of another composer while retaining one's identity is an intermediate step between that of the parody and that of the reconstruction. Finally, to create an unquestionably convincing continuation of another person's work carries this highly specialized form of composition beyond mere imitation to a higher level of creativity. Once the reconstruction has been well achieved, the audience may never be aware of the point of transition and may not even know of the scholar's existence.

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The main purpose of this paper is to compare the Opera Goyescas with the Goyescas Piano Suite in order to demonstrate how the composer used the pre-existant materials, and to what extent. The Opera Goyescas will be compared measure-by-measure with the sources from which Granados extracted materials. Scores for the two pieces of the Goyescas Piano Suite which are quoted directly and completely (El fandango de candil and El amor y la muerte) and the respective commensurate sections from the Opera Goyescas are included at the end of this document for study and comparison. A discussion of the operatic treatment of the pianistic materials is provided, demonstrating the techniques with which the composer worked in the recomposition of the Goyescas Piano Suite. Also included is a study of the individual pieces of the Goyescas Piano Suite (Books I and II), with emphasis on the fifth piece, El amor y la muerte. The developmental characteristics of that piece (which makes extensive use of motives and themes from the earlier four Suite pieces), will be discussed

The main purpose of this paper is to discuss Carlos Chávez's use of ancient Aztec instruments in several of his compositions. Several pieces in which he called for the use of these native instruments or their modern equivalents will be discussed in general, with as specific a listing as possible of the instruments required for each work. Musicologists have identified at least thirty different pre-conquest Aztec instruments. The instruments for which Chávez calls in these pieces will be discussed in detail, with illustrations when possible. Chávez is undoubtedly the most outstanding figure in the Mexican musical scene in the twentieth century. His nationalism was a unique combination of a deep entrenchment in the European tradition, an almost congenital exposure to native Indian music and complete immersion in the Hispanic-mestizo musical heritage which surrounded him daily. This study will examine the sources of these influences and how Chávez created his own musical language from them.

The violin works of Igor Stravinsky form an integral and vital part of the contemporary violin repertoire. The violin works fall into two categories: original compositions and transcriptions of previous compositions. Included in these transcriptions are orchestral suites and selections from ballet and opera. Many similarities can be noted among the compositions of this genre. The majority were composed or transcribed during a fifteen year period of Stravinsky's career and they exhibit a particular style of composition utilized by Stravinsky at that time. These violin works also generate from an amiable association between Stravinsky and a young violin virtuoso, Samuel Dushkin. During this time, Stravinsky was changing the focus of his career from that of being primarily a composer, to composer, conductor and performer. This necessitated compositions which Stravinsky could perform on tours with Dushkin. This study will be primarily concerned with Stravinsky's compositions for violin written during the years 1931 to 1935. In order to put these compositions in perspective, it is beneficial to investigate earlier events in Stravinsky's life.

The purpose of this paper is to explore the numerous compositions by Darius Milhaud in which the violin plays an important role. Included here are discussions of the works for violin and piano, violin and orchestra, solo violin, and all chamber music which includes violin for three or fewer players. The eighteen string quartets, for instance, are not dealt with here, as these works alone could be the subject of an entire volume. Also included is a brief biography of the composer and a general discussion of Milhaud's music. The major compositions which include violin are then discussed individually. Resources for this thesis were obtained from materials at the libraries at the University of Arizona, Tucson, and through inter-library loan from the libraries of Mills College, the University of Illinois, the University of Oregon, and the University of Colorado. Other information was gained from Milhaud's autobiography, "Notes Without Music ", and from correspondence with Madeleine Milhaud, the composer's widow.

Felix Mendelssohn was a many-faceted individual. While known now primarily as a composer, in his time he was also important as a virtuoso pianist and conductor. His contribution to the musical life of his time and to posterity is significant. As well as composing for nearly every genre (see Table 1) Mendelssohn was a popular soloist and dominated German conducting from 1830 until his death in 1847. Over the years his popularity has waxed and waned. The works of Mendelssohn were highly regarded during his lifetime and remained popular until about 1900. Around 1900, however, there was a major shift in opinion. At this time, his music was considered to be mediocre. The rise of anti-Semitism in Germany during the twentieth century caused a further underrating of Mendelssohn's music in his homeland. It is hoped that this, and other present-day studies, will offer a more objective view of his music. As is true with most composers, in the body of Mendelssohn's compositions, one can find individual pieces to support either greatness or mediocrity. The music which is most familiar to the public: Italian and Scottish symphonies, the Hebrides and Overture and Incidental Music to A Midsummer Night's Dream orchestral overtures, and the String Octet in E-flat Major are undoubtedly some of Mendelssohn's best. On the other hand, his operas never have been effective. Even at the end of his life, he was still searching for the perfect libretto. But it is inconsistent writing within individual pieces which is the most frustrating aspect of Mendelssohn's music. The first cello sonata is one such example. Here a solid first movement is followed by two weak ones. Included in the total number of pieces of chamber music on Table 1, are the four pieces that Mendelssohn composed for cello and piano. They consist of two short pieces and two sonatas, and were written over a sixteen year span (see Table 3, page 8). This paper aims to familiarize the reader with these cello works, investigate them in terms of the criticisms leveled at Mendelssohn's music, and examine their contribution and place in today's literature for the violoncello.

Paul Schoenfield is currently composer in residence at the University of Toledo. He is a composer of music for virtually all media, but has a special affinity for music of his own instrument, the piano. His works have been performed in concerts throughout the United State and Europe, broadcast on network television, and heard on recordings. As is often the case with today's serious composers, his abilities are channeled into musical areas besides composition. He has had a distinguished performing career, appearing as soloist with orchestras throughout the United States and in solo and chamber recitals throughout the United States and Europe. He has won numerous major competitions including the Leonard Bernstein Competition, National Young Artist's Award, and the Southwest Pianist's Foundation Competition. As a university professor he has taught a variety of courses encompassing the spectrum of music curriculum: composition, piano, music literature, analysis, counterpoint, chamber music, and music education.

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