After World War I, a significant change for the concepts of culture and art occurred in France, which eventually causes a cultural revolution. Francis Poulenc (1899-1963) experienced such a transformation and became one of the most important French composers and pianists in the twentieth century. He was a member of the French group Les Six; his music was therefore often considered informal. However, those who had ever listened to his music were impressed deeply by the graceful melodies and rich harmonies presented in his works. Poulenc was prolific, producing a total number of 34 opuses for piano. In particular, he finished most of his outstanding works in the 1930s, of which Nocturnes is the most representative. Nocturnes is characterized by two main elements generally found in Poulenc¡¦s works, referred to as Neo-classicism and Popular Music, from which the characteristics of his piano music can be realized comprehensively. The primary purpose of this thesis is to thoroughly discuss Poulenc¡¦s famous piano pieces Nocturnes. The thesis is organized as follows. Firstly, the development of French cultures in the early twentieth century is introduced particularly with a historical perspective. In Chapter 2, Poulenc¡¦s life and his composition style are presented, followed by an emphasis on the unique characteristics of his piano music. Chapter 3 describes the background when Poulenc composed Nocturnes, with a discussion of the skills required for the interpretation. It is anticipated that this study is capable of offering the understanding of Poulenc¡¦s piano music.

In 1959 French composer Francis Poulenc composed the opera La Voix humaine based on Jean Cocteau’s original play (1928). La Voix humaine is a one-act opera for soprano. The main character, Elle, spends the opera on the phone with her ex-lover who is marrying another the next day. Many musicians believe this opera is difficult or impossible to update, due to the use of the telephone and its dated operator system, which is a large aspect of the action and drama. This document provides the reader with a new interpretation of the opera with modern technology. Chapter One begins with a brief history of the creators of the play and opera, Jean Cocteau and Francis Poulenc. It delves into their early years, leading up to their time involved with Les Six. Chapter Two discusses Cocteau’s vision and creation of the play and continues to his collaboration with Poulenc on the opera. Chapter Three offers a view of how the phone plays a large part in the play, continues to the telephone’s function during the time period the play was written, and concludes with a look at how current technology may be applied to an updated interpretation of the opera. Chapter Four provides a look at the sections of the libretto that is linked to the telephone, thus making its use unavoidable in certain portions of the opera while providing musical examples. It also discusses how the libretto poses a problem with a modern-day telephone system and how to address these issues. Chapter Five presents ways to incorporate the use of an iPad into the second section of the opera, through analysis and interpretation of the text. Chapter Six gives a look into modern research on technology and its effects on mental health, following with how this research can be applied to a modern interpretation of the work and Elle’s untimely suicide due to effects of technology addiction. This chapter also discusses how the text and music support these ideas. Finally, the conclusion summarizes main ideas and their application into the opera.

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This thesis presents extended program notes for a sixty–minute vocal graduate recital consisting of the following repertoire for soprano: the arias “Soffri, o cor” and “Dimmi qual prova mai” from Alessandro Scarlatti’s cantata Dal Bel Volto d’Irene; a role study of Zerlina from Wolfgang Amadeus Mozart’s opera Don Giovanni, including her arias “Batti, batti, o bel Masetto” and “Vedrai, carino;” Francis Poulenc’s song cycle Cocardes; selections from Arnold Schoenberg’s song cycle Das Buch der Hängenden Gärten; “Der Hirt auf dem Felsen” by Franz Schubert, a chamber work written for soprano, piano, and clarinet; and selections from American composer Ricky Ian Gordon’s song cycle Orpheus and Euridice, composed as a companion piece to the Schubert “Der Hirt auf dem Felsen.” These works span three centuries and cover four languages and multiple genres and musical styles. The content of this thesis contains detailed information on these works through historical study, musical analysis, and research in performance practice.

Thesis--Boston University. / Vita. Bibliography: p. 646-668.

During the early 19th century, the flautist became known as a frivolous “dandy” figure whose extravagant appearance suited his light and virtuoso playing. He becomes a so-called professional virtuoso, generating his own income in the absence of aristocratic patronage while entertaining the rising bourgeois public, who demands light yet virtuoso performances. Many artists are disillusioned in this sphere where the arts seem to be reduced to something that is merely utile to the public – a form of entertainment; a social tool. The greatest concern of writers and poets is that the universal truth of their modern reality will not be expressed in art. It becomes the quest of these seemingly disempowered intellectuals to fight this tendency and to express the existential anguish, uncertainty and ennui of the modern materialist society through their art. It is against this background that the concept of the flautist as “aristocratic virtuoso” is developed. This idea opposes the concept of the “professional virtuoso” of the early 19th century. In this society where artists have to find their voice without the support of the aristocratic classes, 19th century disillusioned poet Charles Baudelaire develops the concept of a symbolic cultural aristocracy, wherein the artist is a privileged outsider “on the inside”; a spectator who takes up all of everyday existence, and transforms it into a profound poetic reality. It is with this theory in mind that I develop my thesis of the flautist as aristocratic virtuoso – a figure who captures the universal beauty of his time through his music and shares it with his audience. This dissertation is, therefore, a study of the events that brought about this re-definition of the role of the flautist in the 19th century. It explores the contribution of prominent composers, the impact of the Société Nationale de Musique Française and the French Flute School, as well as the development of the instrument. AFRIKAANS : Gedurende die vroeë 19de eeu onderskei die fluitis hom as ‘n byna windmakerige “dandy” figuur; sy fisieke voorkoms passend by sy ligte, dartelende tog uiters virtuose spel. Hierdie vroeë 19de eeuse fluitis staan bekend as die professionele virtuoos, omdat kunstenaars nie meer die beskermheerskap van die aristokrasie geniet nie, en vir hulle bestaan afhanklik word van die bourgeois publiek wat indrukwekkende, dog verteerbare vermaak van musici vereis. Verskeie kunstenaars voel vervreem in hierdie sfeer waarbinne die kunste gereduseer word tot iets wat “van nut” is vir die publiek. Die grootste kommer van skrywers en digters is dat dit wat van universele waarde in die realiteit van hulle epog is, nie tot uitdrukking kom in die kunste nie. Skrywers en intellektuele voel hulleself ontmagtig en dit word hulle doel om teen hierdie tendens te stry en deur hulle kuns die eksistensiële angs, onsekerheid en leegheid van die moderne materiële bestel uit te beeld. Dit is in hierdie denkraamwerk dat die konsep van die fluitis as “aristokraat virtuoos” sy oorsprong het. Hierdie idee staan vanselfsprekend in teenstelling met die “professionele virtuoos” van die vroeë 19de eeu. In ʼn samelewing waar die kunste sonder die reële gegewe van die aristokratiese beskerming en bevordering ʼn medium moet vind waarbinne hulle eie moderniteit uitgedruk kan word, ontwikkel die 19de eeuse ontnugterde digter Charles Baudelaire die konsep van ʼn nuutgevonde simboliese “kulturele” aristokrasie. Hy ontwikkel ʼn interessante dualiteit rondom die kunstenaar wat as bevoorregte objektiewe buitestaander ten nouste betrokke is by die samelewing en wat daarvoor verantwoordelik is om die tydelike met die ewige te verbind deur sy/haar kuns. Dis vanuit hierdie idee dat ek ʼn saak maak vir die fluitis as aristokraat virtuoos – as figuur wat binne die medium van musiek die skoonheid van sy tyd vasvang en met sy gehore deel. My studie is dus ‘n ondersoek rondom die gebeurtenisse wat hierdie hervorming in die 19de eeu meebring. Ek bestudeer komponiste wat ‘n belangrike bydrae lewer tot die fluitrepertorium, en ondersoek die stigting van die Société Nationale de Musique Française en die Franse Fluitskool, en die ontwikkeling van die instrument self. Copyright / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted