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Thesis (D.M.A.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains xiv, 107 p.; also includes graphics, music. Includes bibliographical references (p. 103-107). Available online via OhioLINK's ETD Center.

Made available in DSpace on 2014-06-11T19:32:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-09-05Bitstream added on 2014-06-13T20:44:19Z : No. of bitstreams: 1 noronha_lmr_dr_ia.pdf: 869193 bytes, checksum: e1bebafd8a3785a8fe6533086cf1d0f9 (MD5) / Este é um trabalho de história da música que traz um estudo sobre o compositor francês Darius Milhaud, sua inserção no cenário musical nacionalista francês e a conexão com o Brasil. Pretende-se mostrar o lugar de Milhaud como compositor francês sob a ótica das teorias do nacionalismo, do autor inglês Anthony D. Smith, e das teorias sociológicas de Pierre Bourdieu, sobre o campo de produção simbólica no âmbito da música erudita. Aborda-se também a interferência do cenário musical brasileiro na formação de Milhaud como compositor francês cuja obra teve grande repercussão na França durante o período do entreguerras. Destaca-se a importância da estada de Milhaud no Brasil, de 1917 a 1918, como um período decisivo no que concerne às suas experimentações composicionais e ao delineamento da sua carreira como compositor. Aborda-se também sua conexão com a tradição e com o Neoclassicismo. Conecta-se a apropriação da música popular brasileira na sua obra com as concepções da vanguarda europeia da época. Busca-se estabelecer a relação entre Milhaud e Villa-Lobos a partir das diretrizes estéticas trazidas pelo nacionalismo e a estética neoclássica das décadas de 1920 e 1930 / This is a paper in music history presenting a study on French composer Darius Milhaud, his position in the French Nationalist music scene and his connection with Brazil. The paper will attempt to show Milhaud's status as a French composer as viewed through the lens of the Nationalism theories by English author, Anthony D. Smith, and the sociological theories by Pierre Bourdieu concerning the field of symbolic production in classical music. The pap er also covers the influence of the Brazilian music scene on Milhaud's background as a French composer whose oeuvre attracted attention in France during the Interbellum period. A special emphasis is given to the key role that Milhaud's stay in Brazil between 1917 and 1918 played in his compositional experimentations and in the establishment of his career as a composer. Additionally, the paper looks at his connection with tradition and Neoclassicism, and considers a link between the appropriation of Brazilian popular music in Milhaud's oeuvre and the concepts behind the European avant-garde of the time. The paper also sets out to establish a relationship between Milhaud and Villa-Lobos, based on the aesthetics ideals from both Nationalism and the aesthetics of Neoclassicism, during the 1920s and the 1930s

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

The aim of the present thesis is to analyze the works of the composers belonging to the groupe referred to as Les Six (G. Auric, D. Milhaud, L. Durey, A. Honegger, F. Poulenc a G. Tailleferre), with particular reference for the compositions written for flute. In the opening part of the text, we concentrate on delimiting the cultural and artistic context in which the group in question was established, including the musical (collaboration with E. Satie) and literary (J. Cocteau) influences. In the following part, we present a brief individual chapter on each of the members, provide a fundamental information on his/her life and work and propose a more detailed analysis of the compositions for flute.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Cette étude porte sur la musique de film des années 1930 en France, durant la décennie qui a vu naître et évoluer le cinéma parlant. Le cinéma de cette période y est appréhendé à travers son statut artistique et son rôle dans la transmission des idées. Dans le contexte de la crise économique et des bouleversements politiques et internationaux qui sévissent, les années 1930 offrent aux artistes, écrivains et compositeurs français, une opportunité de redéfinir leur rôle dans la cité, en intervenant à travers un médium nouveau. Ces circonstances, propices à la définition d’un nouvel engagement en arts, guident le choix de trois films à partir desquels sont analysées les contributions musicales et la démarche du compositeur en lien avec ses motivations et ses attentes face au cinéma. En se penchant sur l’aspect musical de ces films, l’auteure cherche à dégager le rôle de la musique au sein des processus de communication artistiques, dans le but de comprendre les moyens avec lesquels le compositeur défend ses idées tout en collaborant à celles du réalisateur. À quel point l’engagement du compositeur s’arrime-t-il à la réalité de l’industrie cinématographique? À quel point la musique permet-elle l’expression des idées au sein d’un art dont elle n’est qu’une composante? C’est à ces questionnements que cette recherche a voulu donner voix, tout en faisant une place privilégiée à la musique elle-même. / The subject of the present study is film soundtracks from the 1930s in France. The music under examination originated during a decade which saw the birth and early development of talking films. French cinematographic productions from this period are examined on the basis of their artistic status and their role in the transmission of ideas. The pandemic economic crisis, combined with international political upheavals, were actual incentives for artists, writers, and composers to redefine their societal role through an innovative artistic medium, and to give voice to new types of artistic engagement. The choice of the three cinematographic works in this study is based on these conditions; their soundtracks are analyzed in relation to composers’ motivations and expectations of what cinema had to offer them. By closely examining the musical components of these films, the author also aims to define the ways in which music, among other artistic communication processes, was a vehicle for composers to defend their own ideas while endorsing those of a film’s director and/or producer. At what point does the composer’s personal engagement coincide with the requirements of the film industry during the period under examination? What are the limitations of the musical expression of ideas, in the context of an art form in which music was only a component part? These questions are at the heart of this study, with the music itself as the primary focus of research.

The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.