Thesis (Ph. D.)--University of Washington, 1995. / Vita. Includes bibliographical references (leaves [212]-226).

Orientador: Dorotéa Machado Kerr / Banca: Viviana Mónica Vermes / Banca: Manoel Aranha Corrêa do Lago / Banca: Paulo de Tarso Camargo Cambraia Salles / Banca: Lutero Rodrigues da Silva / Resumo: 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 / Abstract: 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 / Doutor

Ce travail s'attache à décrire la représentation de l'Italie par des auteurs français ou francophones à l'articulation des XVIIIe et XIXe siècles (1790-1829). Son objectif est de réhabiliter le principe esthétique de "néoclassicisme" à travers le paradigme italien, et d'en démontrer la pertinence en tant que catégorie d'analyse littéraire élaborée a posteriori. Le choix d'une telle terminologie implique d'emblée la permanence d'un idéal "classique" de représentation, dont il s'agit d'examiner les modalités et de mesurer l'infléchissement au sein de démarches plurielles d'écriture. Le parcours suivi conduit à étudier les formes de l'exemplarité de l'antique et l'héritage de tradition académique, puis leur inscription dans une réflexivité - un "classicisme au second degré" - souvent sur le mode polémique; après la Révolution, le néoclassicisme apparaît dans le tiraillement entre une pensée tragique du devenir historique et différentes tentatives de refondation par la littérature. La définition paradoxale de la modernité qui en découle contribue à fonder la conscience patrimoniale d'une époque de transition; réinventer le présent au service de l'avenir ne peut se faire que "sous le signe de Janus". / This dissertation describes French and Francophone writers' representations of Italy at the turning point between the eighteenth and nineteenth century (1790-1829). It aims to rehabilitate the aesthetic principle og "neoclassicism" through the Italian paradigm, and to show its relevance as an a posteriori category for literary analysis. The choice of such a terminology immediately implies the permanence of a "classical" ideal in terms of representation, the modalities of which need to be examined. This work also reflects on the evolution of the notion as it treated by various authors. It begins by examining the exemplarity of the antique as well as th heritage of the academic tradition, before turning to a consideration of their inscription in an often polemical reflexivity ("second-degree classicism"). After the French Revolution, neoclassicism emerges in the tension between the tragic thought of a historical becoming and literature's multiple attempts at restructuring it. The subsequent and paradoxical definition of modernity contributes to generate a transitional period's collective awareness of itself as constituting a legacy. Reinventing the present for future's sake can only happen "under the sign of Janus".

Since the first recorded theatrical events, theatre has been presented in a linear fashion. It is no surprise that the majority of American Musical Theatre also follows a linear plot conception. Musicals that blatantly defy linearity are often called "concept" musicals. However, there is a small portion of concept musicals that do not abandon their linear plot altogether, but instead choose to skew the line in order to give the audience a unique perspective of the story being told. This mass categorization does not accurately take into account the extreme difference in structure of the two types of concept musicals. For this purpose, I explored the notion of a new structural category, the Less Linear Concept Musical, in hopes of identifying the unique characteristics and challenges associated with this type of musical. Beginning with Aristotle's "The Poetics" and ending in modern day Musical Theatre, I examine key events in the shaping of this musical theatre form, as well as define the form itself. The application of this research culminated in a classroom presentation of Jason Robert Brown's The Last Five Years, which I directed. I pose the question, "Can sound direction conquer the pitfalls found within the Less Linear Concept Musical?"

The purpose of this study is to explore neoclassical elements present in Krenek’s George Washington Variations. By identifying the stylistic features associated with the eighteenth and twentieth centuries, the study will examine Krenek’s application of his neoclassical tendencies. Key neoclassical elements include musical form and structure, key relationships, melody and harmony, and chromaticism. Since at this time there is little research on Krenek’s piano works, and none on the George Washington Variations, the result of this examination provides pianists and instructors with historically constructive information about Krenek’s musical style, as well as a deeper understanding of Krenek’s Neoclassicism in his George Washington Variations.

This thesis is dealing with life and work of Anton Schmidt, the remarkable architect of czech late baroque period. The text focuses mainly on his sacral architecture, especially on St. Michael Archanděl in Smržovka, which represents the notable example of baroque dynamism in czech architecture of the second half of the 18th century. Anton Schmidt is recognized as very important figure of czech late baroque architecture. He followed the tradition of domestic high baroque epoque and the work of K. I. Dientzenhofer. But on the other hand, Schmidt introduced various motifs of neoclasicissm very early into czech milieu. Therefore the typical feature of his architecture is the synthesis of styles combined with refine architectural language. His most important works are - besides the church in Smržovka - church St. Bartoloměj in Černouček, Kounický palace in Prague- Malá Strana and castle in Zahrádky u České Lípy. This thesis brings also a new discovery of previously unknown Schmid's structure - church St. Jan Nepomucký na Poušti in Železný Brod.

This master thesis discusses the roots, concepts and the subsequent interpretations of the so- called "romantic discussion", which took place in Italy between the years 1816-1826. Based on the overview of selected debate entries and their critical interpretations, we will try to explain the relatively scarce attention paid to the Italian romanticism by critics outside of Italy. The polemic on romanticism started with the article "On the Manner and Usefulness of Translations" by Madame de Stael, in which the author as a solution to the crisis affecting Italian literature suggested to translate more of French and German production, as it already reflected the upcoming romantic aesthetics. This modest proposal sparked a fierce debate which gradually dealt not only with the question of adopting foreign cultural impulses, but also with need to redefine the roots of Italian cultural traditions and build a modern Italian identity. The most important responses to Madame de Staël's article - written by Ludovico di Breme, Giovanni Berchet and Pietro Borsieri - are now considered "manifestos" of Italian romanticism. Unfortunately the inputs by Giacomo Leopardi and Alessandro Manzoni, even though they are considered very interesting and intellectually stimulating, cannot be considered part of the discussion as...

Com a finalidade de elaborar um estudo em estética musical, analisamos os conceitos de nacionalismo, neoclassicismo e neofolclorismo em Villa-Lobos. Propomos uma abordagem crítico-ideológica que se distancia dos padrões costumeiros na musicologia brasileira, uma vez que reconhecemos certa ingenuidade consolidada na vã tentativa de se desatrelar nacionalismo de um contexto político-partidário. Como apoio às hipóteses de trabalho levantadas, levamos em conta aspectos filosóficos, poético-estilísticos e histórico-sociológicos. / Aiming at elaborating a study in musical aesthetics, we have analyzed the concepts of Nationalism, Neo-Classicism, Neo-Folklorism in Villa-Lobos. We propose a critic-ideological approach that goes away from the ordinary patterns in Brazilian musicology, once we recognize certain ingenuity consolidated in the vain attempt to detach nationalism from a party-political context. As a support to the raised hypothesis of this work, we took into account the philosophical, poetic-stylistic and historical-sociological aspects.

Made available in DSpace on 2016-03-15T19:42:29Z (GMT). No. of bitstreams: 1 Andre Luis de Castro Albuquerque.pdf: 3512166 bytes, checksum: 8d0cd135db2b69987d345b350a8e6563 (MD5) Previous issue date: 2013-06-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Jean Baptiste Debret (1768-1848), the French painter from the Neoclassical school, came to Rio de Janeiro city in 1816, to help creating an academy of fine arts, in the molds of the one in France, during the Dom João VI government in Brazil. Developing paintings and drawings in the streets of the empire s capital, Debret carried out a detailed study about the Portuguese court s life, as well as of the black men and women lives who worked in a wide range of services; this study will create his great work Historical and Picturesque Voyage to Brazil . This research analyzed one of his litographies, entitled Free Negresses Earning a Living From their Works , from Historical and Picturesque Voyage... , trying to understand the painter s purpose to elaborate his discourse about how the free negresses that worked in Rio de Janeiro City lived. / Jean Baptiste Debret (1768-1848), pintor francês pertencente à Escola Neoclássica francesa, veio para a cidade do Rio de Janeiro no ano de 1816, ajudar na criação de uma Academia de Belas Artes, nos moldes franceses, durante o governo de Dom João VI no Brasil. Desenvolvendo trabalhos de pintura e desenho nas ruas da capital do Império, Debret realizou um estudo minucioso sobre a vida da corte portuguesa nos trópicos, bem como as vidas de negros e negras de ganho que trabalhavam nos mais variados serviços; esse estudo vai dar origem à sua grande obra Viagem Pitoresca e Histórica ao Brasil . Esta pesquisa analisou uma de suas litografias, intitulada Negras livres vivendo de sua atividades , que se encontra no segundo tomo da Viagem Pitoresca... , buscando compreender a intenção deste pintor ao elaborar um discurso sobre como viviam as negras livres que trabalhavam na cidade do Rio de Janeiro.

此論文探究詩人華茲華斯多種的靈感來源。他的靈感來源主要分為兩種：超自然以及人本的來源。一方面，詩人有古典和傳統的一面，依靠超自然的來源來維持寫作靈感，如異教神明，基督教的聖靈，新古典神祗。除了這些靈感來源以外，我提出，詩人還發明了人本的守護力量，反映了他能離開傳統，自成一格，依靠個人的天才和身邊的群體。 / 華大部份寫詩的靈感都來自大自然，因此第一章將考究自然如何成為為他帶來靈感的工具。十八世紀崇尚哲學，詩風也有此傾向。華受此詩風影響，對他來說，自然象徵著形而上的真理，是重要的寫作題材。因此，雖然他渴望像他妹妹桃樂西一樣如實描繪自然，最後卻比較著重自然的喻意，多於自然的原始美。 / 第二章以華的作品《意大利旅行回憶錄》和《歐洲大陸旅行回憶錄》為主，集中討論華詩裡的聖靈。此章宗旨是證明詩人在出外的時候特別依靠聖靈作靈感來源。雖然外地給他陌生的印象和感覺，但透過此靈感來源，他為自己製造了一個安穩的寫作空間。聖物、宗教建築、音樂和不同地方的歷史，觸手可及，為他帶來親切感。 / 第三章尋索華詩裡的新古典神明。論點是：詩人在詩裡祈求神明庇佑並賜與寫作靈感，是跟隨新古典詩人的傳統，為一種修辭法。新古典時期的代表作家有德萊頓、蒲柏、和詹森， 都是華尊敬的作家。雖然華曾跟隨他們的向神明祈求的修辭法，卻仍與他們這種尋求靈命的手法保持距離。這是因為華覺察到，這種以精英為重的詩，與他對低微農村居民持有的抱負背道而馳。 / 第四章介紹英國湖區的守護力量。這力量比較其他靈感來源，最得華心。原因是，他從小與湖區已建立起感官和情感上的親切感。即使身在異鄉，他也可透過想象親歷湖區之景，從中找到靈感寫作，所以湖區的力量很可靠。可惜，一個地方的景色，有可能隨著農村發展和工業化而改變甚至遭受破壞。華明白這一點，是以還是開始尋找更長久的靈感來源。 / 因此，華創造了歷史、文學和人物這三種人本的守護力量，代替前幾種的靈感來源。第五、第六、和第七章會分別討論這三種來源。歷史的守護力量來自華想象出來的一個群體， 這群體裡的人都是英國的人民，價值觀相似，所以特別珍視某些美德。就是這樣一個群體維持著華的靈感的。文學的守護力量也是華想象力的結晶，這群體是由一群作家組成，作家真有其人。華透過引用他們的詩句，在寫詩時找到靈感繼續創作下去。人物守護力量是第三個華透過想象組織的群體，以湖區的農民群體為範本。人物都有華所碰見過的人的影子，他們的生命力來自這群體的關愛和憐恤。這兩種美德也支持著華的創作。 / This thesis explores the different sources of inspiration in William Wordsworth’s poetry. These sources, I argue, can mainly be classified into two types: supernatural and human-oriented. The classical and traditional Wordsworth relies on supernatural sources, such as pagan spirits, the Christian spirit, and neo-classical spirits to sustain and inspire his poetry. In addition to these sources, I argue that he has invented human-oriented 'spirits of place', and that his use of these spirits reflects a Wordsworth who is independent of tradition and more reliant on his own genius and the human communities around him. / Because the inspiration of most of Wordsworth’s poems springs from nature, my first chapter will study how nature is instrumental in bringing about this inspiration. Nature is symbolic of those metaphysical truths which he considers important subjects for writing, under the influence of eighteenth-century expectations that poetry be philosophical. As a result, while longing to portray nature 'as it is', as his sister Dorothy does, he nevertheless resorts to the metaphorical meanings of nature rather than its beauty in its basic appearance. / My second chapter will focus on the Christian spirit in Wordsworth’s poetry, especially in Memorials of a Tour in Italy, and Memorials of a Tour on the Continent. It seeks to show how the poet, especially while abroad, depends on it for inspiration. He seems to be creating a safe environment for writing, when his surroundings look and feel foreign. He cultivates a feeling of familiarity through tangible things such as religious relics, architecture, and music, and the Christian history of the places. / My third chapter will investigate neo-classical spirits in Wordsworth’s poetry. I argue that his invocation of them is a rhetorical device employed as part of a tradition among neo-classical poets such as Dryden, Pope, and Johnson, whom Wordsworth highly respects as his poetic predecessors. There will also be a note on his critical stance against this method of obtaining inspiration, as he realises an elitist kind of poetry does not suit that responsibility for the rustic and lowly which he considers his. / My fourth chapter will introduce the genius loci of the Lake District, which to Wordsworth was a preferred source of inspiration, because of the physical and emotional intimacy that he cultivated with the place since childhood. I attempt also to show that the genius loci has sustained his poetry even when he is abroad and imaginatively revisits the place. Despite the strength of this source, he eventually longs for a more sustainable source, one that is not prone to be destroyed due to the possibility of a change of landscape in the locality due to rural development or industrialisation. / As a result of this, Wordsworth invents what I term 'historical', 'literary', and 'embodied' spirits of place, as alternative sources. These three kinds of spirit of place will be discussed in Chapters 5, 6, and 7 respectively. Historical spirits of place are a community imagined by Wordsworth, one in which people share the same valuation of certain virtues that are specific to the British nation. Literary spirits of place are a community in his mind, one that consists of literary figures who are supportive of or foundational for Wordsworth’s writing. He imagines receiving their support through quoting from their poems. Embodied spirits of place are also an imaginary community based on the rural one in the Lake District. They are characters that Wordsworth creates based on real rustic people, and their lives are sustained by the love and sympathy of the community, just as his own poetry is sustained by it. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Au Yeung, Viona. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 409-423). / Abstracts also in Chinese.