Notre étude de la musique pour orgue en France à l’Âge classique se centre sur sa dimension signifiante, et tout particulièrement sur sa fonction représentative du sacré. Notre intérêt a pour origine un constat : à l’heure actuelle, les travaux les plus importants consacrés à ce répertoire négligent la question, alors que la genèse de cette école organistique coïncide avec l’un des moments historiques les plus remarquables de la spiritualité catholique française (en effet, le XVIIe siècle n’est pas seulement le « Grand Siècle des idées » mais aussi le « Grand Siècle des âmes »). Dans cette optique, et partant du principe que la musique religieuse peut se comprendre comme un produit esthético-théologique façonné en fonction des besoins symboliques et expressifs de la liturgie (au même titre que d’autres manifestations d’art sacré), ce travail cherche à mettre en lumière la manière dans laquelle, grâce à un ensemble de catégories esthétiques et de topiques musicaux dirigés par des principes rhétoriques, la musique des organistes français peut communiquer les notions fondamentales de la doctrine chrétienne. Pour ce faire, nous proposons un parcours en quatre parties, abordant successivement les contextes culturel et spirituel du XVIIe siècle en France, les éléments constitutifs de l’univers signifiant du répertoire, l’organisation stylistique du répertoire, et finalement, d’un point de vue herméneutique, l’œuvre de trois compositeurs majeurs de cette tradition musicale : Nicolas de Grigny, Jean-Adam Guilain et François Couperin. / This study of French organ music during the “Classical period” focuses on its signifying dimension, and particularly on its representative function in the liturgy. Our interest springs from an observation: the most important works devoted to this repertoire neglect the question, whereas the genesis of this organ school coincides with one of the most remarkable historical moments of Catholic spirituality. From this point of view, and assuming that sacred music can be understood as an aesthetic-theological product shaped according to the symbolic and expressive topics of the liturgy (in the same way as other manifestations of sacred art), our research seeks to demonstrate the way in which the music of French organists can communicate the fundamental notions of Christian doctrine through a set of aesthetic categories and musical topics directed by rhetorical principles. In this way, our work is divided into four parts, successively highlighting the cultural and spiritual contexts of the seventeenth century in France, the elements of the signifying universe of these music, the stylistic organization of the repertoire, and finally, from a hermeneutic point of view, the analysis of three major composers of this musical tradition: Nicolas de Grigny, Jean-Adam Guilain and François Couperin.

Acompanha 2 CD-ROM / Orientador: Edmundo Pacheco Hora / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T16:17:29Z (GMT). No. of bitstreams: 1 Carpinetti_MiriamEmerickdeSouza_M.pdf: 54528489 bytes, checksum: 814585747f2b52c1fbc81bfd65fec518 (MD5) Previous issue date: 2008 / Resumo: Com interesse em difundir o órgão, instrumento distante do público brasileiro, esta dissertação de mestrado articulará informações práticas de consulta sobre suas características físicas e qualidades expressivas. Não estando o órgão, inserido na atual cultura brasileira, uma vez que há pouca divulgação do instrumento, em face de escassa produção de obras nacionais e pouca literatura em português, esta pesquisa torna-se, assim, um importante referencial para seu estudo. Ela visa prover um material prático de consulta para a compreensão do idiomático do órgão tubular bem como de sua escrita, seu funcionamento e suas características fônicas, utilizando como ilustração, diferentes transcrições da obra "Quadros de uma Exposição" (1874) de Modeste Petrovich Moussorgsky (1839-1881). O trabalho é composto de dois capítulos. No primeiro, são apresentadas informações como a descrição do instrumento, sua notação e técnica interpretativa, ilustradas por exemplos extraídos das transcrições para órgão, no segundo. Neste, comparam-se os diversos procedimentos utilizados nas transcrições publicadas e gravadas, especialmente apontando dentro desse universo, os procedimentos menos fiéis ao texto original. Este trabalho mostrará os elementos de notação, textura, tessitura, dinâmica, registração, resultados tímbricos e acústicos, os quais são muito diversificados, devido ao fato dos autores das transcrições serem oriundos de países europeus que cultivaram, durante séculos, tradições organísticas diferenciadas. É intenção, pois, que esta pesquisa sirva de apoio para a compreensão da arte de registrar, das adaptações que os organistas precisam fazer ao interpretarem obras em diferentes órgãos, assim como para a realização de composições e transcrições idiomáticas. / Abstract: Aiming at exposing the organ, an instrument distant from the Brazilian audiences, this dissertation will deal with practical information for consulting the organ's physical characteristics and its expressive qualities. Due to little exposure, and scarce production of national works for this instrument, together with scarce literature on this subject in Portuguese and the organ's not being included in current Brazilian culture, this research presents itself as an important reference for the study of the organ. It envisages to be a practical research material for the understanding of the pipe organ's idiomatic writing, its functioning and its sound characteristics, these being illustrated by different transcriptions of Modeste Petrovich Mussorgsky's (1839-1881) Pictures at an Exhibition (1874). This project has two chapters. In the first one, data like the description of the instrument, its notation and interpretive techniques are presented; and in the second they are illustrated with examples taken from transcriptions for the organ. In the latter, various procedures utilized in published and commercial transcriptions and recordings are compared, especially pinpointing the procedures which are less faithful to the original text in that universe. This work will show the elements of notation, texture, tessitura, registration, timbre and acoustic results, which are highly varied due to the fact that the authors of such transcriptions having come from different European countries which cultivated differentiated organ traditions along the centuries. The intent of this dissertation is thus to support one in the art of registration, in the adaptations that organists need to make when interpreting pieces on different organs, as well as in the rendering of compositions and idiomatic writings. / Mestrado / Mestre em Música

The purpose of this research is to document how Claude Debussy’s compositional style was used in Louis Vierne’s organ music in the early twentieth century. In addition, this research seeks standard nineteenth-century practices in Vierne’s music. Vierne lived at the same time as Debussy, who largely influenced his music. Nevertheless, his practices were varied on the basis of Vierne’s own musical ideas and development, which were influenced by established nineteenth-century practices. This research focuses on the music of Louis Vierne’s Pièces de fantaisie, Opp. 51, 53, 54, and 55 (1926-1927). In order to examine Debussy’s practices and standard nineteenth-century practices, this project will concentrate on a stylistic analysis that demonstrates innovations in melody, harmony, and mode compared to the existing musical styles.

Cette thèse porte sur l’Institution harmonique, un traité manuscrit composé par Charles Guillet entre 1640 et 1647, dédié à l’archiduc Léopold-Guillaume. Une étude introductoire précède la transcription de la dédicace, de la préface et du premier livre (le seul qui subsiste). Elle met en lumière l’auteur Charles Guillet (ca. 1575-1654), une figure originale mais peu connue dans le paysage musical et apporte des éclairages sur la source manuscrite (notamment organisation, contenu et dessein théorique). La construction de son discours est enfin analysée à travers l’usage des sources (choix des autorités et compilation de deux « phares harmoniques » qu’étaient Zarlino et Salinas). Par la mise en scène de controverses, Guillet démontre la supériorité de la division syntone sur la diatone et justifie la théorie modale de Zarlino. Dans le premier livre sur « la Theorie, ou Speculative Musicale », la théorie arithmétique des rapports et des proportions est appliquée aux intervalles puis aux questions pratiques du tempérament / This dissertation deals with the Institution Harmonique, a hand written treatise, composed by Charles Guillet between 1640 and 1647, dedicated to Archduke Leopold Wilhelm. An introductory study precedes the transcription of the dedication, preface and Part 1 (the only one remaining to this day). It introduces author Charles Guillet (ca. 1575-1654), an original yet poorly known figure of the musical scene. You will find some specifications regarding the hand-written source (organisation, content and theoretic purpose). I will analyse the construction of discourse through the use of the various sources (choice of authorities and compilation of Zarlino and Salinas, two « harmonic lighthouses ». By staging of controversies, Guillet demonstrates the superiority of syntonic tuning on Pythagorean tuning and justifies the zarlinian modal theory. In the Part 1 on « The Theory, or musical speculative », the arithmetic theory of ratios and proportions is applied to the intervals then to the practical questions regarding temperament

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AFRIKAANS : Hendrik (“Henk”) Temmingh word vandag gereken as een van Suid-Afrika se mees toonaangewende orrelkomponiste. Hy het sy veelsydigheid bewys en veral gevestig geraak as ’n noemenswaardige figuur op die gebied van musiekwetenskap, improvisasiekuns en orrelmusiek. Die doel van die studie is om aan te toon dat Temmingh se oeuvre ’n volledige katalogus van die orrelwerke regverdig en om so ’n dokument saam te stel. Om ’n volledige en juiste biografie van die komponis op te stel, word ’n verdere leemte gevul. ’n Oorsig van Suid-Afrikaanse orrelmusiek en komponiste gee ’n blik oor hoe, waar en in watter mate Temmingh funksioneer as ’n ware Suid-Afrikaanse komponis, alhoewel hy in Nederland gebore is. Addisionele inligting, veral nuwe data oor Suid- Afrikaanse orrelkomponiste soos geboorte- en sterfdatums, word in die dokument genoem. Suid-Afrikaanse komponiste word volgens herkoms en nasionaliteit in drie groepe ingedeel. Eie terminologie word hieraan toegeken. Min bronne oor Temmingh is beskikbaar. Daarom is hierdie mini-verhandeling grootliks met die hulp van die komponis saamgestel. Die gebrek aan genoeg literatuur oor Suid-Afrikaanse orrelmusiek en -komponiste het ’n uitdaging gebied vir die skrywer. Met behulp van die chronologiese katalogus van Temmingh se orrelwerke kan ’n onmiddellike oorsig van sy bydrae as orrelkomponis verkry word. Dit behoort musiekbiblioteke en orreliste te help om hulle onvolledige versamelings aan te vul. Hierbenewens sal die nuut-toegekende katalogusnommers ’n aanduiding gee van waar die betrokke orrelwerke chronologies by Temmingh se oeuvre inpas. ENGLISH : Hendrik (“Henk”) Temmingh can be regarded as one of South Africa’s leading organ composers. He showed versatility and established himself as a significant figure in the field of musicology, improvisation and organ music. The aim of the mini-dissertation is to show how Temmingh’s oeuvre justifies a complete catalogue of the organ works, and to compile such a document. Putting together an accurate biography of the composer, will fill another gap. A survey of South African organ music and composers indicate how, where and to what extent Temmingh functions as a true South African composer, although he was born in the Netherlands. Additional information, especially new data regarding South African organ composers such as dates of birth and death, is mentioned in the document. South African composers are divided into three groups according to origin and nationality. Own terminology is allocated to these. Few sources concerning Temmingh are available. Therefore this mini-dissertation was mainly compiled with the help of the composer. The scarcity of enough literature on South African organ music and composers was a challenge for the writer. An immediate summary of Temmingh’s contribution as an organ composer can be obtained with the help of the chronological catalogue of Temmingh’s organ works. This will help music libraries and organists to supplement their incomplete collections. Apart from this, newly allocated catalogue numbers will give an indication of where the works concerned fit in chronologically in Temmingh’s oeuvre. / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted

The thesis "J. S. Bach and His Piano Pieces for Music Art Schools" is focused on interpretation of the piano music of Johann Sebastian Bach. For the right understanding of the composer's musical narratives, it is necessary to acquire the basic knowledge and principles of the music theory in the Baroque era and to become familiar with the environment in which this extraordinary composer had been professionally developing and composing. This musician is presented here as the founder of a modern fingering whose musical language brought a change into musical thinking and he became inspiration and a role model for composers of the next centuries. This thesis highlights the importance of appropriately selected musical materials in piano teaching and it prefers the performance to be as authentic as possible. The main purpose of this paper is to update the knowledge of methodology and to find a comprehensive guide to a correct understanding of musical language of this genius that would help the music teachers introduce to pupils the beauty and timelessness of Bach's musical work and that would motivate them to other musical discoveries and make them desire to be further educated in music.