Francis Poulenc (1899-1963) demonstrates a remarkable affinity for surrealist poetry in his numerous settings of leading modernist French poets from the first half of the twentieth century. The poetry of Max Jacob (1876-1944), a once unduly marginalized writer who is now regarded as an influential initiator of surrealism, provided the inspiration for one of Poulenc's most significant works, the chamber cantata Le Bal masque (1932). / This thesis seeks to shed light on Poulenc's largely neglected artistic interaction with Jacob by exploring musical counterparts to the poet's unique surrealist aesthetic in Le Bal masque. Chapter one examines Poulenc's artistic milieu surrounding the composition and first performance of Le Bal masque, and reviews previous literature on Poulenc's involvement with avant-garde art and literature. Chapter two focuses on Jacob himself and discusses key aspects of his subversive poetic aesthetic. Chapter three outlines the fundamental characteristics of surrealist art in general and reviews previous discussions of music and surrealism. The final chapter explores surrealist influences in Le Bal masque while concentrating on musical parallels to central features of Jacob's poetry and surrealist art in general described in the preceding chapters.

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Research has been conducted on Francis Poulenc and his prominent 20th century sonata for brass instruments. Poulenc and members of the French compositional collaboration known as Les Six have all been subjects of research. Francis Poulenc's Sonata for Horn Trumpet and Trombone is a crucial piece in the development of brass chamber music during the 20th century. As one of the first works written for modern brass instruments, it demonstrates a highly crafted compositional style representative of Poulenc's early period. Research includes background and historical significance of the Sonata, analysis of form and compositional techniques, biographical information on Francis Poulenc and the members of Les Six and a section on implications for the performance of the work. This study is necessary due to the lack of research available for the piece especially considering its relevance to the development of brass chamber music. This study explores the compositional style of Francis Poulenc and his contribution to the brass ensemble repertoire.

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The purpose of this study, ve to analyze the stylistic characteristics in the unaccompanied music of one twentieth century composer, Francis Poulenc, in order to discover the choral problems which would confront choruses and conductors as they performed his music. It is hoped that this study will not only enable choral conductors to better understand, interpret, and appreciate the music of Poulenc, but also will serve as a guide toward the investigation of other twentieth century composers and their works.

Though Poulenc marks choral compositions with metronomic indications, there are problems concerning tempo. The purpose of this paper is to determine guidelines for dealing with choral tempo. Chapter II relates biographical information pertinent to the study. Style Is examined In Chapter III, determining aspects that call tempo marks into question and influence tempo determination. In Chapter IV, the manner in which Poulenc uses tempo indications in the choral works is analysed and the relationship between form and tempo examined. Chapter V records Information bearing upon tempo from Poulenc's collaboration with conductors, as well as examining recordings of Poulenc's music in which he played or with which he expressed approval. Guidelines for determining tempo are stated in Chapter VI.

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.

Thesis (Ph. D.)--State University of Iowa, 1964. / Includes bibliographical references (leaves 373-380).