­^¤å´£­n¡G The pre-classical era is the crucial stage for the development of the symphony. At this stage, the works are plentiful but with no explicit definition and forms. Also, with the various terminologies set by composers, it causes a chaotic situation at the early development of the symphony. Therefore, this thesis focuses on the issues of symphony development in the pre-classical era and the problems caused by the uncertain terminology. The thesis consists of four chapters. Chapter One is the discussion of the relevant contexts, including the background of that era, the social status of composers, the development of the orchestra, and the forming of the core of the symphony. At the very beginning, the thesis discusses the transition of the whole society at the early eighteenth-century. Many new concepts affected by the Enlightenment were being produced at that times especially in music and the composition was diversified. What should take into consideration is the social status of the composers at that times. It is because most of them were employed by the aristocrats or bourgeoisies; hence, these composers had produced plenty of works. This affected the organization of the orchestra and the five great symphonies development. Chapter Two defines the various terminologies prevalent at the time and clarifies their conceptual differences. The origin of the term "symphony" and the meaning it represents in the pre-classical era is first presented. Then, it discusses the various terminologies step by step. Chapter Three elaborates the content of the symphony. That is the manipulation of the orchestration and of the integral elements (including movements, musical forms, texture, and harmony). The discussion is made in two areas: these musical pieces entitled "symphony" and those "non-symphony". Chapter Four concludes the discussion of the effects of the pre-classical era as well as its subsequent influences. Music terminology is extremely important. Not only it represent what music but it also gives the audience the foremost impression as well. Unfortunately, due to the inconsistency of terminology and the unconformity of the orchestration rendered to the prototype symphonies, much misunderstanding resulted. Through the orchestration and the content of works, we perceived the works in pre-classical era would be titled with a variety of terminologies. Also, they made great contribution for the composition improvement and established a good foundation for the orchestra development.

Johann Sebastian Bach is considered the foremost organist and composer of organ music of his time. His vast knowledge of the instrument and his ability to reveal the organ?s brilliance were unparalleled, taking the organ to its peak in the Baroque era. Bach perfected many musical styles and forms of the day, and also became well-known for his improvisational skills. However, by the end of Bach?s life, the styles and forms began to change. The forms Bach knew so well slowly gave way to new ideas, signaling the beginning of what music historians label the ?Classical? period. It was during this time that the popularity of the organ began to decline. Bach?s children left behind their father?s musical styles to try new, emerging styles. Although several did continue to compose for the organ, they composed mainly for other keyboard instruments or orchestras. In the middle of the eighteenth century, the Enlightenment changed not only the role of the church, but also people?s view of the church as well. Liturgical changes were made and the organ was viewed as part of the old style. Orchestras replaced the organ and, for the most part, organists either improvised or took a step back from their duties. However, the decline of organ music in the classical period did not equate to its complete disappearance. Bach?s compositions lost favor with the general public after his death, and his successors were left to carry on his legacy and the art of the organ. While Bach?s contributions to the organ world are vast and well-documented, the works of his successors are less familiar. This thesis will focus primarily on the organ repertoire of Bach?s successors during the period of change, the Pre-Classical period. The contributions of Bach?s best-known pupil, Johann Krebs, have been well documented, and research on Krebs is the starting point for this thesis. Research on Bach?s children and his other pupils is available, but one would be hard-pressed to find more than one or two articles of any length on their individual contributions. This thesis will attempt to combine the research on Bach?s sons and students, and reveal their contributions to organ literature as a bridge between Baroque and Classical periods. The first chapter will discuss Bach?s keyboard contributions, as well as styles prevalent in the Pre-Classical period. The second through fourth chapters will discuss Bach?s sons ? Wilhelm Friedemann, Carl Philipp Emanuel, and Johann Christian, respectively. The fifth and sixth chapters will include Johann Ludwig Krebs and Bach?s last two pupils. Research for this thesis primarily relies on books and scholarly articles about the Bach family and organ literature of the time period. Databases such as JStor, WorldCat, and the New Grove Dictionary of Music and Musicians have been used to locate articles and recent findings. Research on this particular subject is not adequately covered in English. Most are written in Bach?s native language, German, with very few translated into the English language. This thesis covers both German and English articles, books, and journals on the topic.

The String quartet, a representative genre in the chamber music, was emerged in the Pre-Classical era, a period that the trio sonata was about at end of its development. The musical characteristics of the string quartets and trio sonatas were closely connected. The present study centers on the transitional stylistic features of the two genres in order to classify the initial stage for the development of the string quartet. This research focuses on the analysis of works of the trio sonata and the string quartet which were written during the transitional period. The thesis consists of three main chapters, in addition to the introduction and conclusion. Chapter one discusses the background of the string chamber music in Pre-Classical era. Chapter two describes the development of the trio sonata from 1720 to 1770. Chapter three concentrates on the musical characteristics of early development of the string quartets. The works of the trio sonata in mid-eighteenth century had already been characterized by the treble-dominated homophonic texture. In addition, the viola replaced the basso continuo and the chordal texture in the inner voices that led to the result in the change of the texture of trio sonata to the string quartet. The emergence of plentiful social occasions in Pre-Classical era required a large number of the chamber music. The string quartets were brought during this crucial moment. The composers at this stage tried a variety of tastes of styles and eventually, the mixed characteristics evolved into a natural, elegance, balanced, and symmetrical style and led the string quartet to its maturity.

(Jose Antonio) Carlos de Seixas (1704-1742) is an important figure in the European keyboard music of the beginning of the 18th-century. He composed around 700 sonatas for keyboard, of which only around 105 are known today. They demonstrate a high execution level that can be compared with J. P. Rameau (1683-1764), J. S. Bach (1685-1750), Domenico Scarlatti (1685-1757), Padre Antonio Soler (1729-1783) and other important composers of his time. Like Scarlatti and Soler, Carlos Seixas is positioned in an important transitional period in the history of music. He and his contemporaries are situated between true giants of Western Art Music: before and, in part, during Seixas's life time lived G. F. Haendel (1685-1759) and J. S. Bach (1685-1750); and after Seixas came F. J. Haydn (1732-1809), W. A. Mozart (1756-1791), and L. van Beethoven (1770-1827). During this transitional time in the first half of the eighteenth century, from the baroque to the classical eras, several stylistic trends coexisted--- the baroque, the new galant style, the empfindsamer Stil, and the pre-classical. This essay is divided into four chapters. In Chapter One I discuss the sources for Seixas scholarship followed by a historical overview of seventeenth- and eighteenth- century Portugal as well as a brief biographical sketch of Seixas's life. Chapter Two includes a discussion of Seixas's musical style and form. I examine various facets of his compositional style, including some commonalities found in many composers' works during the transitional period between the Baroque and pre-Classical. I also explore other facets of his keyboard writing such as the use of violin idioms, folkloric sounds, and symphonic textures. In Chapter Three I examine in greater detail Seixas's keyboard writing. I start with descriptions of the instruments that Seixas may have used and of his keyboard writing. I also examine available scholarship for guidelines on performing early eighteenth-century keyboard music in general--including specific approaches to ornaments, articulation, improvisation, rubato, and the like--before turning to Seixas's keyboard sonatas in particular. The last chapter, Chapter Four, includes elements for the analysis of Seixas's sonatas; I choose four of these sonatas for more in-depth analysis of formal and tonal structure. The four selected sonatas represent different formal schemes and stylistic characteristics, which demonstrate the variety within Seixas's solo keyboard pieces. They show great contrasts in form, relationship of movements, and thematic treatment: Sonata No. 16 in C minor presents only one movement in free binary form; Sonata No. 27 in D minor has three movements with no evident relationship among them and toccata elements in the first movement; Sonata No. 42 in F minor also has three movements but the last two movements relate thematically and the first movement presents imitative counterpoint; and Sonata No. 59 in A major represents pre-classical tendencies in texture and structure, presenting three movements connected as a whole through cyclical thematic ideas in the outer movements and a second movement, in A minor, that links to the last movement by means of an open ending. In addition, Chapter Four includes pedagogical insights from an analytical standpoint and annotations for the use of Seixas's sonatas as teaching resources. As part of this chapter's pedagogical resources, I also list additional sources for understanding performance practice of eighteenth-century music, review the available editions of Seixas's solo keyboard compositions, and list the primary performers of his keyboard works. Finally, the appendices to this essay include two cataloguing tables: the first (Appendix A) catalogues a selected group of Seixas's sonatas with detailed descriptions of their technical difficulties, and the second (Appendix B) catalogues all eighty sonatas according to level of difficulty. In addition, the scores of all four sonatas analyzed in Chapter Four are provided in two forms: Appendices C, D, E, and F contain the original Seixas score as edited by Seixas's preeminent scholar Santiago Macario Kastner; Appendices G, H, I, and J contain my performer's scores for the same four sonatas, that is, annotated versions of Kastner's editions.

S’inscrivant dans le cadre des recherches portant sur les changements linguistiques, cette thèse a une double visée : d’une part, élaborer une description de tous les emplois du mot si en français préclassique et, d’autre part, signaler les formes en usages à l’époque préclassique qui ont disparu au bénéfice de nouvelles formes devenues en usage en français moderne. La première partie constitue un état des connaissances sur le terme si depuis les remarqueurs de la langue préclassique jusqu’aux recherches contemporaines. Les deuxième et troisième parties sont consacrées à l’étude des emplois adverbiaux et conjonctionnels du mot si tel qu’ils se manifestaient dans la langue préclassique. Cette étude, s’appuyant sur des exemples empruntés à des œuvres littéraires du début, du milieu et de la fin de la période allant de 1550 jusqu’à 1650, se situe dans la lignée des théoriciens des approches de l’analyse du discours dont les postulats permettent de rendre compte des différents types d’analyse syntaxiques, sémantiques, énonciatives et pragmatiques. Ainsi, le si préclassique, s’il partage des propriétés communes avec ses emplois modernes, s’en singularise toutefois sur quelques points dans la mesure où aucun emploi de la langue préclassique ne correspond parfaitement à son vis-à-vis de la langue actuelle. Malgré cette divergence, les emplois préclassiques du mot si tendent à s’écarter de ses usages de l’époque médiévale et à se rapprocher progressivement du système de la langue d’aujourd’hui. / This thesis is a part of researches that deals with linguistic change has two main objectives. Firstly, to elaborate a full description of all the usages of the French word “si” (if) in pre-classical French. Secondly, to indicate the forms its uses in the pre-classical era, which is no longer used where they give way to other forms and other usages in French modern language. The first part deals with the history of the term “si” (if), dating from the pre-classic era to our contemporary age, however the second and the third examines the adverbial and conjunctional uses of this word as it appears in the pre-classical language. This study, which relies on examples taken from old literary works written during the beginning, the middle and the end of this era from 1550 to 1650, is on line with the theorists of Discourse analysis approaches whose postulates make it possible to account for the different types of syntactic, semantic, enunciative and pragmatic analysis. Then, the pre-classic “si” (if), if he shares common properties with its modern usage, there it is worth noting that no use of the pre-classical language corresponds perfectly to its current language. Furthermore, the modern “si” (if) is closer in its usage to modern than the medieval one. Despite this divergence, the pre-classical uses of the word “si” (if) tend to deviate from its uses of the medieval period and move progressively towards the system of the language of today.

The present PhD thesis deals with nominal suffixal derivation in pre-classical French (about 1550-1610). Based both on traditional data collection and on available digital corpuses, especially Frantext, it first strives to define basic concepts such as language standard, problems of periodization, productivity, lexicalization, paradigmatization, panchronic validity of word-formation rules etc. On selected derivational patterns, it also tests the operationality of Optimality theory (OT) and other mechanisms (i.a. paradigmatization) in diachronic perspective. In several follow-up chapters, it then analyzes, from a diachronic point of view, a number of suffixes (-age, -aison, -ance, - ment, etc.).

La question du système des morphèmes de la négation simple ou composée en français suscite depuis toujours l’intérêt de la linguistique mais reste traitée de manière fluctuante par la linguistique diachronique qui l’étudie de façon inégale selon les périodes de l’histoire du français. En effet, concernant la période préclassique (1550-1630), si cette question est régulièrement abordée, aucune étude approfondie et détaillée du système de la négation n’existe à ce jour. Ainsi, ce travail s’inscrit au croisement d’une double visée de la recherche en linguistique : d’une part, celle d’un éclairage nouveau sur la question des marques grammaticales de la négation en français ; d’autre part, celle d’une réactualisation des questionnements sur la langue préclassique qui, longtemps négligée, jouit depuis une vingtaine d’années d’un regain d’intérêt croissant. La finalité de cette étude est de proposer une description précise de l’organisation et du fonctionnement du système des signes grammaticaux de la négation simple et de la négation composée (non, ne, ne…pas, ne…point, ne…jamais, etc.) à travers leurs divers emplois et leurs jeux de concurrence, tels qu’ils apparaissent dans un vaste corpus de textes de la période préclassique (1550-1630). Les méthodes de la morphosyntaxe et de la sémantique se sont avérées ici tout à fait adéquates, tout comme le cadre théorique de la psychomécanique du langage dont les postulats permettent de traiter en profondeur les enjeux et les subtilités impliqués par cette recherche. / The issue of simple and compound negation morphemes system in French language has always attracted a lot of interest. However, diachronic linguistics tackles this question in an uneven way according to different periods of French language’s history. Thus, although it is regularly mentioned, no detailed study about system of negation in pre-Classical French (1550-1630) exists so far.Therefore, this work has dual benefits for linguistics research: on the one hand it sheds a new light on the question of grammatical markers of negation in French; on the other hand it renews questions on the pre-Classical French language, which has been a topic of growing interest over the last two decades.The goal of this research is first to offer a detailed description of the organisation and operation of the system of simple and compound negation grammatical markers (non, ne, ne…pas, ne…point, ne…jamais, etc.) according to their different usages as they appear in a large text corpus of pre-Classical period (1550-1630). Their competition is also investigated. Morphosyntax and semantic methods turned out to be very efficient, as well as the theoretical framework of language psychomecanics whose postulates allow an in depth analysis of the issues and intricacies involved in this research.