No description available.

Film abstrait peint à la main sur de la pellicule recyclée, The Dante Quartet de Stan Brakhage est une adaptation personnelle de La divine comédie de Dante. Agissant comme un palimpseste où chaque couche révèle des éléments caractéristiques de l’oeuvre du cinéaste ainsi que l’influence de certains poètes et artistes, The Dante Quartet reprend certaines caractéristiques de l’ekphrasis. Dans ce mémoire, je travaille avec l’hypothèse heuristique que The Dante Quartet est une ekphrasis, et plus précisément une ekphrasis inversée. Ce mémoire s’intéresse à ce qui reste du pré-texte après son passage d’un média à un autre. Compte tenu du laps temporel qui sépare ces deux œuvres, il est aussi question d’influences contemporaines au travail de Brakhage. Le cinéaste basant son travail sur les phénomènes de vision (et plus particulièrement sur les visions hypnagogiques dans le cas qui m’occupe), le point sera fait sur la pensée de Brakhage à ce sujet, pensée qu’il expose dans son livre-manifeste Metaphors on Vision. / The Dante Quartet by Stan Brakhage is a personal adaptation of The Divine Comedy of Dante who took the form of an abstract movie made from hand painted images on recycled footage. Acting as a palimpsest in which each layer reveals characteristic features of Brakhage's work and the influence of different poets and artists on it, The Dante Quartet also includes some features of ekphrasis. In this thesis, I work with the heuristic assumption that The Dante Quartet is an ekphrasis, specifically a reverse ekphrasis. This thesis looks at what remains of the pre-text after the transfer from one medium to another. Given the temporal interval between these two works, I will also discuss of certain contemporary influences to Brakhage's work. As the filmmaker based his work on vision phenomena (especially on hypnagogic visions in that movie), the point will be made regarding Brakhage's thinking about this, thought that he describes in his manifesto Metaphors on Vision.

Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.

Thesis (Ph.D.) --University of Adelaide, Elder Conservatorium of Music, 2008. / "October 2007" Bibliography: leaves 168-170. Also available in print form.

The puzzle known as tangram was the inspiration behind this composition. Just as the seven pieces of the tangram create shapes, seven contrasting musical fragments appear as thematic materials from which to draw sonic imagery. Sapphic Fragments for two sopranos This composition was constructed from “broken” materials - an analogy for Sappho's dismembered poem. These broken materials were arranged in a pointillistic manner. I drew inspiration from M.C. Escher's works to vary thematic fragments of this work. M.O.N.T.A.G.E. for flute, clarinet, violin and cello This work was influenced by the video work, Wantee, by artist, Laure Prouvost. The title, M.O.N.T.A.G.E., is an acrostic, using words that show intimate relations with my composition: Multicolour, Oscillation, Numbers, Television, the Artist, Gleam, Etc. Once Emerged from the Grey of Night for flute, clarinet, horn, violin, viola and cello This sextet consists of numerous fragments with various colours and textures, forming a musical collage. A picture-poem by Paul Klee offered the starting point for this work. Scale-Free Spaces for flute, guitar, viola and cello I drew compositional ideas from the video installation, Irreversible, by artist Norimichi Hirakawa. This quartet was composed of brief fragments of dots, lines and movements. Various fragments were structured in forms of both simplicity and complexity. For the latter, ideas were drawn from the study in randomness, ‘Scale-Free Network’. String Quartet no. 3 This composition consists of four movements. In the first and third movements, the sound of rain drops and images of light through stained glass are explored. The second and fourth movements effect a structural metamorphoses of musical elements. I drew inspiration from Kafka's novella The Metamorphosis. A Thousand Plateaux for orchestra In this orchestral work, a variety of images of both plateaux and movements were invoked. The work was inspired by both the book, A Thousand Plateaux by Gilles Deleuze and Félix Guattari, and the Alhambra palace in Granada, Spain.

Formés à partir de brins d’ADN ou d’ARN riches en guanines, les quadruplexes résultent de l’empilement de tétrades de guanines constituées chacune par l’auto-assemblage dans un même plan de quatre guanines, stabilisées entre elles par un réseau de liaisons hydrogènes. En s’inspirant de cet édifice naturel, il est présenté au long de ce manuscrit de thèse la synthèse et l’étude de molécules de type TASQ (pour template-assembled synthetic G-quartet) hydrosolubles capables de former de manière intramoléculaire une tétrade de guanines synthétique : les DOTASQ, le PorphySQ et le PNADOTASQ. La première application développée pour ces composés est le ciblage des quadruplexes d’ADN et d’ARN, présents dans des régions clefs du génome (télomères, promoteurs d’oncogènes) et du transcriptome (5’-UTR et TERRA), et dont la stabilisation par un ligand pourrait ouvrir de nouvelles perspectives en terme de thérapie antitumorale ciblée. Les résultats in vitro sont présentés et permettent de démontrer que les TASQ hydrosolubles développés sont des composés offrant une bonne sélectivité pour les quadruplexes mais surtout une excellente sélectivité grâce à un mode d’action bioinspiré basé sur une reconnaissance biomimétique. La seconde application mise au point est l’utilisation des TASQ comme catalyseurs pour des réactions de peroxydation : leur architecture même leur permet de mimer l’activité catalytique de l’ADN (ou DNAzyme) ainsi que celle de protéines (enzyme) comme la horseradish peroxidase. Ce processus est dépendant de la formation intramoléculaire de la tétrade de guanines synthétique et ouvre de nombreuses perspectives en terme d’utilisation en biologie ainsi qu’en nanotechnologie. / Natural G-quartets, a cyclic and coplanar array of four guanine residues held together via Hoogsteen H-bond network, have recently received much attention due to their involvement in G-quadruplex-DNA, an alternative higher-order DNA structure strongly suspected to play important roles in key cellular events (chromosomal stability, regulation of gene expression). Besides this, synthetic G-quartets, which artificially mimic native G-quartets, have also been widely studied for their involvement in nanotechnological applications (i.e. nanowires, artificial ion channels, etc.). In contrast, intramolecular synthetic G-quartets, also named template-assembled synthetic G-quartet (TASQ), have been more sparingly investigated, despite a technological potential just as interesting.In this way, we designed and synthesized three series of innovative hydrosoluble TASQ: DOTASQ (for DOTA-Templated Synthetic G-Quartet), PorphySQ (containing a porphyrin template) and the most effective PNADOTASQ where PNA-guanine arms replace native DOTASQ alkyl-guanine arms. We report herein the results of both DNA and RNA interactions (notably their selective recognition of quadruplex-DNA according to a bioinspired process) and peroxidase-like hemin-mediated catalytic activities (either in an autonomous fashion as precatalysts for TASQzyme reactions, or in conjunction with quadruplex-DNA as enhancing agents for DNAzyme processes). These results provide a solid scientific basis for TASQ to be used as multitasking tools for bionanotechnological applications.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU). / Ce mémoire propose une analyse des dimensions formelle et mélodique du Quatuor à cordes no 2 (1928) du compositeur tchèque Leoš Janáček (1854-1928). Ces paramètres et leurs liens mutuels sont étudiés au moyen de la notion de « personnage musical », qui s’inspire du concept de «personnage rythmique» d’Olivier Messiaen. L’analyse de l’organisation mélodique dans l’ensemble du quatuor permet ainsi de démontrer comment des phrases mélodiques fortement caractérisées (les personnages musicaux) sont réitérées et articulées principalement par la juxtaposition à l’intérieur de chaque mouvement, donnant lieu à une forme originale et hautement répétitive. L’analyse paradigmatique de certaines sections formelles, ainsi que la mise en série de tous les personnages d’un même type, confirment l’importance de la répétition mélodique dans l’élaboration structurelle de l’œuvre. Par ailleurs, l’étude de la structure interne des personnages musicaux révèle que cette dernière résulte de la réitération de cellules mélodico-rythmiques. Ainsi, le même procédé de construction formelle par répétition et juxtaposition s’applique aussi bien au niveau de la succession des phrases mélodiques qu’à celui de leur structure interne. Les reprises des personnages musicaux s’élaborent comme le réaménagement de leurs cellules constitutives, donnant lieu à des structures mélodiques variées qui participent au renouvellement constant du discours musical, malgré son haut degré de répétitivité. / This thesis proposes an analysis of form and melody in Czech composer Leoš Janáček's (1854-1928) String Quarter No. 2 (1928). These parameters and their interconnectedness are studied using the notion of “musical character,” inspired by Olivier Messiaen's concept of “rhythmic character.” The analysis of the melodic organization within the entirety of the quartet allows us to demonstrate how strongly characterized melodic lines (the musical characters) are reiterated and predominantly articulated through juxtaposition within each movement, giving rise to an original and highly repetitive form. The paradigmatic analysis of certain formal sections, as well as the seriation of the same type of characters, confirms the importance of melodic repetition in the structural elaboration of a work. Furthermore, the study of the musical characters shows that their internal structure is itself based on the reiteration of melodico-rhythmic cells. Therefore, the same procedure of formal construction through repetition and juxtaposition applies just as well to the level of succession of melodic lines as to the construction of their internal structure. The recurrence of musical characters builds up like the rearrangement of their constituent cells, giving rise to varied melodic structures that take part in the constant renewal of the musical discourse, despite its high degree of repetitiveness.

This diploma thesis deals with Dmitry Shostakovich and his works. Its aim is to map the life of the composer and to further characterize his two works, Concerto for Violin and Orchestra No. 1 a minor op. 77 and String Quartet No. 8 in C minor op. 110. The thesis is divided into three chapters. The first chapter is about composer's life in the difficult living and creative conditions of the Soviet Union of that time and about selected compositions of his. In the following two chapters, the analyzes of the two above-mentioned works and the historical context in which they were create are presented. The thesis also provides an interpretative analysis of the Concerto for Violin and Orchestra No. 1 a minor, which is also an interpretative comparison of the concert recordings of David Oistrach and Julian Rachlin.

Music that is categorized as part of the Indianist movement in American music (ca. 1890-1925) typically evokes Native American culture, ritual, story, or song through compositional gestures. It may also incorporate Native American tunes. Amy Beach (1867-1944) is considered to have composed five Indianist works, but her Theme and Variations for Flute and String Quartet, op. 80 has not been included as one of them. This thesis rethinks categorization of the piece, seeking the "Indian" in it through examination of its gestures, instrumentation, and relationship to contemporary Indianist compositions.

British musical style changed dramatically after 1880 primarily due to factors which may be subsumed under the general heading of nationalism. This change from an essentially Germanic style has been termed the British musical renaissance by many writers on the subject. Within this new musical language, several distinctive substyles arose. One of these, British pastoral style, has been alluded to by Frank Howes and others, but these allusions do not contribute to an understanding of the works purportedly belonging to that style. It is the purpose of this study to define British pastoral style and examine its relation to the British musical renaissance. The method employed for defining style will be that of Jan LaRue's as described in his Guidelines for Style Analysis. What is British pastoral style? Judging from the literature, British pastoral style is a type of British music written between 1900 and 1950 which evokes pastoral images, especially those associated with the British landscape. A stylistic analysis of selected works will define British pastoral style through enumeration and discussion of the style's musical constituents. A more refined definition of British pastoral style is achieved by an in-depth analysis of E. J. Moeran's Fantasy Quartet, which represents a large portion of British pastoral music, that is, works featuring the oboe. Finally, an examination of British pastoral style's relation to the British musical renaissance will reveal reasons for this particular manifestation of British musical style.