Inventé en Autriche en 1829, l'accordéon est introduit en France dès l'année suivante et s'impose rapidement dans les salons bourgeois, avant de connaître un essor fulgurant dans les rues et les lieux de danse. Devenu un symbole de divertissement dès le début du siècle suivant, il a ensuite dû sortir des sphères intimes dans lesquelles il évoluait et se confronter à ses détracteurs pour conquérir petit à petit des mondes qui n'étaient pas siens. Dans une première partie historique, nous sommes revenue sur l'histoire de l'accordéon en France, afin de comprendre comment l'instrument a intégré peu à peu toutes les sphères musicales et quels ont été les acteurs de cette évolution. Si notre propos traite principalement de l'accordéon français, nous avons tout de même choisi d'étendre partiellement notre objet d'étude à la Russie car la confrontation de deux grandes écoles et de deux visions différentes de l'instrument nous semblait pertinente pour une meilleure compréhension de son histoire. De surcroît, si l'accordéon est apparu en Russie peu de temps après son émergence en France et que sa facture a évolué là-bas de façon similaire, l'instrument ne semble pas avoir autant souffert de cette dichotomie populaire/savant. De son intégration dans un effectif orchestral par Tchaïkovski en 1883 à son entrée dans les conservatoires de Moscou et de Saint-Pétersbourg dans les années vingt, il a ouvert plus rapidement des portes qui lui demeuraient encore fermées dans notre pays. L'intégration institutionnelle de l'accordéon marqua notamment un tournant important dans son histoire et nous avons choisi de mettre en lumière, dans notre deuxième chapitre, l'accordéoniste Jules Prez, professeur titulaire de la première classe d'accordéon dans un conservatoire français. Puis, nous avons dressé un état des lieux de la présence de l'instrument dans ce type d'établissement. Nous avons ensuite consacré notre troisième chapitre à l'étude de l'évolution du répertoire savant pour accordéon en France et en Russie, de l'éclosion des premières pièces originales jusqu'à nos jours. Dans notre dernière partie, nous avons enfin mené une brève analyse de plusieurs pièces pour accordéon solo, afin de montrer l'évolution de l'écriture accordéonistique, principalement dans le rôle dévolu au clavier main gauche. Si nous avons bien évidemment retenu des œuvres phares de la littérature, nous avons également choisi de traiter de compositions plus méconnues – voire oubliées – du répertoire. Cette présente thèse apporte donc des chiffres précis sur l'intégration actuelle de l'accordéon dans les conservatoires de France métropolitaine, appuyés par un catalogue de près de deux cent cinquante établissements ; une étude statistique sur l'évolution du répertoire savant depuis la composition des premières pièces originales pour l'instrument jusqu'à aujourd'hui, en France et en Russie, avec un catalogue de plus de mille trois cents œuvres ; et enfin, une série de témoignages de plusieurs acteurs et témoins de l'histoire de l'accordéon (compositeurs, concertistes, pédagogues et facteurs). / Invented in Austria in 1829, the accordion was introduced in France the following year and quickly established in bourgeois salons, before experiencing a boom in the streets and dancing places. Being an entertainment symbol from the beginning of the next century, the accordion then had to leave the intimates spheres in which he evolved and confront his detractors to conquer step by step worlds that were not his. In a first historical part, we came back to the progressive legitimization of the accordion in France, in order to understand how the instrument gradually integrated all the musical spheres and who were the actors of this evolution. If our subject deals mainly with the French accordion, we have nevertheless chosen to partially extend our object of study to Russia because the confrontation of two great schools and two different visions of the instrument seemed pertinent to us for a better understanding of its history. Moreover, if the accordion appeared in Russia shortly after its emergence in France and that it has evolved there in a similar way, the instrument doesn’t seem to have suffered as much from this popular/savant dichotomy. From his integration into an orchestral ensemble by Tchaikovsky in 1883 to his entry in the conservatories of Moscow and Saint-Petersburg in the 1920s, he opened more quickly doors that were still closed in our country. The institutional integration of the accordion marked an important turning point in its history and we have chosen to highlight, in our second chapter, the accordionist Jules Prez, professor of the first accordion class in a French conservatory. Then, we presented the current situation of teaching for the scholar year 2016-2017, in order to observe the current state of the presence of classical accordion in conservatories of metropolitan France. Then, we devoted our third chapter to the study of the evolution of the savant repertoire for accordion in France and in Russia, from the birth of the first original pieces to the present day. Finally, in our last part, we conducted a brief analysis of several pieces for solo accordion, to show the evolution of accordion writing, mainly in the role assigned to the left hand keyboard. While we have of course selected some of the most important literary works, we have also chosen to deal with more unknown or forgotten compositions of the repertoire. This thesis gives precise figures on the current integration of the accordion in the conservatories of metropolitan France, supported by a catalog of nearly two hundred and fifty establishments ; a statistical study on the evolution of the savant repertoire from the composition of the first original pieces for the instrument to the present day, in France and Russia, with a catalog of more than one thousand and three hundred works ; and finally, a series of testimonies by several actors and witnesses of the history of the accordion (composers, concert players, pedagogues and factors).

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Als Richard Wagner in Riga an seiner ersten großen Oper Rienzi arbeitete, war er der Ansicht, daß hier keine Möglichkeit bestehe, ein Bühnenwerk von solchen Anforderungen aufzuführen. Das Stadttheater, in dem von 1782 Opern- und Theatervorstellungen stattfanden, war seiner Meinung nach nicht geeignet, die "große tragische Oper", die zweifelsohne entscheidende Anklänge an die Große Oper Spontinis und Meyerbeers aufwies, aufzuführen. Lag es an der Räumlichkeit des Gebäudes oder spielten da andere Tatsachen ihre Rolle?

Wenn es sich also bei diesem dritten Jahrhundertviertel auch um keine abgeschlossene Epoche handelt, so verspricht seine Betrachtung doch Aufschluß über die institutionellen Rahmenbedingungen einer entscheidenden musikgeschichtlichen Weichenstellung: Gab es vor 1750 noch kein einziges musikalisches Bühnenwerk in russischer Sprache, so bringt das folgende Vierteljahrhundert nicht nur den ersten russischen Operntypus überhaupt – die russifizierte \"opera seria\" –, sondern auch seine Überwindung zugunsten der russischen komischen Oper, die die Produktion der folgenden Jahrzehnte dominiert und im 19. Jahrhundert zur russischen Nationaloper führt.

Der vorliegende Beitrag ist eine Skizze, die das bereits in der knappen Zeitspanne von 1881 bis etwa 1900 mehrfach wechselnde Verhältnis zwischen russischen und italienischen Operntruppen in Petersburg zu umreißen versucht.

The aim of this study is to explore to what extent and how different jazz programs on the college level include repertoire memorization in their curriculums. By repertoire memorization I mean the study and memorization of a certain amount of standard jazz repertoire, which include songs from the so-called great American songbook and tunes by jazz composers that are commonly played by jazz musicians around the world.  Whether the schools include repertoire memorization in their official curriculum or course descriptions or leave the subject to the discretion of the individual instructors is explored. Methods for teaching the subject, methods of assessing the students’ memorization, and views of different jazz department heads regarding the importance of the subject are also investigated. A sociocultural perspective is adopted in the study to see if academia attempts to address or perhaps recreate some of the sociocultural contexts that jazz learning existed in before jazz was included in music conservatories and universities. Eleven jazz programs and one jazz educator were asked to be a part of the study and of those, four schools responded. The data was collected in email correspondence with the four different department heads that were from the United States, Finland and Sweden (two schools). The results showed that the programs in Finland and the United States placed great importance on the subject and use required repertoire lists that the students were tested on. One of the Swedish programs had suggested repertoire lists for students without formal testing and the other Swedish program left the subject up to the individual instructors although the subject did seem to be encouraged. One unexpected observation from the repertoire lists used from the schools in Finland and the United States was that there were a surprisingly large number of songs that were not in common to both lists.

Am Anfang des 20. Jahrhunderts zählte das Breslauer Stadttheater, obwohl mit nur einer kleinen Orchester-Besetzung ausgestattet, zu den bemerkenswerten europäischen Opernbühnen. Es war aufgeschlossen für musikalische Novitäten. Als Beweis dafür sind u.a. die Breslauer Premieren Salome (1906) von Richard Strauss, L\'Orfeo (1913) von Claudio Monteverdi und die Uraufführung der Oper Eros und Psyche (1917) von Ludomir Różycki zu nennen.

Im 19. Jahrhundert hatte die Kultur in Polen die Aufgabe, die geistigen Traditionen zu festigen und dem Volk Kraft einzuflößen. Eine wichtige Rolle dabei spielte das Theater als Institution. Nach dem Novemberaufstand von 1831 blieb das Theater das einzige Zentrum der polnischen Kultur. Das Große Theater in Warschau übernahm gewisse Traditionen des früheren Nationaltheaters, das noch in der Regierungszeit des letzten polnischen Königs geschaffen wurde. Aber jetzt wurde es nicht mehr \"national\", sondern \"groß\" genannt.

In this essay I discuss a collection of seven piano pieces that I commissioned by four emerging young Colombian composers. It contains two parts: the first explains the importance of involving contemporary and world music in piano education and includes a brief history of music in Colombia. The second part discusses in detail each of the piano pieces and the contemporary and folkloric references that each one uses. It also illustrates the technical challenges that each piece presents and provides suggestions on how to practice each work. The two pieces by Castaño include taped electronic sound as part of them. The two files are attached with the paper. I have always believed in the responsibility and importance that teachers have in the creation of new music and discuss the importance of educators working with composers. I also explore the importance of teaching and learning world music and contemporary music from the beginning of a piano education. The commissions are the first step towards the creation of a piano pedagogical anthology of Colombian contemporary music for the late intermediate and early advanced level for which there is very little Colombian repertoire. Colombia's rich rhythms, dances and musical traditions are not reflected in the formal music education in the country. Heightened security and the resulting economic growth have brought significant changes over the last ten years to the country providing a moment of possibility to advance an agenda in musical education as well. If the piano teachers take charge of the education of the new generation, beyond simply teaching them how to play the piano, the classical music tradition in Colombia will grow at the same time that high quality music will be provided around the world to play.

This is a study of the reactions of high school students in Sweden when reading A Modest proposal (Swift, 1729). If they get the chance to write whatever they want about the text, what do they find important? This study emanates from Rosenblatts (2002) view of reading out of two different stances: the aesthetical and the efferent. The aesthetical mode is reading for pleasure and experiencing the text, whilst in efferent reading the reader is primarily focused on what he or she will carry away as information from the text (Rosenblatt). To be able to categorize the material from the students more properly, a different set of ideas about reading modes, obtained from Tengberg (2011), is also presented and used in this essay.