Thesis (M. Mus.)--University of Adelaide, Elder Conservatorium of Music, 1987. / Includes bibliographical references (leaves 99-100).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 115-118).

Erik Satie was active from the end of the nineteenth century to the beginning of the twentieth century in France. His style of composition is unique. Even though he is not classified to any denomination of music, the impact of the future can not be denied. First, the thesis investigates Satie's compositional background to understand his learning experience and personality. Second, according to the four periods classified by The New Grove Dictionary of Music and Musicians, his music style from the first period to the third period will be discussed. Finally, the piano solo works "Sports et Divertissements" (1914) which belongs to the third period will be studied carefully. "Sports et Divertissements" combines diverse artistic elements such as music, pictures, and poems. A further research through studying the relation between music and pictures, the combination between music and poems, the association between music and visual elements, and Satie's unusual harmony will be explored.

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

Thesis (D.M.A.)--University of Nebraska-Lincoln, 2009. / Title from title screen (site viewed October 13, 2009). PDF text: vii, 100 p. : ill., music ; 19 Mb. UMI publication number: AAT 3355615. Includes bibliographical references. Also available in microfilm and microfiche formats.

Reproduction de : Thèse de doctorat : Musicologie : Lyon 2 : 2002. / Thèse : 2002LYO20004. Titre provenant de l'écran-titre. Bibliogr.

Submitted by EDER WILKER BORGES PENA null (ederwbp@gmail.com) on 2017-07-19T02:55:36Z No. of bitstreams: 1 Satierik Musique. Da natureza da música humorística em Erik Satie.pdf: 13436858 bytes, checksum: 8c1e22998db1245a7682bec3d2880ad8 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-07-19T18:33:59Z (GMT) No. of bitstreams: 1 pena_ewb_me_ia.pdf: 13436858 bytes, checksum: 8c1e22998db1245a7682bec3d2880ad8 (MD5) / Made available in DSpace on 2017-07-19T18:33:59Z (GMT). No. of bitstreams: 1 pena_ewb_me_ia.pdf: 13436858 bytes, checksum: 8c1e22998db1245a7682bec3d2880ad8 (MD5) Previous issue date: 2017-07-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O seguinte trabalho tem por objetivo abordar a natureza da música humorística em Erik Satie, sua aplicação, função e caráter estético. Para isto, através de sua obra musical, seus escritos, estudos acadêmicos realizados sobre o compositor, relatos e críticas musicais da época, buscou-se, inicialmente, reconstruir a lógica pessoal e composicional do compositor, ambas inerentes. Em seguida, a fim de tornar possível uma análise adequada do humor em suas obras, procurou-se, através da reflexão existente sobre o tema no âmbito da filosofia, atribuir uma definição clara e prática da natureza do humor, do riso, assim como, determinar a gênese de sua má reputação. A partir disto, com base no conceito de humor e em textos musicológicos sobre a música humorística, desenvolvemos um aparato técnico de reconhecimento e aplicabilidade do humor no âmbito da música. Com este referencial teórico em mãos, fez-se possível a análise da aplicação e função do humor em quinze conjuntos de peças humorísticas do compositor: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d’un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; e Sonatine Bureaucratique. Em seguida, através de artigos humorísticos publicados por Satie e de críticas publicadas acerca do compositor, foi realizada uma análise comparativa da função de contracrítica ao cânone e à tradição desempenhada pelo humor de Satie. Desta forma, pôde-se desmistificar o caráter superficial e inofensivo e a ideia de excentricidade, amadorismo e insensatez que trespassa sua prática humorística, tanto musical quanto textual. Por fim, através de todo o trabalho desenvolvido, averiguou-se a hipótese inicial, na qual a obra de Satie, em função do eleito aspecto do humor, entre outros, é, de fato, um experimentalismo avant la lettre em seu caráter estético. / The following work aims to approach the nature of Erik Satie‟s humorous music, its application, role played and aesthetical disposition. In order to do this, we sought, initially, through his musical works, writings, academical studies about the composer, reports and musical criticism at the time, to rebuild his personal and compositional logic, both inherent. Thereafter, for the purpose of making an appropriated analysis of humor in his works, we searched, through the existing reflection on the subject in the field of philosophy, to ascribe a clear and practical definition upon the nature of humor, laughter, as well as to determine the genesis of its bad reputation. Thus, based on the concept of humor and in musicological texts about humorous music, we developed a technical apparatus of recognition and application of humor in the musical‟s scope. With that theoretical referential in hands, it was made possible an analysis of the application and function of humor in fifteen groups of humorous pieces written by the composer: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d‟un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; and Sonatine Bureaucratique. Subsequently, through humorous articles published by Satie and critics published on the composer, we made a comparative analysis of the countercriticism role played by Erik Satie‟s humor against the canon and tradition. Thus, we could demystify the superficial and innocuous character and the idea of eccentricity, amateurism and insanity which trespass his humorous practice, the musical and textual as well. Last, but not least, throughout all the work developed, we verified the initial hypothesis in which Satie‟s oeuvre, due to the elected aspect of humor, among others, is, indeed, an experimentalism avant la lettre in its aesthetical disposition.

No description available.

Erik Satie (1866-1925), who lived between the 19th century and the 20th century, was well known for his eccentric character and always gave his works odd titles that seemed almost derisive and ridiculous. With unique and creative ideas, Satie eagerly led the French composers to escape the constraint of Romanticism and Impressionism, and did a lot to promote the formation of music style in France after World War I. Created with simplicity and the pure idea, his works make him play an important role in the music history. Based on Satie's works of piano duets, this study mainly investigates the space usage in music works. To do so, this essay is divided into three parts. First of all, the first part discusses his creation background and explores his educational background as well as his unique personality. In addition, the second part introduces the creation background of these three sets of piano duets. At last, the third part tries to illustrate the space usage in music works with these three piano duets in terms of texture, forms, rhythm, dynamics, tonality, expression marks and borrowed melody.

Not available / text