Cette recherche de thèse vise à reconstruire des éléments de genèse de la composition électroacoustique de Pierre Boulez dans les années cinquante à travers l’étude d’esquisses et de manuscrits conservés au Paul Sacher Stiftung. Notre thèse s’est fondée sur deux approches complémentaires : la reconstitution du contexte musical, esthétique et historique et l’étude des esquisses. Dans la Partie I, nous avons tout d’abord examiné les Fonds Pierre Schaeffer afin de retracer le déroulement du premier stage de musique concrète au GRMC. La réorganisation des esquisses et la reconstitution du processus de montage sonore nous ont permis de souligner que la composition des deux études de musique concrète (1951-52) était une étape indispensable pour le développement de la pensée sérielle de Boulez dans le sérialisme intégral. Dans la Partie II, nous avons mis en relation la composition de Symphonie mécanique (1955) et Poésie pour pouvoir (1958) avec le concept de « sons organisés » dans Déserts (1954) d’Edgard Varèse en traçant la transition de la musique concrète à la musique mixte. Boulez y a développé la notion de « blocs sonores » originairement exploitée dans l’écriture instrumentale et orchestrale. Notre étude a éclairé que Boulez avait procédé par tâtonnements de façon cohérente et développée afin de réaliser l’intégration des mondes instrumentaux et électroacoustiques. En ce sens, il est raisonnable que Poésie pour pouvoir soit considérée comme l’origine de la « musique mixte » chez Pierre Boulez. Par ailleurs, cette tentative de confrontation était inévitable pour Boulez afin de réaliser la transmutation musicale de l’exorcisme corporel du poème de Henri Michaux. / This research aims to reconstruct the compositional process of Pierre Boulez’s electroacoustic compositions of the fifties through the study of sketches and manuscripts preserved at the Paul Sacher Stiftung. Our thesis was based on two complementary approaches: the reconstruction of the musical, aesthetic and historical context and study of the sketches. In Part I, we first examined the Pierre Schaeffer archives in order to explore the program of the first musique concrète workshop at the GRMC. The eorganization of the sketches and the reconstruction of the process of sound synthesis allowed us to emphasize that Boulez’s composition of the two musique concrète studies (1951-52) was an indispensable stage for the development of his concept of serialism. In Part II, we related the composition of Symphonie mécanique (1955) and Poésie pour pouvoir (1958) to Edgard Varèse's concept of "Organized sound" in Déserts (1954) by tracing the transition of musique concrète to electroacoustic music. Boulez developed in his electroacoustic pieces the notion of "sound blocks" originally used in instrumental and orchestral pieces. Our study reveals that Boulez proceeded by trial and error in a coherent and developed way in order to realize the integration of the instrumental and electroacoustic sounds. In this sense, it is reasonable for Poésie pour pouvoir to be considered as the origin of mixed music in Pierre Boulez’s oeuvre. This confrontation of the instrumental and electroacoustic sounds was essential for Boulez’s realization of a musical translation of Henri Michaux's poem.

O principal objetivo desse trabalho é observar como o compositor italiano Luigi Dallapiccola trabalha, cria e manipula o material musical, as séries e seus desdobramentos, na composição da ópera Il Prigioniero. Por se tratar de uma obra conduzida por um percurso dramático, a análise também envolve, quando necessário, aspectos narrativos, dramatúrgicos, cenográficos e, consequentemente, psicológicos - ao abordar os personagens e suas interações na história. Durante a pesquisa, foram revelados processos composicionais idiossincráticos na maneira como Dallapiccola trabalha o serialismo, em particular, quando o compositor deriva coleções octatônicas de séries dodecafônicas, criando complexos harmônicos e melódicos, inter-relacionando materiais de natureza aparentemente antagônicas. A fim de demonstrar com a maior clareza possível a diversidade de materiais e técnicas utilizadas na criação da ópera, diferentes ferramentas analíticas foram aplicadas, muitas vezes de maneira complementar, durante as análises musicais. O trabalho está dividido em três capítulos sequenciais, além da introdução e das conclusões finais: o primeiro capítulo, introduz, de modo geral, a obra e o desenvolvimento técnico do compositor durante sua vida profissional; o segundo capítulo, aborda a construção dos materiais que alicerçam a composição da ópera; e o terceiro capítulo, expõe a maneira como o compositor cria e desenvolve a composição dramático-musical da ópera. / The main goal of this work is observing how the Italian composer Luigi Dallapiccola works, creates and manipulates the musical material, the series and its unfolding, in the composition of the opera \"Il Prigioniero\". Because it is a dramatic work, the analysis also involves, when necessary, narrative, dramaturgical, scenographic and, consequently, psychological aspects - in approaching the characters and their interactions in history. During the research, idiosyncratic compositional processes were revealed in the way Dallapiccola works serialism when the composer derives octatonic collections from dodecaphonic series, creating harmonic and melodic complexes, interrelating antagonistic materials. To demonstrate as clearly as possible, the diversity of materials and techniques used in the creation of the opera, different analytical tools were applied, often in a complementary way, during the musical analyzes. The work is separated into three sequential chapters, in addition to the introduction and final conclusions: the first chapter introduces, in a general way, the work and technical development of the composer during his professional life; The second chapter deals with the construction of the materials that sustain the composition of the opera; And the third chapter, exposes the way the composer creates and develops the dramatic-musical composition of opera.

In this mini-dissertation the writer analyzed Hubert du Plessis’ Drie Stukke vir Fluit en Klavier, opus 25. He researched why Du Plessis uses three shorter series of different lengths. The relationship between the series in this work was researched, as well as the characteristic applications of the series. It was found that Du Plessis uses shorter series of different lengths as his compositional tool, because they are manageable and can be manipulated for any specific requirement or need. With fewer notes in a series, if chromatic notes are avoided, the music will lean itself to an impression of tonality. It is interesting for the researcher how the feeling of tonality was portrayed through the use of different series and hence the given dissertation was researched. In true atonal music, composers usually disregard third and halftone intervals. Yet, tritones are often used in atonal music. In retrospect, Du Plessis uses more third and halftone intervals than tritones. There is only one tritone in this work (found in the second series), as opposed to the use of third and halftone intervals throughout all three series. The feeling of tonality is further enhanced through fragments of the series that one can place in a specific key. With this in mind, it is evident to get the impression of tonality as a result of fragmentation from the series. Another aspect of tonality that cannot be ignored was the composer’s use of bitonality. The serial techniques that Du Plessis used, was also researched. It was found that Du Plessis did not make use of any new innovations. All these techniques were already used by composers like Schoenberg, Berg, Webern and Dallapiccola. The most important techniques that Du Plessis used, were: <ul> <li>The use of all the forms of the series and their transpositions</li> <li>Overlapping series (that is when the last note of the series, becomes the first note of the next series)</li> <li>Combination of series (superimposition)</li> <li>The dividing of series between the instruments</li> <li>The repetition of notes in a series before all the notes have been used</li> <Li>Sometimes notes are put in a different order, thereby losing the correct order of the series.</li></ul> / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted

Ce mémoire analyse, à l’aide du Sérialisme Harmonique, un processus de gémination consonantique s’opérant à travers des frontières de morphème en groenlandais de l’ouest. Une partie intégrante de cette analyse se base sur les restrictions sur les formes de surface des consonnes géminées et le comportement général des consonnes chez les frontières de morphème. Le processus de gémination discuté implique l’assimilation consonantique régressive quand un affixe qui commence par une consonne se rattache à un stem qui se termine par une consonne. Un processus d’effacement consonantique en fin de stem s’opère dans le même contexte. Ces deux processus empêchent des groupes consonantiques d’apparaître dans des représentations de surface. Bien que la distribution de ces processus ne soit pas évidente, cette analyse propose une explication basée sur des mores flottantes qui déclenchent l’assimilation. En outre, l’analyse implémente une série d’opérations qui imposent des restrictions sur les représentations de surface des consonne géminées et établit une relation formelle entre ces représentations et leur position dans un morphème. L’objectif de ce mémoire est de proposer un exemple de comment une analyse plus moderne et unifiée de la grammaire du groenlandais pourrait être accomplie par le Sérialisme Harmonique. Alors que la majorité des travaux antérieurs sur la phonologie groenlandaise sont entièrement descriptifs ou impliquent des règles de réécriture ne pouvant pas être formellement reliées, ce mémoire suggère une approche à l’aide d’un cadre théorique sérial et basé sur des contraintes comme une option viable. / This thesis proposes an analysis in Harmonic Serialism of a cross-morpheme consonant gemination process in West Greenlandic. Central considerations to the analysis are surface restrictions on geminate consonants as well as general consonant behavior at morpheme boundaries. The gemination process at hand involves regressive consonant assimilation when a consonant-initial affix is introduced to consonant-final stem. This operates alongside a process of stem-final consonant deletion, with both processes serving as mutually exclusive strategies to prevent heterorganic consonant clusters from surfacing in West Greenlandic. While the distribution of these processes is not surface-apparent, it is explained through the proposal of unattached moras that function as triggers for assimilation. Additionally, the analysis implements a set of operations that impose restrictions on the output forms of geminate consonants and establishes a formal relationship between these output forms and their position within a morpheme. The objective of this thesis is to propose an example of how a more modern, unified analysis of West Greenlandic grammar could be modeled in Harmonic Serialism. While the majority of earlier works on West Greenlandic phonology are either purely descriptive in nature or involve rewrite rules that cannot share a formal relation or output goal, this thesis proposes an approach within a serial, constraint-based framework as a viable alternative.

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