Dans cette dissertation, je présente trois pièces sur des thèmes religieux composées au cours de ma maîtrise, ainsi que leur analyse : Psalmus 150 pour chœur de jeunes à trois voix, chœur d'adultes à huit voix et orgue ou piano ; Quatuor à Cordes sur la vie de Saint Jean-Paul II ; et la Symphonie « La Rédemption » pour orchestre et chœur. Malgré les particularités de chacune, elles présentent des aspects communs. L'idée principale des compositions fut d'éviter la rupture avec la tradition tout en apportant des nouvelles idées aux pièces, et de souligner l'importance de ma recherche sur la beauté. À cet égard, certaines techniques contemporaines, ainsi que les sonorités médiévales des quintes et octaves parallèles, furent utilisées en accord avec un langage tonal / modal qui demeure la base des trois compositions. Le chant Grégorien fut aussi une importante caractéristique de ces compositions. Pour mieux comprendre les analyses des œuvres, deux techniques seront expliquées, la douce toile de dissonances linéaires et l'harmonie d'accords parfaits majeurs. L'analyse de chaque pièce est divisée en deux parties. La première est une vision générale et la deuxième est plus détaillée. À la fin, les connaissances acquises par la composition des ces œuvres seront résumées et l'importance intemporelle de la beauté sera réaffirmée. / In this dissertation, I present three pieces on religious themes composed during my master’s degree as well as their analysis: Psalmus 150 for three-voice youth choir, eight-voice adult choir and organ or piano; String Quartet on the life of Saint John Paul II; and Symphony “The Redemption” for orchestra and choir. Despite the particularities of each one, they present common aspects. The main compositional idea was to avoid rupture with tradition, whilst bringing new ideas into the pieces, as well as to highlight the importance of my research on beauty. For this purpose, some contemporary techniques as well the medieval sonorities of parallel fifths and octaves were used in consonance with a modal/tonal language, which remains the framework of the three pieces. Gregorian chant is also an important characteristic of these compositions. In order to better understand the analysis of the pieces, two techniques are explained, the soft web of linear dissonances and the perfect major chord harmony. The analysis of each piece is divided into two parts. The first is an overview and the second a more detailed analysis. At the end, the knowledge obtained from composing these pieces will be summarized, and the timeless importance of beauty will be reaffirmed.

This dissertation deals with the aesthetic opinions of conductor Rafael Kubelík as evidenced in the materials available in archives and cultural institutions in Munich as well as in the recollections of Bavarian Radio Symphony Orchestra members from the time of Kubelík's direction of that ensemble. The study includes an overview with commentary of the repertoire performed by Kubelík in subscription concerts by the Bavarian Radio Symphony Orchestra, which along with Kubelík's comments and in comparison with the programme of other guest conductors indicates Kubelík's programming activities and probably his musical preferences. This study also discusses Kubelík's interest in opera and his ideas on its staging and production. Other chapters deal with Kubelík's qualities as a conductor and the specific demands he made on his performers. It also includes a curriculum vitae of Rafael Kubelík and a number of recollections by people who knew him, all of which serve to fill out the overall picture of Kubelík's personality.

Lorsque l’on évoque la symphonie en France au milieu du XIXe siècle, on ne retient généralement que le nom de Berlioz et l’on insiste sur une désaffection du genre tant de la part des compositeurs que du public. Pourtant, malgré un recul des créations, malgré le défi posé par l’héritage beethovénien et alors même que le contexte musical favorise principalement la scène lyrique, une soixantaine de compositeurs continuent à s’intéresser au domaine exclusivement instrumental de la symphonie et assurent le maintien d’un genre entre 1830 et la génération franckiste. Au-delà de son aspect historique, cette thèse vise à cerner les caractéristiques stylistiques de tout un ensemble d’œuvres, à les situer dans l’évolution d’un genre en les analysant à la fois par rapport aux normes viennoises, aux productions contemporaines germaniques et aux avancées plus générales du langage. Après une première partie centrée sur le contexte musical qui a vu naître ces symphonies, les enjeux pédagogiques qu’elles suscitent et le rôle décisif des sociétés orchestrales, l’analyse entre au cœur des partitions dans une démarche comparative à la fois quantitative et qualitative, depuis l’agencement interne des plus petits éléments musicaux jusqu’à la réalisation de la grande forme. À travers l’observation des pratiques globales et individuelles qui concourent à une réévaluation des normes, à la refonte ponctuelle mais progressive des cadres, se dégagent l’autonomie d’un genre par rapport à son modèle germanique et la permanence d’une école symphonique française tout au long du XIXe siècle. / When one deals with the symphony in mid-19th century France only the name of Berlioz comes to mind and one emphasizes a disaffection for the genre among composers as well as audiences. However, despite fewer creations, despite the awe-inspiring Beethovenian legacy and despite the overwhelming place held by the operatic scene during those decades, some sixty composers around Hector Berlioz still devoted themselves to the purely instrumental genre and achieved the development of the symphony between 1830 and the Franckist generation. Beyond its historical relevance, this doctoral dissertation aims at defining the stylistic features of a corpus of symphonic works and at placing them in the evolution of the genre by analyzing them in relation to Viennese standards, to contemporary Germanic productions and to the more general innovations in the musical language. After first focusing on the musical context in which these symphonies were composed, on the pedagogic stakes entailed and on the decisive role of orchestral societies, the analysis will then closely examine the scores in a quantitative and qualitative comparative approach moving from the internal construction of the smallest musical elements to the completion of the large form. The autonomy of a genre distinct from its Germanic model and the permanence of a French symphonic school throughout the 19th century will emerge thanks to the observation of collective and individual practices which contributed to a reassessment of norms, to a selective but gradual revision of musical forms.

Günter Kochan (1930-2009) war einer der erfolgreichsten und bekanntesten Komponisten der DDR. Er hinterließ über 200 Werke, darunter zahlreiche bedeutende sinfonische Arbeiten, die jedoch nach der Wende größtenteils in Vergessenheit gerieten. Kochan galt als staatsnaher Komponist und wurde dementsprechend nach 1990 an den Rand gedrängt, seine Musik wurde nun vor allem nach ihrem politischen Inhalt hinterfragt und geriet aufgrund ausbleibender Aufführungen und Neuveröffentlichungen alsbald in Vergessenheit. Die Arbeit behandelt das Spannungsfeld zwischen auferlegten kulturpolitischen Regeln und individuellem künstlerischen Entfaltungsstreben vor dem Hintergrund der offiziellen Leitlinie des "sozialistischen Realismus" in der DDR. Sie beleuchtet dieses exemplarisch anhand der Biographie und des Schaffens von Günter Kochan. Nach einer allgemeinen Darstellung der DDR-Kulturpolitik von 1949-1990, einer Kurzbiographie und einem Überblick über Kochans Gesamtschaffen konzentriert sich die Arbeit auf die Analyse und den Vergleich der 2. und 6. Sinfonie (entstanden 1969 und 2006), die als Beispiele für Kochans musikalische Hauptdomäne herangezogen werden und an denen typische Merkmale seiner Musik im mittleren und im greiften Stil vergleichend herausgearbeitet werden. Die Arbeit baut auf mehreren Interviews mit Vertrauten Kochans auf und nutzt zudem bisher wenig bis gar nicht beachtete Quellen sowie bisher unveröffentlichte Werke Kochans. Sie ist die erste Gesamtdarstellung zu Leben und Werk des Komponisten und enthält zudem das erste vollständige, systematisch und chronologisch geordnete Werkverzeichnis der Kompositionen Günter Kochans sowie eine Übersicht der derzeit verfügbaren Tondokumente.

Begun in Berlin, completed in exile in Paris, and premiered on both sides of the Atlantic, Kurt Weill's Symphony No. 2 sets up the symphony circa 1933 as both resolutely international and messily interdisciplinary, and spotlights how fundamentally a transnational approach is needed in order more comprehensively to understand both the genre and the localised political and social issues shaping symphonic discourse at this time. Taking the issues raised by Weill's symphony as a starting point, and borrowing fine-grained, historically synchronic approaches from year studies, this thesis examines the symphonic genre in 1933 through four other case-study works composed or premiered in that year. I thus position the symphony as a site of cultural exchange between and within the major contexts traversed by Weill and his work: Berlin, Paris, and a messier U.S. East-Coast nexus that centres on New York and Boston, via Mexico City, looking in detail at Hans Pfitzner's Symphony in C-sharp minor, Roy Harris's Symphony 1933, Aaron Copland's Short Symphony, and Arthur Honegger's Mouvement Symphonique nr. 3. The Germanic genre has long been associated with nationalism, monumentality, and power display, wedded to Germanic Enlightenment philosophical discourses about universalised selfhood and its relationship to society. 1933, the year in which Hitler took power and the Great Depression reached its peak, was politically and economically fraught, concentrating social questions that intersect with symphonic issues about power, selfhood, space, and mass audiences. It is also a neglected year within symphonic surveys. The thesis combines archival work and hermeneutic perspectives to foreground those social and political discourses historically associated with the genre. I argue for the significance of their differing legacies in co-existent contexts, for the complicity of the genre in establishing and perpetuating political and colonial hegemonies, and for the urgency of rethinking the symphony as an international phenomenon.

O presente trabalho tem por objetivo estudar a construção metaficcional de O triunfo da Morte, romance do escritor português Augusto Abelaira. No primeiro momento da pesquisa é realizado um panorama da obra do romancista, a fim de verificar as diferentes características que o questionamento metalingüístico assume ao longo de sua produção. Nesse percurso pela obra de Abelaira são propostas três fases significativas, cada qual com abordagens metaficcionais próprias. É proposto um viés crítico diferenciado, que afasta Abelaira da linha do nouveau roman francês e problematiza sua postura neo-realista. No segundo momento da pesquisa a análise se centra em O triunfo da Morte, estruturando-se em torno de três aspectos fundamentais: multiplicidade, literatura e leitor. Quanto à multiplicidade da narrativa, verifica-se no romance uma construção sinfônica e contrapontística, que lhe confere o caráter de enciclopédia de procedimentos estilísticos e temáticos. A literatura e seus diferentes papéis são discutidos por meio da aproximação entre narrativa e jogo (tomando o blefe como recurso utilizado pelo narrador) e do confronto entre diversas concepções acerca da criação literária. Um dos temas destacados quanto à função e ao processo de criação da literatura é o conflito entre cálculo e inspiração. A análise do terceiro aspecto apontado, o leitor, dá-se a partir de figuras recorrentes na obra abelairiana: amante, mulher de branco e morte, cada uma indicando um aspecto diferenciado que o interlocutor de Abelaira assume na leitura do romance. A análise da multiplicidade, das concepções de literatura e do papel do leitor em O triunfo da Morte conduz a uma releitura crítica do conjunto da produção de Augusto Abelaira. A partir da presente pesquisa, pode-se concluir que O triunfo da Morte não é apenas uma sinfonia, mas também uma enciclopédia de criação literária (compilação caótica e parodística de temáticas, questionamentos, personagens, pontos de vista, linguagens e estilos) e manifesto do autor. / The object of this paper is to discuss the metafictional construction of O triunfo da Morte ("The triumph of Death"), a novel by Portuguese writer Augusto Abelaira. At first, the research brings a broad view of the author's work, in order to observe the different features shown by metalinguistic questioning throughout his production. On this stroll through Abelaira's work, three significant periods are proposed, each with its own metafictional approach. A new critical standpoint is also proposed, distancing Abelaira from the French nouveau roman line and problematizes his neo-realistic position. In the second part of the research the analysis is centered in O triunfo da Morte, basing on three fundamental aspects: multiplicity, literature and reader. Concerning the multiplicity of the narrative, the novel presents a symphonic and counterpointing construction, which gives it the status of an encyclopedia of stylistic and thematic procedures. Literature and its different roles are discussed through the approximation between narrative and game (using the bluff as a narration resource) and the confrontation of diverse conceptions about literary creation. A highlighted theme on the function and creation process of literature is the conflict between calculation and inspiration. The analysis of the third pointed aspect, the reader, is done through recurring characters in Abelaira's work: lover, woman in white and death, each indicating a different aspect assumed by Abelaira's interlocutor while reading the novel. The analysis of multiplicity, of concepts on literature and of the reader's role in O triunfo da Morte leads to a critical review of Augusto Abelaira's overall work. After the present research, one can conclude that O triunfo da Morte is not only a symphony, but also an encyclopedia of literary creation (a chaotic and parodical compilation of themes, questionings, characters, points of view, languages and styles) and a writer's manifesto.

O presente trabalho tem por objetivo estudar a construção metaficcional de O triunfo da Morte, romance do escritor português Augusto Abelaira. No primeiro momento da pesquisa é realizado um panorama da obra do romancista, a fim de verificar as diferentes características que o questionamento metalingüístico assume ao longo de sua produção. Nesse percurso pela obra de Abelaira são propostas três fases significativas, cada qual com abordagens metaficcionais próprias. É proposto um viés crítico diferenciado, que afasta Abelaira da linha do nouveau roman francês e problematiza sua postura neo-realista. No segundo momento da pesquisa a análise se centra em O triunfo da Morte, estruturando-se em torno de três aspectos fundamentais: multiplicidade, literatura e leitor. Quanto à multiplicidade da narrativa, verifica-se no romance uma construção sinfônica e contrapontística, que lhe confere o caráter de enciclopédia de procedimentos estilísticos e temáticos. A literatura e seus diferentes papéis são discutidos por meio da aproximação entre narrativa e jogo (tomando o blefe como recurso utilizado pelo narrador) e do confronto entre diversas concepções acerca da criação literária. Um dos temas destacados quanto à função e ao processo de criação da literatura é o conflito entre cálculo e inspiração. A análise do terceiro aspecto apontado, o leitor, dá-se a partir de figuras recorrentes na obra abelairiana: amante, mulher de branco e morte, cada uma indicando um aspecto diferenciado que o interlocutor de Abelaira assume na leitura do romance. A análise da multiplicidade, das concepções de literatura e do papel do leitor em O triunfo da Morte conduz a uma releitura crítica do conjunto da produção de Augusto Abelaira. A partir da presente pesquisa, pode-se concluir que O triunfo da Morte não é apenas uma sinfonia, mas também uma enciclopédia de criação literária (compilação caótica e parodística de temáticas, questionamentos, personagens, pontos de vista, linguagens e estilos) e manifesto do autor. / The object of this paper is to discuss the metafictional construction of O triunfo da Morte ("The triumph of Death"), a novel by Portuguese writer Augusto Abelaira. At first, the research brings a broad view of the author's work, in order to observe the different features shown by metalinguistic questioning throughout his production. On this stroll through Abelaira's work, three significant periods are proposed, each with its own metafictional approach. A new critical standpoint is also proposed, distancing Abelaira from the French nouveau roman line and problematizes his neo-realistic position. In the second part of the research the analysis is centered in O triunfo da Morte, basing on three fundamental aspects: multiplicity, literature and reader. Concerning the multiplicity of the narrative, the novel presents a symphonic and counterpointing construction, which gives it the status of an encyclopedia of stylistic and thematic procedures. Literature and its different roles are discussed through the approximation between narrative and game (using the bluff as a narration resource) and the confrontation of diverse conceptions about literary creation. A highlighted theme on the function and creation process of literature is the conflict between calculation and inspiration. The analysis of the third pointed aspect, the reader, is done through recurring characters in Abelaira's work: lover, woman in white and death, each indicating a different aspect assumed by Abelaira's interlocutor while reading the novel. The analysis of multiplicity, of concepts on literature and of the reader's role in O triunfo da Morte leads to a critical review of Augusto Abelaira's overall work. After the present research, one can conclude that O triunfo da Morte is not only a symphony, but also an encyclopedia of literary creation (a chaotic and parodical compilation of themes, questionings, characters, points of view, languages and styles) and a writer's manifesto.

O presente trabalho tem por objetivo estudar a construção metaficcional de O triunfo da Morte, romance do escritor português Augusto Abelaira. No primeiro momento da pesquisa é realizado um panorama da obra do romancista, a fim de verificar as diferentes características que o questionamento metalingüístico assume ao longo de sua produção. Nesse percurso pela obra de Abelaira são propostas três fases significativas, cada qual com abordagens metaficcionais próprias. É proposto um viés crítico diferenciado, que afasta Abelaira da linha do nouveau roman francês e problematiza sua postura neo-realista. No segundo momento da pesquisa a análise se centra em O triunfo da Morte, estruturando-se em torno de três aspectos fundamentais: multiplicidade, literatura e leitor. Quanto à multiplicidade da narrativa, verifica-se no romance uma construção sinfônica e contrapontística, que lhe confere o caráter de enciclopédia de procedimentos estilísticos e temáticos. A literatura e seus diferentes papéis são discutidos por meio da aproximação entre narrativa e jogo (tomando o blefe como recurso utilizado pelo narrador) e do confronto entre diversas concepções acerca da criação literária. Um dos temas destacados quanto à função e ao processo de criação da literatura é o conflito entre cálculo e inspiração. A análise do terceiro aspecto apontado, o leitor, dá-se a partir de figuras recorrentes na obra abelairiana: amante, mulher de branco e morte, cada uma indicando um aspecto diferenciado que o interlocutor de Abelaira assume na leitura do romance. A análise da multiplicidade, das concepções de literatura e do papel do leitor em O triunfo da Morte conduz a uma releitura crítica do conjunto da produção de Augusto Abelaira. A partir da presente pesquisa, pode-se concluir que O triunfo da Morte não é apenas uma sinfonia, mas também uma enciclopédia de criação literária (compilação caótica e parodística de temáticas, questionamentos, personagens, pontos de vista, linguagens e estilos) e manifesto do autor. / The object of this paper is to discuss the metafictional construction of O triunfo da Morte ("The triumph of Death"), a novel by Portuguese writer Augusto Abelaira. At first, the research brings a broad view of the author's work, in order to observe the different features shown by metalinguistic questioning throughout his production. On this stroll through Abelaira's work, three significant periods are proposed, each with its own metafictional approach. A new critical standpoint is also proposed, distancing Abelaira from the French nouveau roman line and problematizes his neo-realistic position. In the second part of the research the analysis is centered in O triunfo da Morte, basing on three fundamental aspects: multiplicity, literature and reader. Concerning the multiplicity of the narrative, the novel presents a symphonic and counterpointing construction, which gives it the status of an encyclopedia of stylistic and thematic procedures. Literature and its different roles are discussed through the approximation between narrative and game (using the bluff as a narration resource) and the confrontation of diverse conceptions about literary creation. A highlighted theme on the function and creation process of literature is the conflict between calculation and inspiration. The analysis of the third pointed aspect, the reader, is done through recurring characters in Abelaira's work: lover, woman in white and death, each indicating a different aspect assumed by Abelaira's interlocutor while reading the novel. The analysis of multiplicity, of concepts on literature and of the reader's role in O triunfo da Morte leads to a critical review of Augusto Abelaira's overall work. After the present research, one can conclude that O triunfo da Morte is not only a symphony, but also an encyclopedia of literary creation (a chaotic and parodical compilation of themes, questionings, characters, points of view, languages and styles) and a writer's manifesto.

Orientador: Eduardo Augusto Östergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T23:43:20Z (GMT). No. of bitstreams: 1 Arrais_GersonStencel_M.pdf: 4019246 bytes, checksum: 050b7c35c73fecadbe563308795123fd (MD5) Previous issue date: 2011 / Resumo: O presente estudo tem por objetivo principal a apresentação de aspectos interpretativos concernentes ao preparo, pelo regente, da First Suite in Eb op. 28 No. 1 de Gustav Holst, através de um processo que inclui: contextualização histórica da obra e do compositor, análise musical e propostas interpretativas. No primeiro capítulo é apresentada a evolução das bandas militares inglesas até o início do século XX, período da composição da peça. O segundo capítulo mostra a relação do compositor com as bandas militares e como esta composição influenciou todo o repertório de Banda Sinfônica. A análise musical é o tema do terceiro capítulo, que traz a discussão sobre o termo chaconne, além de análises temática, formal, harmônica, de texturas e rítmica. No quarto capítulo são apresentadas questões interpretativas que dizem respeito a edições da partitura, ajustes e soluções para diferentes possibilidades de numerário instrumental, bem como sugestões metronômicas, questões expressivas e disposição dos naipes da banda para a interpretação da obra estudada. O presente estudo poderá também servir de modelo sugestivo ao regente de Banda Sinfônica no preparo interpretativo de obras para esta formação / Abstract: This study's main objective is to present interpretive aspects concerning to the preparation, by the conductor, of the First Suite in Eb op. 28 No. 1 by Gustav Holst, through a process that includes: historical background of either work and composer, musical analysis and interpretive proposals. The first chapter presents the evolution of British military bands until early twentieth century, when the piece was composed. The second chapter shows the composer's relationship with military bands and how this composition has influenced the whole Symphonic Band repertoire. Musical analysis is the theme of the third chapter, which brings up a discussion about the term chaconne, it also presents thematic, formal, harmonic, textural and rhythmic analysis. The fourth chapter presents interpretive issues concerning score editions, adjustments and solutions for different possibilities in instrumental settings, as well as metronome suggestions, expressive issues and band seating arrangements. This study may also provide suggested model for the Symphonic Band conductor for preparation of works for this medium / Mestrado / Praticas Interpretativas / Mestre em Música

Orchestral excerpt books have become a staple in instrumental study for those pursuing a career in the orchestra. Many of these books, especially those for clarinet, are catered towards the popular and prolific clarinet solos found in principal clarinet parts. However, there is a lack of quality resources geared towards those pursuing second clarinet positions. Former materials might be outdated or are filled with inconsistencies or mistakes. The purpose of this document is to provide a resource and guide for select second clarinet orchestral excerpts. In this guide, certain aspects of playing second clarinet will be discussed as a whole and as it pertains to selected excerpts. The excerpts included in this document are: Bartók Concerto for Orchestra, Mendelssohn The Hebrides and Scherzo from A Midsummer Night's Dream, Ravel Daphis et Chloé and Rapsodie Espagnole, and Tchaikovsky Symphony No. 5.