Les cérémonies d’ouverture et de clôture des Jeux Olympiques modernes (1896-2008) se composent d’un rituel et d’un spectacle, inspirées des Jeux Olympiques de l’Antiquité, des conceptions de Pierre de Coubertin ainsi que du contexte dans lesquelles elles évoluent au cours du XX e siècle.Pour dégager le sens de ces spectacles populaires, trois niveaux d’analyses sont indispensables.Dans un premier temps nous nous interrogerons sur le sens de la liturgie olympique, c’est à dire la dimension symbolique du rituel olympique. L’apport de l’Antiquité est à ce sujet essentiel.Dans un second temps, nous nous questionnerons sur l’impact de l’esthétique et la manière de mettre en scène ces spectacles. Les conceptions de Pierre de Coubertin, véritable connaisseur des mises en scène, est ici l’élément déterminant. Nous verrons également l’apport de théoriciens et d’artistes comme Maurice Pottecher ou René Morax et John Ruskin dans l’esthétique souhaitée par Coubertin.Enfin, dans un dernier point et pour mettre en perspective les deux première thématiques, nous nous intéresserons à la dimension dramaturgique de ces cérémonies pour voir que deux thèmes traversent l’ensemble des spectacles ; le culte à mystère et la science. / Opening and closing ceremonies of the modern Olympic Games (1896-2008) are made up of a ritual and a show, inspired by the Olympic Games of antiquity, conception of Pierre de Coubertin as well as of context in which they evolve in the course of XXth century.To clear the sense of these popular shows, three levels of analyses are necessary.At first, we will think about the sense of Olympic liturgy, that is symbolic dimension of the Olympic ritual. The essential subject in this case is the contribution of antiquity.In a second point, we will be questioned on the impact of the aesthetics and the way to stage these shows. Pierre de Coubertin's conceptions, in this case, is conciderated as the decisive element of the true expert of productions. Endeed, We will see the contribution of theoreticians and artists Maurice Pottecher or René Morax and John Ruskin in the desired aesthetics by Coubertin.Finally,in a last point, in order to put in perspective two previous themes, we will be interested in the dramaturgic dimension of these formalities to see that two topics cross all shows; worship with mystery and science.

Franz Joseph Haydn’s (1732-1809) Sturm und Drang years (1768-1773) are described by Mark Evan Bonds as a period of exploration or experimentation of compositional techniques. Based on this premise, this thesis provides in-depth analyses of twenty symphonic minuet movements from the composer’s Sturm und Drang period with the goal of illuminating how Haydn treated the conventionally constrained minuet form. In particular, I discuss how Haydn thwarted formal and rhythmic generic expectations by drawing on James A. Hepokoski and Warren Darcy’s concept of formal deformation. Using William E. Calpin’s theory of formal functions to approach issues of form and cadences, the thesis explores formal and cadential deviations from the Classical norm in aspects of the minuets’ intra-thematic structures, coda/codetta treatment, motivic homogeneity, harmony, and melody. My study also discusses aspects of hypermeter and metrical dissonance through metrical groupings, melodic fragments and dynamics to demonstrate a variety of techniques employed by Haydn to subvert metrical expectations in this dance form through models offered by David W. Beach, Ryan McClelland, and Floyd K. Grave. Finally, a study of the trios of the symphonic movements illustrates how Haydn engaged the middle portion of the movement to highlight the minuets’ deformations, either by normalizing or enlarging formal or metrical deviations. In sum, this thesis argues that Haydn’s creative deviations in the Sturm und Drang Minuet movements exemplify his search to transcend the conventional boundaries of a form heavily saturated in formal, harmonic, cadential, and rhythmic expectations.

Johann Nepomuk Hummel was a noted Austrian composer and piano virtuoso who not only wrote substantially for the instrument, but also transcribed a series of important orchestral pieces. Among them are two transcriptions of Beethoven’s Symphony No. 2 in D Major, Op. 36- the first a version for piano solo and the second a work for piano quartet, with flute substituting for the traditional viola part. This study will examine Hummel’s treatment of the symphony in both transcriptions, looking at a variety of pianistic devices in the solo piano version and his particular instrumentation choices in the quartet version. Each of these transcriptions can serve a particular purpose for performers. The solo piano version is an obvious virtuoso vehicle, whereas the quartet version can be a refreshing program alternative in a piano quartet concert.

During the 20th century the phenomenon of an autonomous Ukrainian symphony was not recognized widely. Paradoxically it was also not taken into consideration by the researchers of the symphonic process in the USSR. Thus in Mark Aranovskyi's book 'The Symphonic Searches' not one name of a Ukrainian symphonist is mentioned and the reader is led to the conclusion that it lacks symphonists in the Ukraine. Completely neglected were the Ukrainian symphony's historic, social and immanently musical contexts.

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Throughout his life Gustav Mahler (1860-1911) was aware of his role as an outsider and had a deeply conflicted view of his identity. The challenges he faced as a Jew in an overwhelmingly Christian and increasingly anti-Semitic Central Europe, as a German speaker in predominantly Czech speaking Bohemia and Moravia, as a Czech in the Austrian empire, and as an Austrian in a highly militarized but rapidly declining empire in the face of increasing pan-German nationalism, all contributed to this status. At the same time, his diverse early background provided a rich variety of musical experience, leading to an openness to musical influences that would accompany him throughout his career. Mahler was one of the first German modernists. His approach to the symphony was unique, revolutionary and widely misunderstood. By stretching the boundaries of structure and content with references to childhood, nature and the sounds and images of everyday life, through the deliberate, unsettling juxtaposition of the banal and the sublime, and through the use of voice and text, he used the symphony as a vehicle for personal reflection and exploration. Mahler’s primary forms of composition were Lieder and symphonies, and as his career progressed the two became inexorably intertwined. His music has been described as Weltanschauungsmusik - music that expresses a world outlook. Driven by a desire to engage with the symphonic tradition, his works included the first non-programmatic choral symphonies since Beethoven. This study focuses on particular aspects of Mahler’s compositional style to demonstrate his continuous search for identity: the references to and quotations from his own songs, from the works of other composers, and from sources such as Jewish/Central European folk music; the rhythmic influence of dances and marches as social references and indicators; the use of non-traditional instrumentation, timbre and sound effects to provide emphasis, coloration and contrast; and the symphonic use of vocal music to explore religious and philosophical beliefs.

Bylaws serve as the skeleton of any nonprofit organization's administrative culture. They are the laws and rules that govern the internal affairs of an organization. (Pickett 2000) Since the primary function of bylaws is to support the effective management of operations, the examination of bylaws content is particularly relevant when looking for evidence of innovative adaptations to organizational change. As students of arts administration, the focus of the researcher's investigation centered on cultural organizations; symphony orchestras in this instance. Symphony orchestras, like other cultural organizations, must adapt to survive internal and external change. The reason for choosing to examine bylaws content was to look for business adaptations being made at the core of nonprofit business operations, where the framework for decision-making by the Board of Directors, Officers and administrators resides. There were two key research questions driving this investigation of symphony orchestra bylaws content. The first was; what governance policies are currently emerging in the symphony orchestra industry? The second was; what conditions prompted the emergence of these policy anomalies? The research design included a review of the literature relevant to the development of bylaws as used by U.S. symphony orchestras; qualitative and quantitative document analysis of bylaws obtained from a select group of participating organizations; and an opinion survey of several orchestra administrators whose organizations were found to contain unusual bylaws content. Contrary to the literature, the content and structure of bylaws that were examined varied a great deal. Policy anomalies were discovered as hypothesized, and some of these unusual policies offer solutions to current governance issues that other arts organizations may find beneficial as well. Included tables illustrate provision topics and their frequency of occurrence. Several recommendations for further study are indicated, and we conclude that bylaws are usually an underutilized, valuable and occasionally innovative tool for effective governance.

Thesis (M.S.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

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