Thesis (M.A.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Th. 3e cycle--Musicologie--Paris IV, 1987. / Bibliogr. f. 592-613.

This essay, through a thorough examination of primary and secondary sources, presents analyses of three orchestral works from Hovhaness' "fourth-period," a period of time spanning approximately ten years, from 1960 to 1970. This essay focuses on three works from this period: Meditation on Zeami, Floating World, and Ode to the Temple of Sound, written in 1963, 1964 and 1965, respectively. This essay gathers information from various primary and secondary sources in order to provide performers who are preparing works from this period with a single source of information, bringing clarity to theoretical and musicological problems. Analyses of this sort are made all the more necessary by the fact that there are currently no extant recordings of any of the works being studied here, and that two of the works, Meditation on Zeami and Floating World, have never been commercially recorded. Without an aural precedent and guide to follow, analyses of these musics will be a welcome resource for the conductor preparing a performance.

Ce travail de thèse interroge la place de la création artistique dans la transmission secrète des savoirs en cours dans les milieux des acteurs de nô au Japon du XIVe au XVe siècle. Notre analyse porte sur les écrits du dramaturge Konparu Zenchiku (1405-1470?), disciple et gendre du fondateur du nô d’apparition Zeami (1363-1443). À partir d’une analyse comparée de deux corpus de textes complémentaires – traités théoriques et canevas de nô – nous mettons en évidence la rivalité et le processus d’émulation qui s’opèrent dans l’œuvre de Zenchiku à partir du socle de références que constituent les écrits de son maître. Nous mettons ainsi en lumière le rôle majeur que joua Zenchiku dans le développement de la pensée esthétique de Zeami qui se traduit sur scène par une revalorisation du rôle cathartique de la représentation esthétique des passions dans le nô. / This thesis investigates the place of artistic creation in the secret transmission of knowledge among noh actors in Japan from the 14th to the late 15th century. Our analysis is based upon the writings of the playwright Konparu Zenchiku (1405-1470?), disciple and son-in-law of Zeami (1363-1443). Based on a comparative analysis of two corpuses of complementary texts - theoretical treatises and noh pays - we highlight the emulation and rewriting process of the knowledge inherited from his master that takes place in Zenchiku's work. In this way, our work exposes Zenchiku's major role in the development of Zeami's aesthetic thought, which is reflected on stage by a revaluation of the catharsis of passion and his aesthetic representation on stage.

Nō é uma arte cênica japonesa em que representação, dança e música misturam-se em apresentações estilizadas onde poucos elementos são trabalhados para o aprofundamento de uma unidade imagética. Apesar de encontrarmos seus primeiros registros em documentos da era Heian (794-1185), a complexificação de todos os seus aspectos ocorreu na era Muromachi (1334-1573), com os esforços de Zeami (1363-1443) e de seu pai, Kan\'ami (1333-1384). Além de desenvolver a atuação e a orquestração, ambos fizeram avanços significativos na composição de peças. Felizmente, o maior artista de nō, Zeami, nos deixou muitos escritos críticos em que detalha todas as pesquisas empreendidas durante sua vida. A partir de um desses tratados e trechos de outros dois, este trabalho buscará analisar o método, estabelecido por Zeami, pelo qual a criação dramatúrgica divide-se em três frentes: shu, saku e sho, \"semente\", \"estrutura\" e \"composição\", respectivamente. Shu é o meio pelo qual se trabalha com a fonte que dá origem à peça e que será inevitavelmente revista pela linguagem do nō; saku é a estruturação musical que possibilita o desvendamento da semente; e sho é a junção de palavras e sons que transmitem essa revelação. Com o apoio de estudiosos e poetas recentes, procuraremos identificar os princípios que regem esses três caminhos e os modos pelos quais eles se unem para a formação de um todo orgânico, onde yūgen, a beleza contrária à imitação da realidade externa, nasce da distribuição de qualidades vivificadas por uma abordagem maleável do tempo chamada jo-ha-kyū. No primeiro capítulo, veremos como divisões e subdivisões das matérias-primas musicais do nō, ritmos e melodias, interagem para a estruturação da peça; no segundo, como a fonte e demais citações são rediagramadas para a realização gradual do material original; e no terceiro, como palavras são organizadas em aglomerados de sons e imagens para a estabelecimento de camadas significantes. / Nō is a Japanese performing art in which representation, dance and music blend into stylized presentations where few elements are handled to create and give depth to an imagistic unit. Although we find its first records in documents from the Heian period (794-1185), the increase of its complexity ocurred only in the Muromachi period (1334-1573), through the efforts of Zeami (1363-1443) and his father, Kan\'ami (1333- 1384). In addition to the development of performance and orchestration, both made significant advances in the composition of plays. Fortunately, the greatest n? artist, Zeami, left us many critical writings in which he detailed all the researches undertaken during his lifetime. Based on one of these treatises and on excerpts of two others, this study will analyse the method, established by Zeami, in which the creation of plays is dividided into three areas: shu, saku and sho, \"seed\", \"structure\" and \"composition\", respectively. Shu is the means by which the artist works with the source that gives rise to the play and that will inevitably be revised by the nō language; saku is the musical structuring that enables the seed to be unveiled; and sho is the combination of words and sounds that convey this revelation. Supported by recent scholars and poets, we will try to identify the principles governing these three paths and the ways by which they unite to form an organic totality, where yūgen, a beauty opposed to the imitation of external reality, is born out of the distribution of qualities vivified by a flexible approach of time, called jo-ha-kyū. In the first chapter, we will see how divisions and subdivisions of the musical primal resources of nō, rhythm and melody, interact to structure a play; in the second, how source and citations are reshaped to progressively recreate the original material; and third, how words are arranged in clusters of sounds and images to stablish layers of meanings.

Nō é uma arte cênica japonesa em que representação, dança e música misturam-se em apresentações estilizadas onde poucos elementos são trabalhados para o aprofundamento de uma unidade imagética. Apesar de encontrarmos seus primeiros registros em documentos da era Heian (794-1185), a complexificação de todos os seus aspectos ocorreu na era Muromachi (1334-1573), com os esforços de Zeami (1363-1443) e de seu pai, Kan\'ami (1333-1384). Além de desenvolver a atuação e a orquestração, ambos fizeram avanços significativos na composição de peças. Felizmente, o maior artista de nō, Zeami, nos deixou muitos escritos críticos em que detalha todas as pesquisas empreendidas durante sua vida. A partir de um desses tratados e trechos de outros dois, este trabalho buscará analisar o método, estabelecido por Zeami, pelo qual a criação dramatúrgica divide-se em três frentes: shu, saku e sho, \"semente\", \"estrutura\" e \"composição\", respectivamente. Shu é o meio pelo qual se trabalha com a fonte que dá origem à peça e que será inevitavelmente revista pela linguagem do nō; saku é a estruturação musical que possibilita o desvendamento da semente; e sho é a junção de palavras e sons que transmitem essa revelação. Com o apoio de estudiosos e poetas recentes, procuraremos identificar os princípios que regem esses três caminhos e os modos pelos quais eles se unem para a formação de um todo orgânico, onde yūgen, a beleza contrária à imitação da realidade externa, nasce da distribuição de qualidades vivificadas por uma abordagem maleável do tempo chamada jo-ha-kyū. No primeiro capítulo, veremos como divisões e subdivisões das matérias-primas musicais do nō, ritmos e melodias, interagem para a estruturação da peça; no segundo, como a fonte e demais citações são rediagramadas para a realização gradual do material original; e no terceiro, como palavras são organizadas em aglomerados de sons e imagens para a estabelecimento de camadas significantes. / Nō is a Japanese performing art in which representation, dance and music blend into stylized presentations where few elements are handled to create and give depth to an imagistic unit. Although we find its first records in documents from the Heian period (794-1185), the increase of its complexity ocurred only in the Muromachi period (1334-1573), through the efforts of Zeami (1363-1443) and his father, Kan\'ami (1333- 1384). In addition to the development of performance and orchestration, both made significant advances in the composition of plays. Fortunately, the greatest n? artist, Zeami, left us many critical writings in which he detailed all the researches undertaken during his lifetime. Based on one of these treatises and on excerpts of two others, this study will analyse the method, established by Zeami, in which the creation of plays is dividided into three areas: shu, saku and sho, \"seed\", \"structure\" and \"composition\", respectively. Shu is the means by which the artist works with the source that gives rise to the play and that will inevitably be revised by the nō language; saku is the musical structuring that enables the seed to be unveiled; and sho is the combination of words and sounds that convey this revelation. Supported by recent scholars and poets, we will try to identify the principles governing these three paths and the ways by which they unite to form an organic totality, where yūgen, a beauty opposed to the imitation of external reality, is born out of the distribution of qualities vivified by a flexible approach of time, called jo-ha-kyū. In the first chapter, we will see how divisions and subdivisions of the musical primal resources of nō, rhythm and melody, interact to structure a play; in the second, how source and citations are reshaped to progressively recreate the original material; and third, how words are arranged in clusters of sounds and images to stablish layers of meanings.

Pendant son séjour diplomatique au Japon de 1921 à 1927, Paul Claudel a rencontré le nô, une forme du théâtre traditionnel. Le dramaturge catholique, issu de la sphère symboliste, découvre dans le nô ce qu’il imaginait pour une nouvelle forme de la « synthèse des arts », c’est-à-dire l’union parfaite entre la Poésie, la Musique et la Danse, imprégnée de spiritualité. A l’aide d’une approche à la fois génétique, historique et comparatiste, notre thèse s’attache à étudier comment il interprète le nô et comment il s’en inspire dans sa propre création. Nous analysons d’abord la manière originale dont il comprend le nô, en adaptant une double perspective, histoire de la réception du nô en Occident depuis XVIe siècle et esthétique dramatique de l’auteur. Son originalité peut être dégagée par la comparaison avec la conception japonaise du nô authentique et par la confrontation avec la vision de ses prédécesseurs occidentaux ; contrairement à ces derniers, il passe sous silence le kyôgen, farce qui accompagne le nô ; son attitude vis-à-vis du bouddhisme est ambiguë ; son essai sur le nô a de grandes qualités littéraires. Ensuite, nous étudions le processus de l’assimilation de la philosophie orientale dans son univers, à la lumière d’un adage de Zeami, fondateur du nô, cité dans le Journal de Claudel. Enfin, nous démontrons qu’il utilise des apports du nô, d’une part dans ses pièces écrites au Japon, telle La Femme et son ombre (1922), et d’autre part, dans son « oratorio dramatique », genre inauguré en 1927 : le nô est sublimé dans son univers chrétien. Claudel cosmopolite, comprend le nô, puis le métamorphose en fonction de ses propres convictions esthétiques et spirituelles. / France's Ambassador to Japan from 1921 to 1927, Paul Claudel discovered there the Noh theatre which stems from a medieval performing tradition. The Catholic dramatist and symbolist poet found in the Noh what he had imagined as a new form of “synthesis of arts’’, which was for him a perfect union of Poetry, Music and Dance, open to spirituality. Our method is genetic, historic and comparative in studying his understanding of the Noh, which is a source of inspiration for him. We have adopted a double perspective: first of all we study the history of the reception of the Noh in the Western world from the 16th century onward, and combine this type of investigation with literary considerations about the dramatist's aesthetics. The originality of our poet’s vision appears in comparison with the authentic Japanese conception of the Noh plays and the interpretation of his Western predecessors. For unlike these European specialists, his silence about the Kyôgen, a comic sketch played in a Noh performance, is surprising; his attitude to Buddhism is ambiguous; his essay about the Noh has a specific literary quality. The adage of Zeami, founder of the Noh, quoted in the Claudel's Journal, throws light on the process of assimilation by his Catholic vision of oriental philosophy. Finally, we show the impact of the Noh on his plays written in Japan, like La Femme et son ombre (1922), and on his “dramatic oratorio,” a genre inaugurated in 1927. The Noh is sublimated in his Christian world. Claudel, a cosmopolitan author who aims at universality, after having penetrated the world of the Noh, integrates it in his creative practice, according to his own aesthetic and spiritual conviction.

This work examines how the aesthetics of Japanese actor and playwright Zeami Motokiyo (1346-1443) offers insight into the value of the unseen elements in art, specifically in the art of acting. What acting makes appear is likened to a vessel, which creates an empty space of what doesn’t appear. This non-appearing element is at the same time what gives the vessel its function. Nō theater is described as an art of suggesting, giving a background to Zeami’s theories. The importance of the tangible in Zeami’s aesthetics is underscored in a discussion of the technique, beauty, specificity, and variation implied by the principals of two basic arts, monomane, and hana. Then, the way the actor according to Zeami can make use of the unseen to fascinate the spectator is thoroughly investigated, relating it among other things to the question of emotion in western theory of acting, and the japanese concept of yūgen. Finally, Zeami’s concept of hana is described as relying on both what appears and what doesn’t appear, and the relevance of hana as a definition of the value of art is emphasized.