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Karl-Birger Blomdahl et Ingvar Lidholm : enjeux mélodiques, tonals et organiques des années 1940 / Karl-Birger Blomdahl and Ingvar Lidholm : Exploring melodic, tonal and organic challenges in the 1940sBardoux Loven, Cécile 23 January 2013 (has links)
Karl-Birger Blomdahl (1916-1968) et Ingvar Lidholm (né en 1921) sont deux chefs de file de la musique suédoise moderne. Étudiants à Stockholm, ils forment un cercle d’études connu sous le nom de Groupe du Lundi. Perçus comme des antiromantiques, ils renouvellent la création musicale en plaçant au cœur de leurs intérêts la technique de composition (hantverk), la ligne mélodique et des notions gestaltistes comme l’organisme.À la suite d’une étude concernant ce cadre historique, esthétique et théorique commun, cette thèse propose une analyse détaillée de trente œuvres de Blomdahl et de Lidholm datant des années 1940. Élaborée à partir du contexte esthétique et théorique initial, mais aussi à partir des théories de Schenker et de Meyer, la méthode d’analyse permet de représenter graphiquement et textuellement la cohérence compositionnelle et la dynamique des œuvres. Cette thèse démontre les divergences mélodiques, tonales et organiques essentielles concernant les langages musicaux de Blomdahl et de Lidholm. Elle démontre aussi que les notions de linéarité, de dissonance et de contrepoint revêtent plus de significations dans leurs langages respectifs que celles qui sont initialement évoquées par les textes de l’époque. Finalement, elle met en lumière des éléments esthétiques et compositionnels qui contribuent à donner un élan significatif à la musique moderne en Suède. / Karl-Birger Blomdahl (1916-1968) and Ingvar Lidholm (1921- ) were two leading figures in modern Swedish music. While studying in Stockholm they created a study circle known as the Monday Group. Regarded as anti-romanticists, Blomdahl and Lidholm revitalized musical creation by prioritizing compositional technique (as in hantverk, i.e. craft), melodic line and Gestalt concepts such as organicism.Following a study of this shared historical, aesthetic and theoretical framework, this thesis proposes a detailed analysis of thirty works by Blomdahl and Lidholm, dating from the 1940s. Based on the initial aesthetic and theoretical context and also on the theories of Schenker and Meyer, the analytical method used enables a graphical and textual representation of the compositional coherence and dynamic of the respective works.This thesis establishes the essential melodic, tonal and organic divergences in the musical languages of Blomdahl and Lidholm. Additionally, this thesis shows that the notions of linearity, dissonance and counterpoint have a deeper significance in Blomdahl’s and Lidholm’s respective musical languages than is to be found in many texts dating from this period. Finally, this thesis highlights aesthetic and compositional components that significantly invigorate modern music in Sweden.
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Karl-Birger Blomdahl et Ingvar Lidholm: Enjeux mélodiques, tonals et organiques des années 1940 / Karl-Birger Blomdahl and Ingvar Lidholm: Exploring melodic, tonal and organic challenges in the 1940sBardoux Lovén, Cécile January 2012 (has links)
Karl-Birger Blomdahl (1916-1968) and Ingvar Lidholm (1921- ) were two leading figures in modern Swedish music. While studying in Stockholm they created a study circle known as the Monday Group. Regarded as anti-romanticists, Blomdahl and Lidholm revitalized musical creation by prioritizing compositional technique (as in hantverk, i.e. craft), melodic line and Gestalt concepts such as organicism. Following a study of this shared historical, aesthetic and theoretical framework, this thesis proposes a detailed analysis of thirty works by Blomdahl and Lidholm, dating from the 1940s. Based on the initial aesthetic and theoretical context and also on the theories of Schenker and Meyer, the analytical method used enables a graphical and textual representation of the compositional coherence and dynamic of the respective works. This thesis establishes the essential melodic, tonal and organic divergences in the musical languages of Blomdahl and Lidholm. Additionally, this thesis shows that the notions of linearity, dissonance and counterpoint have a deeper significance in Blomdahl’s and Lidholm’s respective musical languages than is to be found in many texts dating from this period. Finally, this thesis highlights aesthetic and compositional components that significantly invigorate modern music in Sweden.
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