No description available.

La présente étude se propose d'établir une connaissance plus approfondie de la musique de chambre d'Ernest Chausson. Celle-ci tient compte à la fois de l'environnement musical, culturel et esthétique de l'auteur. Cette production permet de réactualiser la sensibilité d'un musicien,. qui apparaît comme une personnalité incontournable du renouveau mwical français en cette fin de XDr' siècle. La première partie est consacrée à des analyses purement formelles ducorpus, explicitant une réalité objective du phénomène sonore. La seconde partie, s'attache à la mise en valeur d'une plus grande exigence unitaire, à travers l'utilisation de la fonne cyclique. Une troisième partie, étudie les modalités de fonctionnement dialogique des différentes oeuvres, dans le but de sonder plus profondément, la pensée musicale de Chausson. Enfin. une denùère partie, inscrit cette recherche dans un courant esthétique de l'époque :le symbolisme, quia pu influencer certains gestes musicaux du compositeur. Ces différents points, ont été jalonnés par des écrits de l'époque, tout en s'appuyant également sur des travaux musicologiques contemporains. / The objective of this dissertation is to present an in-depth study of the chamber music works of Ernest Chausson., against the background of the composer's musical, cultural and esthetic environment. Chausson's chamber music output throws a new light sensitivity of a musician whose influence on the revitalization of late century French music cannot be denied. The first part of the dissertation is devoted to purely formal corpus analysis in order to explicit an objective sense of the composer's sound world. Part II emphasizes how the urge toward the greatest possible unity leads to the use of the cyclic form. Part III studies the dialogic modalities of various compositions, with a view to gaining more insight into Chausson 's musical thought. The last part focuses on the major esthetic trend of this time that may have influenced sorne of Chausson's musical gestures: Symbolism. Relevant historical writings and a range of current musicological approaches support and document each development.

by Wong Wai Yee Marina. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 132-136). / Chapter One --- Introduction --- p.1 / Chapter Two --- Analysis of the Poem --- p.17 / Chapter Three --- Analysis of the Music --- p.35 / Chapter Four --- Text and Music --- p.77 / Chapter Five --- Significant Differences of the Orchestral Score and the Piano-vocal Score --- p.119 / Chapter Six --- Summary --- p.130 / Selected Bibliography --- p.132 / Appendix --- p.137

This thesis presents extended program notes for a sixty-minute violin graduate recital consisting of the following repertoire: César Franck, Sonata for Piano and Violin; Peter Sculthorpe, Irkanda I for solo violin; Ernest Chausson, Poème; Béla Bartók, Violin Concerto No. 2. Composed over the past two centuries, these works display a variety of styles and musical forms. The content of this thesis features detailed information on these works through historical study and musical analysis.

No description available.

La présente étude se propose d'établir une connaissance plus approfondie de la musique de chambre d'Ernest Chausson. Celle-ci tient compte à la fois de l'environnement musical, culturel et esthétique de l'auteur. Cette production permet de réactualiser la sensibilité d'un musicien,. qui apparaît comme une personnalité incontournable du renouveau mwical français en cette fin de XDr' siècle. La première partie est consacrée à des analyses purement formelles ducorpus, explicitant une réalité objective du phénomène sonore. La seconde partie, s'attache à la mise en valeur d'une plus grande exigence unitaire, à travers l'utilisation de la fonne cyclique. Une troisième partie, étudie les modalités de fonctionnement dialogique des différentes oeuvres, dans le but de sonder plus profondément, la pensée musicale de Chausson. Enfin. une denùère partie, inscrit cette recherche dans un courant esthétique de l'époque :le symbolisme, quia pu influencer certains gestes musicaux du compositeur. Ces différents points, ont été jalonnés par des écrits de l'époque, tout en s'appuyant également sur des travaux musicologiques contemporains.

Master of Music / Department of Music, Theatre, and Dance / Reginald L. Pittman / This Master’s Report extensively examines repertoire written for the lyric tenor voice. The text will explore the compositions of Francesco Paolo Tosti, Richard Strauss, Ernest Chausson, and Jake Heggie’s song cycle, Friendly Persuasions: A Homage to Poulenc. The text provides biographical information on each composer, text and translations, figures and interpretations, and some pedagogical insight. The pieces discussed are Tosti’s La Serenata, Non t’amo più, and Ideale; Strauss’s Morgen, Traum durch die Dämmerung, and Die Nacht; Chausson’s Printemps triste, Hébé, and Le temps des lilas; and Jake Heggie’s song cycle Friendly Persuasions: A Homage to Poulenc (2008). The graduate recital was presented in partial fulfillment of the requirements for the Master of Music degree in vocal performance on April 1, 2017 at Kansas State University in All Faiths Chapel. The recital featured the talents of tenor Mitchell Jerko and pianist Randall Frye.

Thesis (M.A.)--Boston University

Throughout the history of European art music, the desire to portray “Other” cultures has been given voice by composers by way of exoticism. The ability to depict the exotic has, for centuries, held the fascination of listeners and composers alike. In spite of this, the identification and study of exoticism as an aesthetic trend in music has not been given nearly as much attention as it deserves. Drawing from and expanding upon the work of Ralph Locke and Jonathan Bellman, I explore and illuminate some of the deeper issues that undermine the potential study of this aesthetic trend. First, I present a discussion of the problems and difficulties inherent in the study of exoticism in music, some of which I believe are related to the relative lack of study in this area. Because of the nature of how elements of non-European cultures were historically assimilated and appropriated by the Europeans, questions of ethics and terminology are abundant and not easily answered. In some cases, the cultural “Other” is portrayed reverently, almost to be feared; in others, they are portrayed almost comically. But can this portrayal be attributed to the composer alone, or have decades and even centuries of performance traditions influenced certain attitudes towards these works? And are these original attitudes, no matter whether positive or negative, an essential part of understanding these works? How might we amend the language used in discussing this topic so that our own cultural bias (or lack thereof) does not affect it? After addressing the issue of how musical scholars have, until now, discussed these issues, I present my own method of dealing with them: the reorganization of what we have come to define as “musical exoticism” into four categories: appropriative allomimesis, approximative allomimesis, evocative exoticism, and temporally-exotic evocation. Using musical examples, I discuss how these terms might be used in place of simply the term “exotic”, hopefully paving the way for future scholarship on the topic. I believe that with more understanding of the study of the exotic in music and a more erudite manner of discussing it, a greater understanding of the aesthetic and its sociological ramifications might be achieved. By revising the language we use to discuss the exotic in Western music, I hope to provide my readers with a means toward insight into the deeper implications of composers’ choices to portray people from countries, cultures, and places other than their own. My intention is that this will allow and inspire performers and scholars to consider these implications in their studies of these works. / Music Performance

L’industrie cimentière française possède une influence internationale considérable. L’entreprise Lafarge est aujourd’hui le numéro un mondial du ciment. Ses concurrents français sont tout aussi performants. On peut citer Vicat, entreprise familiale, ou la société Ciment Français, filiale du groupe Heidelberg-Italcementi. Ciments Français est une entreprise héritière du groupe Poliet et Chausson. En 1971, suite au rachat de la branche cimentière de Poliet et Chausson par Ciments Français, les départements des ciments des deux groupes fusionnent. Puis, Poliet et Chausson est transformée en société holding de distribution de matériaux de construction sous le nom de Poliet S.A. Elle est rachetée par Saint Gobain en 1996 et son nom disparaît. La firme a pourtant été la première entreprise française de ciment en 1930. C’est la monographie de cette entreprise que s’attache à retranscrire cette thèse. L’histoire de Poliet et Chausson au cours du XXe siècle est tortueuse. Par un effet d’aubaine, cette entreprise parisienne de matériaux de construction, profite de l’invention du marché du ciment pour devenir l’un des plus grands producteurs de ciment français au cours des années 1930. Sa trajectoire est parallèle à celle de l’entreprise Lafarge. Elle en diffère cependant par bien des points. Émaillée d’embûches, elle oscille entre des moments de succès considérables et des périodes plus troublées. Entre industrialisation et désindustrialisation, l’histoire de Poliet et Chausson s’écrit dans l’ombre de son concurrent plus brillant, Lafarge. Comment expliquer la réussite de l’un et la disparition de l’autre ? / The French cement industry has considerable international influence. Lafarge is now the world's largest cement company. Its French competitors are equally performing. These include Vicat, a family business, or Ciment Français, a subsidiary of the Italcementi group. Ciments Français is a company inheriting from the group Poliet and Chausson. In 1971, following the purchase of the cement sector of Poliet and Chausson by Ciments Français, the cement departments of the two groups merged. Then Poliet and Chausson was transformed into a holding company for the distribution of building materials under the name Poliet S.A. It was bought by Saint Gobain in 1996 and its name disappeared. The firm was, however, the first French cement company in 1930. This thesis attempts to transcribe the monography of Poliet and Chausson. The history of Poliet and Chausson during the twentieth century is tortuous. Through a windfall effect, this Parisian company of building materials, profits from the invention of the cement market to become one of the largest producers of French cement in the 1930s. Its trajectory is parallel to that of the Lafarge company. However, it differs in many aspects. It is fraught with obstacles, and oscillates between moments of considerable success and more troubled periods. Between industrialization and desindustrialization, the story of Poliet and Chausson is written in the shadow of its brighter competitor, Lafarge. How can we explain the success of the one and the disappearance of the other?