Inventé en Autriche en 1829, l'accordéon est introduit en France dès l'année suivante et s'impose rapidement dans les salons bourgeois, avant de connaître un essor fulgurant dans les rues et les lieux de danse. Devenu un symbole de divertissement dès le début du siècle suivant, il a ensuite dû sortir des sphères intimes dans lesquelles il évoluait et se confronter à ses détracteurs pour conquérir petit à petit des mondes qui n'étaient pas siens. Dans une première partie historique, nous sommes revenue sur l'histoire de l'accordéon en France, afin de comprendre comment l'instrument a intégré peu à peu toutes les sphères musicales et quels ont été les acteurs de cette évolution. Si notre propos traite principalement de l'accordéon français, nous avons tout de même choisi d'étendre partiellement notre objet d'étude à la Russie car la confrontation de deux grandes écoles et de deux visions différentes de l'instrument nous semblait pertinente pour une meilleure compréhension de son histoire. De surcroît, si l'accordéon est apparu en Russie peu de temps après son émergence en France et que sa facture a évolué là-bas de façon similaire, l'instrument ne semble pas avoir autant souffert de cette dichotomie populaire/savant. De son intégration dans un effectif orchestral par Tchaïkovski en 1883 à son entrée dans les conservatoires de Moscou et de Saint-Pétersbourg dans les années vingt, il a ouvert plus rapidement des portes qui lui demeuraient encore fermées dans notre pays. L'intégration institutionnelle de l'accordéon marqua notamment un tournant important dans son histoire et nous avons choisi de mettre en lumière, dans notre deuxième chapitre, l'accordéoniste Jules Prez, professeur titulaire de la première classe d'accordéon dans un conservatoire français. Puis, nous avons dressé un état des lieux de la présence de l'instrument dans ce type d'établissement. Nous avons ensuite consacré notre troisième chapitre à l'étude de l'évolution du répertoire savant pour accordéon en France et en Russie, de l'éclosion des premières pièces originales jusqu'à nos jours. Dans notre dernière partie, nous avons enfin mené une brève analyse de plusieurs pièces pour accordéon solo, afin de montrer l'évolution de l'écriture accordéonistique, principalement dans le rôle dévolu au clavier main gauche. Si nous avons bien évidemment retenu des œuvres phares de la littérature, nous avons également choisi de traiter de compositions plus méconnues – voire oubliées – du répertoire. Cette présente thèse apporte donc des chiffres précis sur l'intégration actuelle de l'accordéon dans les conservatoires de France métropolitaine, appuyés par un catalogue de près de deux cent cinquante établissements ; une étude statistique sur l'évolution du répertoire savant depuis la composition des premières pièces originales pour l'instrument jusqu'à aujourd'hui, en France et en Russie, avec un catalogue de plus de mille trois cents œuvres ; et enfin, une série de témoignages de plusieurs acteurs et témoins de l'histoire de l'accordéon (compositeurs, concertistes, pédagogues et facteurs). / Invented in Austria in 1829, the accordion was introduced in France the following year and quickly established in bourgeois salons, before experiencing a boom in the streets and dancing places. Being an entertainment symbol from the beginning of the next century, the accordion then had to leave the intimates spheres in which he evolved and confront his detractors to conquer step by step worlds that were not his. In a first historical part, we came back to the progressive legitimization of the accordion in France, in order to understand how the instrument gradually integrated all the musical spheres and who were the actors of this evolution. If our subject deals mainly with the French accordion, we have nevertheless chosen to partially extend our object of study to Russia because the confrontation of two great schools and two different visions of the instrument seemed pertinent to us for a better understanding of its history. Moreover, if the accordion appeared in Russia shortly after its emergence in France and that it has evolved there in a similar way, the instrument doesn’t seem to have suffered as much from this popular/savant dichotomy. From his integration into an orchestral ensemble by Tchaikovsky in 1883 to his entry in the conservatories of Moscow and Saint-Petersburg in the 1920s, he opened more quickly doors that were still closed in our country. The institutional integration of the accordion marked an important turning point in its history and we have chosen to highlight, in our second chapter, the accordionist Jules Prez, professor of the first accordion class in a French conservatory. Then, we presented the current situation of teaching for the scholar year 2016-2017, in order to observe the current state of the presence of classical accordion in conservatories of metropolitan France. Then, we devoted our third chapter to the study of the evolution of the savant repertoire for accordion in France and in Russia, from the birth of the first original pieces to the present day. Finally, in our last part, we conducted a brief analysis of several pieces for solo accordion, to show the evolution of accordion writing, mainly in the role assigned to the left hand keyboard. While we have of course selected some of the most important literary works, we have also chosen to deal with more unknown or forgotten compositions of the repertoire. This thesis gives precise figures on the current integration of the accordion in the conservatories of metropolitan France, supported by a catalog of nearly two hundred and fifty establishments ; a statistical study on the evolution of the savant repertoire from the composition of the first original pieces for the instrument to the present day, in France and Russia, with a catalog of more than one thousand and three hundred works ; and finally, a series of testimonies by several actors and witnesses of the history of the accordion (composers, concert players, pedagogues and factors).

The creation of institutions devoted to promoting and supporting modern music in the United States during the 1920s made it possible for American composers to develop an identity distinct from that of European modernists. These institutions were thus a critical part of the process of modernization that began in the United States during the early decades of the twentieth century. There is substantial scholarship on these musical institutions of modern music, such as the International Composers’ Guild and the League of Composers; but little to no work has been done on the progressive musical institutions of the 1910s, such as the Music League of the People’s Music Institute of New York, which was founded by Claire Reis. This thesis addresses the questions of how and why American musical modernism came to be as it was in the 1920s through an examination of the various stages of Reis’s career. The first chapter is an extensive study of primary source material gathered from the League of Composers/ISCM Records collection at the New York Public Library, which relates to Reis’s work with the PML in the 1910s. The second chapter uses the conclusions of the first chapter to shine new light on an old subject: the 1923 schism within the ICG that led Reis and others to form the League. The traditional view that the schism was the result of a conflict in idea of style is called into question, and the role that gender and power structure played in the break are explored.

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In this thesis, I analyze the first, second, and final songs of Clara Schumann's Six Lieder, Opus 13. In each one, special attention is paid to two aspects of Clara's composition. First, I use my research on Clara and Robert's correspondence to attempt to demonstrate ways in which she may have drawn from events during their courtship as inspiration for her compositional choices and techniques in these songs. Second, I interpret a motive that spans the set, the notes of which could be a cipher representative of her and Robert, to construct a narrative across the cycle informed by her and Robert's relationship. My analysis expands in part on questions David Lewin has raised about the first song, "Ich stand in dunkeln Träumen." I hope that these analyses can shed more light on Clara's first set of lieder published independently from Robert's. Further research could be done to see if there are clear similarities between the third, fourth, and fifth songs of this cycle and significant events in Clara and Robert's courtship.

The piano pieces by Argentine composers are a significant contribution to piano literature. They represent the voice of a nation that has enjoyed a strong musical tradition, with a noted European influence and a unique fusion of Argentine folk dances and songs. In that regard, these works possess distinctive qualities and an incomparable style. Unfortunately, a large proportion of these compositions remain unknown.This annotated catalog focuses on the piano literature by Argentine composers from the late nineteenth and the twentieth centuries, that are available in U.S. libraries. Its purpose is to aid pianists, educators, and music historians discover a wealth of repertoire that has long been neglected. The piano works by Argentine composers, including Julian Aguirre (1868-1924), Felipe Boero (1884-1958), Juan Jose Castro (1895-1968), Alberto Ginastera (1916-1983), and Carlos Guastavino (1912-2000) are listed alphabetically by composer. Each entry includes publishing information, level of difficulty, U.S. libraries that hold the scores, and a descriptive paragraph. Transcriptions, arrangements, works for piano and tape, and prepared piano have not been included. / School of Music

Alberto Grau is arguably one of the most influential contemporary Venezuelan choral composers and conductors of the twentieth and twenty-first centuries. This thesis explores the synthesis of Venezuelan nationalism with global internationalism found within his works. As a student of the nationalistic generation of composers (Vicente Emilio Sojo, Juan Bautista Plaza, and Ángel Sauce) Grau's works display the distinct characteristics found in Venezuelan music. His output also exhibits international influences, using texts associated with social and environmental events and concerns including literary and musical influences of other nations and cultures. The first section of the thesis traces the lineage of Venezuelan choral composers beginning with the colonial period and the Escuela de Chacao to the nationalistic composers from the Santa Capilla generation. The second section describes Alberto Grau's compositional style as exemplified in his work Kasar mie la gaji (The Earth is Tired). The final section of the document comprises interviews with Alberto Grau and his wife, the Venezuelan choral conductor, María Guinand. Guinand studied piano and conducting with Alberto Grau and was his assistant at the Orfeón Universitario Simón Bolívar and the Schola Cantorum de Caracas. She is the founding conductor of the Cantoría Alberto Grau and the editor of the Latin American division of Earthsongs Music. Through interviews and analysis this project informa the reader about the life and compositions of Venezuelan choral composer and conductor Alberto Grau.

This thesis addresses the gender-race intersectional inequality in Canadian conservatory piano syllabi revealing that women make up less than 14% of piano music in 20th and 21st Century piano repertoire in Canadian conservatories. By drawing on feminist musicology, critical race, and intersectionality studies, the thesis addresses elements of patriarchy and white supremacy found within specific conservatory repertoire examples. Using the SongData methodology, Adams presents 50 years of data points of gender-race representation in the Royal Conservatory of Music and Conservatory Canada piano syllabi, reporting that white women make up 13.1% of 20th and 21st-century music and Black, Indigenous, and Women of Colour make up less than 0.6%. Piano music by BIPOC women is then leveled and broken down according to conservatory standards and compared to repertoire within existing syllabi. Also included is an original graded syllabus of over 3,000 pieces by women and additional curricular resources for the piano studio.

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A comprehensive study of all nineteenth-century New Orleans composers is far beyond the scope of this paper. There are simply too many. An attempt has been made, however, to include as many possible in the text. Others, about whom there is insufficient information to include in a narrative, have been relegated to the appendix, where they are treated in the style of a biographical dictionary. The two most important and influential composers of the century, Gregorion Curto and Theodore von La Hache, are covered individually in chapters two and three, respectively. Their music represents all three of the important aspects of composition of the era: opera, salon, and sacred music. Louis Moreau Gottschalk, probably the most famous composer and performer of the period, has been omitted from this study (other than incidental references) because he has already received considerable attention from numerous other researchers. Likewise, another composer of note, Ernest Guiraud, has been omitted because, even though a native of New Orleans, he left America at an early age and never returned. He should more appropriately be considered in annals of French music. Research in this field, a vital part of the American musical heritage, is by no means complete. Any one of the composers discussed here should be studied further with th purpose of advancing knowledge of New Orleans music and with the hope of uncovering a morsel of truly fine music.