This thesis proposes to determine the construction of the two string quartets and to reveal through the study of the quartets the similarities and contrasts of the creative musical characteristics of Debussy and Ravel.

The present work is intended to ascertain the most important stylistic developments of one major composer, Binchois, and several lesser composers: Grenon, Fontaine, Vide, Joye, Constans, Morton and Hayne. All of these musicians were employed by Philip the Good, Duke of Burgundy (1420-1467), when he was one of the richest, most powerful and most respected of all the sovereigns of Europe.

Five French organ composers, representative of the period from Widor to the present time, are identified in this study, and a comparative analysis of the works of each is made. The introduction includes the source of the data, the scope of the problem, the purpose of the study, the method of procedure, a brief historical background of the new French school of music, general characteristics of modern French music, and specific idioms of contemporary French organ composers, as exemplified in the works of the organists selected: Charles Marie Widor, Louis Vierne, Charles Tournemire, Marcel Dupre, and Joseph Bonnet. The compositions and musical contributions of Widor, Vierne, Tournemire, Dupre, and Bonnet, respectively, are discussed in Chapter II through Chapter VI. Chapter VII states a summary of the study and the conclusions drawn,

This study has three purposes: first, to point out the stylistic elements of music that are present in the piano works of Debussy and Ravel; second, to determine how the composers have used these elements; and third, to discover the effects that have been achieved through individual uses of the elements.

Thèse réalisée en cotutelle avec l'Université Paris-Sorbonne. La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Si la vie musicale en France sous l’Occupation est aujourd’hui un champ de recherche bien balisé, le parcours de l’un des compositeurs majeurs de cette période, Marcel Delannoy (1898-1962), n’a encore fait l’objet d’aucune étude approfondie. Appuyé sur un large éventail de sources, dont le riche fonds Delannoy conservé à la BnF, ce travail vise à combler cette lacune en situant Delannoy dans le contexte plus large d’une génération particulièrement exposée sous Vichy. Dans ce contexte coercitif mais favorable à la création musicale, plusieurs compositeurs de cette génération (notamment Poulenc et Honegger) sont en effet impliqués dans diverses activités qui révèlent leurs engagements et leur degré d’accommodation face à la situation d’Occupation. Pour rendre compte des activités de Delannoy sous Vichy, il s’est avéré nécessaire d’élargir la périodisation. D’abord parce que son principal projet et succès de la période, Ginevra, un opéra créé en 1942 à l’Opéra-Comique, est le fruit d’une commande d’État de 1938. Et plus généralement parce que ses choix musicaux et extra-musicaux, comme ceux de ses contemporains, ne peuvent être compris dans le seul contexte des 4 années d’Occupation. Delannoy, qui se fait connaître à la fin des années 1920, est un compositeur actif dans les entreprises de popularisation de la culture des années 1930, tandis que son style musical éclectique et accessible conquiert un large public. En 1942, son opéra Ginevra est très bien accueilli en raison de son inscription dans le genre français de l’opéra-comique, de ses emprunts éclectiques et de ses références à la musique du passé. Mais ce moment de grande médiatisation s’accompagne de plusieurs compromissions : critique musical d’un journal collaborationniste, membre du groupe Collaboration et de la délégation française invitée à Vienne pour la Semaine Mozart du Reich allemand (1941), Delannoy prend part à plusieurs projets de collaboration culturelle. À la Libération, ces compromissions lui sont reprochées : il est sanctionné par différentes instances officielles d’épuration et fait en outre l’objet d’une épuration plus informelle. Au croisement de l’histoire et de la musicologie, cette approche monographique qui situe le compositeur étudié dans sa génération vise plus largement à rendre compte des conséquences de l’Occupation sur les carrières des compositeurs, de leurs engagements et du rôle qu’ils ont tenu dans la politique musicale de Vichy et de l’occupant. / Although the French musical life during the Occupation is now a familiar field of research, no detailed study has been made of Marcel Delannoy (1898-1962), one of the most important composers of the period. Supported by a wide range of sources, including the large collection of Delannoy’s papers conserved at the BnF, the present work aims to fill this gap by situating Delannoy in the larger context of a generation of musicians that were especially visible during the Vichy years. In this context, both coercive and favorable to musical creation, several composers (notably Poulenc and Honegger) were indeed involved in a number of activities that reveal their commitments and the degree of adaptation when faced with the Occupation. To account for Delannoy’s activities under Vichy, it was necessary to extend the period under study: his principal project and success of the period, Ginevra (an opera premiered in 1942 at the Opéra-Comique), was the result of a 1938 State commission; more generally, his musical and extra-musical choices, much like those of his contemporaries, cannot be understood if they are restricted to the four years of the Occupation. Having made his name in the 1920s, Delannoy participated in the 1930’s ventures of cultural popularization, while his eclectic and accessible style won him a large public. In 1942, his opera Ginevra was very well received thanks to its ties to the traditional genre of French opéra-comique as well as its eclectic borrowings and references to the music of the past. Very much in the public eye, Delannoy also compromised himself in different ways: as a musical critic of collaborationist newspaper, as a member of the “Groupe Collaboration” and of the French delegation invited to Vienna for the Mozart Week of the German Reich (1941), he took part in several projects of cultural collaboration. It is because of these activities that the composer was penalized by professional and judicial purges following the Liberation, and also by a kind of more informal épuration. At the intersection of history and musicology, this monographic approach which places the composer in the context of his generation aims at a broader understanding of the Occupation’s consequences on composers’ careers, their political commitments, and the roles they played in the musical politics of Vichy and the German occupier.

(in English): The goal of the master's thesis is to monitor the reception of compositions composed by Slovenian composers, by Slovenian students studying music and by Slovenian performers in Czech musical environment during the years 1848 - 1918 and 1919 - 1939. The thesis is divided into eight parts. The two main parts (Period 1848 - 1919 and Period 1919 - 1939) consist of subchapters and ends with the final summarizing of results. In additional part you can find a Dictionary of Slovenian and Yugoslav musicians and music ensembles referred in the thesis. The final part consists of poster copies and concert programs.

Master of Music / School of Music, Theater, and Dance / Virginia Houser / Alexander Tikhonovich Gretchaninoff (1864-1956) was a prolific composer from Russia’s Romantic age who explored the art of musical writing within an extensive number of genres and forms and showed an unusually strong interest in the creation of solo piano pieces for and about children. It is important that musicians in general and pianists in particular investigate his compositions and gain an understanding of their nature and potential usefulness as teaching pieces and as works worthy of public performance. My research consisted of an examination of Gretchaninoff’s autobiography, the study of numerous secondary accounts of his life and personal analysis of piano scores written by the master. My investigation uncovered the almost hidden existence of a large number of attractive musical works which Gretchaninoff wrote for solo piano as well as insightful details concerning the circumstances and motives that inspired the master to compose within the parameters of this genre. The following pieces are performed as part of this presentation: (from Children’s Album, Op. 98) A Tale, In the Camp of the Lead Soldiers, Lead Soldiers on the March, Hobby-Horse, Nurse Is Sick, Lullaby, Little Dance, Dreadful Event, After the Ball, On a Travel Tour, The Little Would-be Hero; (from 12 Little Sketches for Children, Op. 182) Sunrise, With the Fishing Rod, On the Swing, A Country Lad; (from A Child’s Day, Op. 109) Morning Prayer, The Broken Toy, The Happy Return Home; (from The Grandfather’s Book, Op. 119) My Dear Mommy, Swallow Dance, Pussy Is Ill, On the Swing; (from Glass Beads, Op. 123) Morning Promenade, On a Bicycle, Difficult Work; (from Andrusha’s Album, Op. 133) The Dance of the Gold Fishes, My Little Dog Joujou; (from Album Leaves, Op. 139) After Walking; (from Nina’s Album, Op. 141) After Mass, Dreaming, At the Wheel; (from Arabesques, opus number in dispute) Russian Folksong, A Sad Little Story; Sonatina in F major, Op. 110, #2 – 1. Allegro giocoso, 2. Menuet (Moderato grazioso) and Trio, 3. Finale – Allegro.

A partir da análise comparada do repertório de recitais para piano, apresentados em jornais da cidade de São Paulo nos anos 1925, 1935, 1945, 1955 e 1965, tentamos identificar qual era o gosto musical da época no que concerne ao piano, objetivando também qual era o espaço ocupado pelos compositores nacionais nestes recitais. Em consequência, foi possível perceber a presença de um grupo de compositores e pianistas nacionais nesses recitais tendo Mário de Andrade como mentor intelectual do grupo. Os dados levantados sugerem que a frequência desses compositores não superou em nenhum momento um terço do repertório no período, o que nos leva a conjecturar que o compositor nacional ocupava um lugar marginal na cena musical erudita da época. / From the comparative analysis of the repertoire of piano recitals, found in the newspapers of the city of São Paulo during the years of 1925, 1935, 1945, 1955 and 1965, we tried to identify what was the kind of musical taste of that age, concerning the pieces for piano. We also tried to figure out what was the space occupied by national composers in these recitals. Consequently, it was possible to notice the presence of a group of composers and pianists having Mário de Andrade as the master mind of them. The collected data suggests that the frequency of these composers did not exceed, at any time, one third of the repertoire in that period, which leads us to conjecture that the national composer occupied a marginal place in the classical music scene of that epoch.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-09T10:25:01Z No. of bitstreams: 1 Elizabeth Rizzi Lyra.pdf: 2052746 bytes, checksum: 8383184eedebe141b1581ed70266daa7 (MD5) / Made available in DSpace on 2018-11-09T10:25:01Z (GMT). No. of bitstreams: 1 Elizabeth Rizzi Lyra.pdf: 2052746 bytes, checksum: 8383184eedebe141b1581ed70266daa7 (MD5) Previous issue date: 2018-09-19 / This work is part of the research line “Reading, Writting and Portuguese Language Teaching”, from the Postgraduate Program in Portuguese Language of the Pontifical Catholic University of São Paulo. It has as general objective, the constitution of the female ethos in songs written by women composers, as well as the reading, from the rhetorical perspective of those songs in the learning environment of a regular school. Therefore, we have analyzed the female participation in the music history and the application of musical genre in the formation of youth education since the Old Greece back to current days. Based on the theoretical concepts, we analyze the songs Resposta (1958) from Maysa, Essa mulher (1978) composed by Joyce feat Ana Terra and Pagu (2000) from Rita Lee, so we could analyze which rhetorical appeals are applied in the constitution of the ethos of the woman. We highlighted through this analysis, the related aspects to the ethos (the composer’s credibility) and the logos (arguments and figures), just as the pathetic effects awakened in the audience by those songs. The ethos of the resistance and the manifestation of the passion for so long repressed, strongly uncovers in the songs. Regarding the reading in class, we can assure that the songs become rich sources in the formation of competent readers / Esta tese, inserida na linha de pesquisa Leitura, Escrita e Ensino de Língua Portuguesa, do Programa de Estudos Pós-Graduados em Língua Portuguesa da Pontifícia Universidade Católica de São Paulo, tem como tema o estudo da constituição do ethos feminino em músicas compostas por oradores do sexo feminino, bem como a leitura, sob a perspectiva da retórica, dessas músicas em sala de aula. Para que isso fosse possível, fizemos um breve percurso histórico sobre a participação da mulher na música, e da utilização do gênero canção na formação educacional dos jovens desde a Grécia Antiga até os dias atuais. Amparados pelos conceitos retóricos, analisamos as canções Resposta (1958) de Maysa, Essa mulher (1978) composta por Joyce em parceria com Ana Terra, e Pagu (2000) de Rita Lee para assim investigar quais recursos retóricos são utilizados na constituição do ethos da mulher. Evidenciamos, ao longo de nossa análise, aspectos relativos ao ethos (credibilidade do orador) e ao logos (argumentos e figuras), bem como os efeitos patéticos despertados no auditório por essas canções. O ethos da resistência e de manifestação de paixões há tanto reprimidas se descortinou potentemente nas canções. Com relação à leitura em sala de aula, podemos afirmar que as canções tornam-se fontes riquíssimas na formação de leitores competentes

This study deals with the four-composer Polish musical association, Young Polish Composers' Publishing Company, which became commonly known as the group Poland in Music. Young Poland in Music is considered by Polish and non-Polish music historians to be the signal inaugurator of modernism in Polish music. However, despite this most important attribution, the past eighty-odd years have witnessed considerable confusion over the perceptions of: 1) exactly who constituted the publishing company, 2) why it was founded, 3) what the intentions of its members were, and 4) the general reception its members' music received. This paper addresses and resolves this multiple confusion. Chapter I presents an introductory survey of the political, socio/cultural, and musical developments of Poland between 1772 and c1900, the period of the Polish Partitions through the beginnings of the "Young Poland" era. Chapter II presents a discussion of the facts surrounding the founding of the publishing company, as well as a discussion of the eighty-odd years of historical misinterpretations that have developed about the composers' company and its relationship to "Young Poland in Music." Chapter III discusses the interpersonal relationships of the composers and other persons directly involved with them and their company, and the impact that these relationships had on the publishing company. Additionally, the chapter brings into focus the specific relationships between the musicologist, Adolf Chybiński, the company, and its individual members. The chapter concludes with a discussion of the actual publishing activities of the company. Chapter IV examines the three concerts sponsored by the company and their critical receptions in Warsaw and Berlin through the surviving reviews and comments of leading contemporary music critics, the concert participants, the composers' close colleagues, and the composers themselves. Finally, Chapter V contains a brief discussion of the music presented on the three concerts, characterizing the works within the context of their initial critical reception.