L’affaire Guibord a un rôle d’importance au Québec au cours de la deuxième moitié du dix-neuvième siècle. Malgré ceci, ce cas judiciaire se retrouve souvent dans l’ombre du fameux combat entre ultramontains et libéraux. Cette étude démontre le procès Guibord et ses répercussions, exposant la place grandissante du clergé au sein de la société québécoise. On observe une Église catholique ultramontaine triomphante sous la direction de Mgr Bourget, évêque de Montréal. Cette recherche présente d’abord les sources du conflit jusqu’à l’année 1869, lorsque l’Institut canadien de Montréal est condamné par l’Église catholique, peu avant la mort de Joseph Guibord, membre de l’organisation. Une analyse est ensuite faite concernant la question d’excommunication qui l’aurait frappée. Le cas de refus de sépulture étant porté en cour civile, il est alors possible d’observer les décisions des différents tribunaux jusqu’au verdict du Comité judiciaire du Conseil privé à Londres qui tranche en faveur de l’Institut canadien, héritier de la veuve Guibord. Cependant, une émeute aux portes du cimetière catholique, en septembre 1875, va reporter de deux mois son enterrement. L’incident est largement repris dans les journaux d’un bout à l’autre du Canada, mais aussi aux États-Unis et au Royaume-Uni, révélant l’opinion de sources externes sur l’affaire Guibord et le catholicisme au Québec.

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski's compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one-movement concerto - would aid scholars and performers alike in better understanding the composition's engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. Chapter 1 provides biographical and factographical information about Paderewski as a composer, pianist, and statesman. Chapter 2 examines characteristics of Polish folk music with regard to melody, rhythm and tempo. Musical examples of the Polish folk songs from the book Lud by Oskar Kolberg, and the characteristics of Mazur, Kujawiak, Oberek and the Krakowiak, all of which are used in the Polish Fantasy, are examined. Aforementioned examples are paralleled by those selected from Chopin's Mazurkas, as well as selected sections from Paderewski's Polish Fantasy, and other pieces by Paderewski containing Polish folk music elements. Chapter 3 is divided into two sections. The first, the history of fantasy, presents various stylistic and formal aspects of the fantasies of the eighteenth century and nineteenth centuries. The second section offers an analysis of the Polish Fantasy in light of this history, and considers how Paderewski combined fantasy elements used by composers of earlier times with his own compositional technique style. Chapter 4 discusses performance issues including pedaling, tempo rubato, and composer's own fingering. Chapter 5 provides a summary and conclusion of the study.

Celui qui entreprend les Exercices le fait avec un désir de trouver la volonté de Dieu afin de prendre une décision et possiblement réorienter sa vie. Dans cette perspective, les Exercices ont comme fonction de le libérer de toute affection désordonnée et l'amener à une attitude d'indifférence, indispensable pour bien saisir l'appel de Dieu. Notre sujet de recherche portera donc sur le discernement ignatien dans l'accompagnement spirituel. Nous démontrerons que les Exercices Spirituels d'Ignace de Loyola fournissent l'instrument qui aidera l'accompagnateur à bien préparer l'accompagné à cette rencontre personnelle avec Dieu. Le but que nous poursuivons: démontrer que l'accompagnateur a un rôle important à jouer dans cette quête de Dieu et qu'il doit, pour ce faire, bien maîtriser la pédagogie des Exercices afin d'être en mesure de guider l'accompagné dans une expérience spirituelle qui devrait le conduire à s'engager dans l'Église du Christ et participer à son œuvre.

Le but de ce mémoire est de voir en quoi la « manière de procéder » des Exercices spirituels de saint Ignace de Loyola peut contribuer à la mise en œuvre des orientations pastorales de l'Assemblée des évêques du Québec pour la formation à la vie chrétienne. Il consiste à voir comment la « manière de procéder » ignatienne est propre à susciter chez le sujet croyant du troisième millénaire la rencontre du Christ et l ’engagement à sa suite par le moyen de la contemplation comme chemin de connaissance intérieure du Verbe fait chair. Nous avons tenté de démontrer que la sagesse ignatienne rencontre les critères anthropologiques du devenir humain et la dimension théologale de l'accueil du salut, à partir des conditions épistémologiques de structuration du sujet humain dans son rapport au monde. Nous avons utilisé la lecture sémiotique du discours ignatien comme méthode d ’analyse et comme condition d ’émergence de l ’instance de l ’énonciation chrétienne dans la modernité.

De 1677 à 1776, la grande congrégation mariale de Munich représentait pendant le Carême des drames musicaux appelés Considerationes ou « méditations dramatiques » pour l’édification morale de ses membres. Ils étaient écrits par le président jésuite de cette sodalité et mis en musique par des compositeurs locaux.Cette thèse s’attache spécifiquement aux Considerationes du jésuite Franz Lang (1654-1725),créées entre 1695 et 1712. Ces œuvres se distinguent effectivement des autres méditations par le fait qu’elle furent intégralement éditées en 1717 sous la forme de trois recueils – Theatrum SolitudinisAsceticæ, Theatrum Affectuum Humanorum et Theatrum Doloris et Amoris - qui totalisent environ 850pages de livrets et plus de 3 000 pages de musique.Les recherches tiennent à expliquer d’abord l’existence de cette source exceptionnelle à tous égards par une étude précise des conditions de représentation, replacées dans le contexte plus général de la vie musicale à Munich. La thèse offre ensuite une analyse dramaturgique du Theatrum Solitudinis Asceticæ qui revendique une filiation directe aux Exercices spirituels de St Ignace de Loyola, fondateur de la Compagnie de Jésus. Après une étude littéraire du recueil de Lang, elle apporte un éclairage musicologique sur les Considerationes mises en musique par Johannes-AndreasRauscher (mort en 1702), exemples remarquables « d’Exercices spirituels musicaux ». / Between 1677 and 1776, the great latin congregation of Munich used to perform musicaldramas during the Lenten season. These dramas were called Considerationes or « DramaticMeditations » and were intended for the moral edification of their congregation members. The dramas’plot was written by the congregation’s Jesuit priest while bavarian musicians composed the music.This work specifically treats the Considerationes by Franz Lang (1654 – 1725), which wereperformed between 1695 and 1712. As opposed to other meditations, Lang’s Considerationes wereentirely printed in the year 1717. They were brought together in three collections – TheatrumSolitudinis Asceticæ, Theatrum Affectuum Humanorum, Theatrum Doloris et Amoris – and togetherthey consist of about 850 pages of text and over 3000 pages of score.This research firstly explains the existance of this extraordinary source thanks to a precisestudy of the history of the performances which is then put in context with Munich’s musical life at thetime. Then follows a dramaturgical analysis of the Theatrum Solitudinis Asceticæ, which waspostulated by Ignatius of Loyola within the Spiritual Exercises. After a part about the literary work ofLang, my work closes with an analysis of the Considerationes – which were composed by Johannes-Andreas Rauscher, who died in 1702 - regarding musicology. These pieces finally are a noteworthyexample of the « musical Spiritual Exercises ».

Although the opera paraphrase was once a cornerstone of the virtuoso pianist's repertoire, as a genre it has traditionally been neglected by a scholarship which prioritizes authenticity and original compositional thought. By approaching this repertoire from a critical standpoint concerned with the production of narrative, this thesis demonstrates the true value of the paraphrase. A review of the current literature on narrative, gesture, and the paraphrase reveals major gaps in the state of research, and this thesis addresses these issues by presenting analyses of several works, in both printed and performed forms. The chapter “Settling the Score” interrogates the score, and argues that through their choice, ordering, and setting of operatic themes in a paraphrase, composers can alter or recreate the narrative of the source opera. By analyzing and comparing by reading the narrative schemes of seven different paraphrases based on Mozart's Don Giovanni, the chapter highlights the agency of the arranger in the production of narrative. The next chapter, entitled “Playing the Part,” suggests that the creation of narrative also extends beyond the work of the composer to encompass the role of the performer. By comparing the use of physical gestures in two video-recorded performances of Liszt's paraphrase Réminiscences de Don Juan, the thesis postulates that a pianist's gestures can influence the audience's perception of narrative. In an attempt to centralize the voice of the performer, the chapter also includes reflective analysis of the author's own performances of Liszt's paraphrase. By employing analytical methods which focus on the production of musical narrative, this thesis demonstrates that the paraphrase is worthy of greater attention, both in scholarship and performance.

Although the opera paraphrase was once a cornerstone of the virtuoso pianist's repertoire, as a genre it has traditionally been neglected by a scholarship which prioritizes authenticity and original compositional thought. By approaching this repertoire from a critical standpoint concerned with the production of narrative, this thesis demonstrates the true value of the paraphrase. A review of the current literature on narrative, gesture, and the paraphrase reveals major gaps in the state of research, and this thesis addresses these issues by presenting analyses of several works, in both printed and performed forms. The chapter “Settling the Score” interrogates the score, and argues that through their choice, ordering, and setting of operatic themes in a paraphrase, composers can alter or recreate the narrative of the source opera. By analyzing and comparing by reading the narrative schemes of seven different paraphrases based on Mozart's Don Giovanni, the chapter highlights the agency of the arranger in the production of narrative. The next chapter, entitled “Playing the Part,” suggests that the creation of narrative also extends beyond the work of the composer to encompass the role of the performer. By comparing the use of physical gestures in two video-recorded performances of Liszt's paraphrase Réminiscences de Don Juan, the thesis postulates that a pianist's gestures can influence the audience's perception of narrative. In an attempt to centralize the voice of the performer, the chapter also includes reflective analysis of the author's own performances of Liszt's paraphrase. By employing analytical methods which focus on the production of musical narrative, this thesis demonstrates that the paraphrase is worthy of greater attention, both in scholarship and performance.

Although the opera paraphrase was once a cornerstone of the virtuoso pianist's repertoire, as a genre it has traditionally been neglected by a scholarship which prioritizes authenticity and original compositional thought. By approaching this repertoire from a critical standpoint concerned with the production of narrative, this thesis demonstrates the true value of the paraphrase. A review of the current literature on narrative, gesture, and the paraphrase reveals major gaps in the state of research, and this thesis addresses these issues by presenting analyses of several works, in both printed and performed forms. The chapter “Settling the Score” interrogates the score, and argues that through their choice, ordering, and setting of operatic themes in a paraphrase, composers can alter or recreate the narrative of the source opera. By analyzing and comparing by reading the narrative schemes of seven different paraphrases based on Mozart's Don Giovanni, the chapter highlights the agency of the arranger in the production of narrative. The next chapter, entitled “Playing the Part,” suggests that the creation of narrative also extends beyond the work of the composer to encompass the role of the performer. By comparing the use of physical gestures in two video-recorded performances of Liszt's paraphrase Réminiscences de Don Juan, the thesis postulates that a pianist's gestures can influence the audience's perception of narrative. In an attempt to centralize the voice of the performer, the chapter also includes reflective analysis of the author's own performances of Liszt's paraphrase. By employing analytical methods which focus on the production of musical narrative, this thesis demonstrates that the paraphrase is worthy of greater attention, both in scholarship and performance.