abstract: Heinrich Heine’s collection of poems, Lyrisches Intermezzo, is well-known in music circles, largely due to Robert Schumann’s settings of sixteen of these poems in his masterwork Dichterliebe. Because of Dichterliebe’s place of importance in art song literature, many other settings of Heine’s sixty-five poems are often overlooked. Breton-born composer Joseph Guy Marie Ropartz composed Quatre Poèmes d’après l’Intermezzo d’Henri Heine in 1899, after having collaborated on a new French translation of the entire Lyrisches Intermezzo in 1890. This cycle is rarely performed, largely due to Ropartz’s relative obscurity as a composer, as the focus of his career was administration of two regional conservatories in France. The Quatre Poèmes were written fairly early in Ropartz’s life, but feature many compositional techniques that remain staples of Ropartz’s work throughout his career. It is an accessible work to many singers and audience members already familiar with Heine. The texts of the four songs are not simply translations of Heine’s original, but altered to adhere to the rules of French poetry. Examining the changes made in the text, both in language and structure, reveals information that will aid performers’ understanding of the poetry and of Ropartz’s choices in musical setting. The music of the work is greatly dependent on a single motive, an idée fixe, and considering the role of this motive in its various appearances is illuminating to the narrative arc of the cycle. This study seeks to aid potential performers and listeners of the Quatre Poèmes by expanding their understanding of the artists responsible for creating it, and by exploring the textual and musical elements that are the building blocks of this work. / Dissertation/Thesis / Doctoral Dissertation Music 2019

Proefschrift Göttingen.

[pt] O presente trabalho tem como objetivo formular reflexões acerca de aspectos e modulações do conceito e da prática do nomadismo, relacionando-os às viagens no mundo contemporâneo. Uma travessia de oito meses de duração, realizada pelo autor no ano de 2011 através de alguns países da África e Ásia, serve de fio condutor do trabalho. Impressões, experiências e acontecimentos vividos vão-se construindo, em contraponto a citações literárias afins de viajantes, exploradores, romancistas, historiadores e poetas e intercalando-se a formulações teóricas de autores como Deleuze e Guattari, no Tratado de Nomadologia, Michel Onfray em Teoria da viagem e Michel Maffesoli em Sobre o nomadismo. / [en] This work aims to elaborate reflections about the various aspects and modulations of the concept and practice of nomadism, relating them to travel in the contemporary world. An eight months trip, undertaken by the author in 2011 in some countries in Africa and Asia, serves as a foundation to the work. Impressions, personal experiences and events will be discussed and contrasted with quotes by travelers, explorers, novelists, historians and poets. Interspersing these, there will be theoretical formulations of authors such as Deleuze and Guattari, in Treatise on Nomadology, Michel Onfray in Theory of Travel , and Maffesoli in About Nomadism.

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Orientador: Eduardo Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:58:05Z (GMT). No. of bitstreams: 1 Bernardes_JoseAntonioBranco_M.pdf: 6682447 bytes, checksum: 0a76b37323e7c504fdb7e3d911a327d5 (MD5) Previous issue date: 2008 / Resumo: Este trabalho procura tratar de questões práticas concernentes a uma realização historicamente informada dos recitativos do intermezzo Le Devin du Village de Jean-Jacques Rousseau (1712-1778). Não tem pretensão de responder todas as questões suscitadas pela partitura original, mas sim de proporcionar o máximo de subsídios ao artista competente - embora não especialista em música francesa de meados do séc. XVIII - que deseje conduzir (reger) esta obra. Os estudos sobre Rousseau têm privilegiado os aspectos teórico-musicais de sua obra. Neste estudo procurou-se estabelecer parâmetros de realização dos recitativos pertencentes ao Devin principalmente através da aplicação dos conceitos e práticas musicais defendidas por Rousseau e outros autores de seu tempo. Muito das sugestões propostas são fruto da aplicação dos tratados de época em apresentações de excertos de Le Devin du Village dirigidos pelo autor em 1997, 2003, 2004 e 2007. Uma performance ou realização historicamente informada deverá ser uma recriação idealizada a partir do conhecimento o mais profundo possível de seu Zeitgeist, o que a tornará necessariamente única e transiente, cada apresentação um novo acontecimento. A mera listagem e citação de fontes de época pouco pode provar por si mesma, o simples acesso a elas não seria garantia de veracidade absoluta. Vivência e experimentação artística são essenciais. Será através de erros e acertos na prática real, com posterior reflexão e ajustes, que consolidaremos uma real compreensão desse repertório. Afinal, o fazer artístico e o pesquisar acadêmico são ambos linguagens distintas e dificilmente comunicáveis e seria um grande engodo postular uma reprodução idêntica àquela ocorrida séculos atrás. De fato, não é possível abandonarmos nossa individualidade, que é realmente do séc. XXI. Compete-nos, através de um estudo profundo, adquirir a capacidade de atuar no estilo e pensamento de época como uma segunda natureza, unindo os diversos campos envolvidos em um todo coerente no atual contexto de realização artística. Enfim, o exercício do goût / Abstract: This work seeks to address practical issues concerning the performance of recitatives from Jean-Jacques Rousseau's (1712-1778) intermezzo Le Devin du Village from a historically informed perspective. There is no pretension in answering all issues raised raised upon examination of the original score, rather to offer musical, technical and stylistic subsidies to the competent musician - not necessarily expert on mid-18th century French music - when faced with the task of conducting this work. Studies about Rousseau have for the most part tended to favor the music-theoretical aspects of his works. In this study the author proposes to establish parameters for the performance of these recitatives mainly through the application of the concepts taken from historical music treatises and musical practices advocated by Rousseau himself and contemporary authors. Many of the proposed suggestions are the result of practical experiences acquired during the performances of excerpts from Le Devin du Village conducted by the author in 1997, 2003, 2004 and 2007. Several ideas discussed by in this dissertation will allow for an idealized re-creation of this intermezzo stemming from the deepest possible possible knowledge of its Zeitgeist, which will necessarily be unique and transient. The mere citation of historical sources nothing can prove by itself; direct access to these sources is no guarantee of absolute musical veracity. The artistic musicmaking and academic research are two distinct languages and of difficult intercommunicability. We are a "child of our time". It is our responsability, however, acquire a deeper historical knowledge for a keener insight into the style and thought of that epoch in order to develop the ability to act and perform as if it were one's own second nature. Hopefully it will unite the various fields of the art involved in making a coherent whole resulting in a new context of artistic realization. The exercise of bon goût at last / Mestrado / Musica / Mestre em Música

Abstract The main purpose of creating this object was to create a place where people having bad living situation will meet people who live regular lives. This is the reason why two floors were projected. The first floor is designed for social activities whereas the second floor is a housing part with apartments. The advantage of irregular but compact shape of the building is perfect connection between its functional parts. The object does not have any basement and it is placed in a little slopy bulit-up surroundings on the crossing of Tyršova and U Distance streets in Letohrad town. On the first floor there is a main entrance, a coffee, massages, a recreation hall, an art working-room, a gym, changing rooms, administration and the technological background of the object. The second floor does not cover a whole area of the first floor. Apartments, laundry room and drying room are situated here. One of the apartments here is projected as barrier-free as well as whole first floor. Both floors are connected by central staircase with shape of „U“ and an elevator. Roofing of the object is realized by single layered flat roof with classic layer order. The gym is roofed by a flat roof held by glued laminated girders. The construction was projected with regard to synergy of all used materials and systems. The chosen solution of object with two floors (both above the terrain) makes the building pretty marked when looking at it’s location, however it makes the place more integrated and uniform.

This dissertation is a study of the comic intermezzo’s literary origins and musical practice in the years before Pergolesi’s La serva padrona (1733). It begins with a chronological examination of Italian comic plays and operas written between 1660 and 1723. During these years comic playwrights adopted a style of writing speech from the improvised theatre which makes use of what Richard Andrews (1993) refers to as “elastic gags.” This style of comedy flourished under Medici patronage in Florence in the last decades of the seventeenth century and then spread to Venice, Rome and Naples during the first years of the intermezzo’s development. It is a style of comedy shared with the plays of Molière, and other contemporaneous French authors. This dissertation examines several scenes based on French works which have previously not been identified as having earlier sources. The decision to adapt these earlier sources for the intermezzo did not occur in a vacuum. The practice of comedy in the intermezzo was conditioned by the artistic, social and political climate of Italy. This study investigates the relationship between intermezzos and the milieus which produced them. The success of some intermezzos, like Il marito giocatore (1719), resulted from a combination of their artistic merit and their broad social appeal, while others, like Albino e Plautilla (1723), were musically adept but remained obscure because their humour was specific to the world they satirized. Both intermezzos are indebted to earlier French sources. Many others which are metatheatrical in nature draw on contemporary debates about opera. A final section examines selected arias from the intermezzo repertory using incongruity theory. Comic theory makes clear that the intermezzo’s musical language was not a new development. Just as librettists drew on earlier written traditions to form the literary text of the intermezzo, composers drew on existing musical practices to create humour. The intermezzo was therefore not naively comic—a portrait of the genre which is all too common—but rather a repertory which was thoroughly enmeshed within contemporary artistic practice and a wider social and cultural world.

This dissertation is a study of the comic intermezzo’s literary origins and musical practice in the years before Pergolesi’s La serva padrona (1733). It begins with a chronological examination of Italian comic plays and operas written between 1660 and 1723. During these years comic playwrights adopted a style of writing speech from the improvised theatre which makes use of what Richard Andrews (1993) refers to as “elastic gags.” This style of comedy flourished under Medici patronage in Florence in the last decades of the seventeenth century and then spread to Venice, Rome and Naples during the first years of the intermezzo’s development. It is a style of comedy shared with the plays of Molière, and other contemporaneous French authors. This dissertation examines several scenes based on French works which have previously not been identified as having earlier sources. The decision to adapt these earlier sources for the intermezzo did not occur in a vacuum. The practice of comedy in the intermezzo was conditioned by the artistic, social and political climate of Italy. This study investigates the relationship between intermezzos and the milieus which produced them. The success of some intermezzos, like Il marito giocatore (1719), resulted from a combination of their artistic merit and their broad social appeal, while others, like Albino e Plautilla (1723), were musically adept but remained obscure because their humour was specific to the world they satirized. Both intermezzos are indebted to earlier French sources. Many others which are metatheatrical in nature draw on contemporary debates about opera. A final section examines selected arias from the intermezzo repertory using incongruity theory. Comic theory makes clear that the intermezzo’s musical language was not a new development. Just as librettists drew on earlier written traditions to form the literary text of the intermezzo, composers drew on existing musical practices to create humour. The intermezzo was therefore not naively comic—a portrait of the genre which is all too common—but rather a repertory which was thoroughly enmeshed within contemporary artistic practice and a wider social and cultural world.