Texte remanié de: Thèse de doctorat--Littératures françaises et comparées, arts du spectacle, musicologie--Montpellier 3, 2006. Titre de soutenance : Lili Boulanger, l'oeuvre intime. / Bibliogr. p. 205-209. Notes bibliogr. Discogr. p. 211-216. Webliogr. p. 209-210. Lexique.

Thesis (D.M.A.)--University of North Texas, 2001. / Accompanied by 4 recitals, recorded Nov. 4, 1999, Mar. 5, 2000, Mar. 12, 2001, and Oct. 12, 2001. Includes bibliographical references (p. 68-71).

Psaume 130, Du fond de l'Abime, by Lili Boulanger, poses a series of problems for conductors. Its large orchestral requirement and thirty-minute performance length severely limit the possibility of programming the work. Having thoroughly studied the composer's other works, I have determined that balance problems in the orchestration need adjustment. Errors exist in the current published edition and warrant correction.For these reasons combined with the assertion, later discussed in this document, that Lili Boulanger may have been asked to make a more practical version of Psaume 130, Du fond de l'Abime in order to promote sales of her music, an orchestral reduction is a viable solution. In addition, she died before the premier of the work and may have re-orchestrated certain passages upon hearing it.The methodology for this process of editing and rescoring includes:1) comparison of the manuscript with the published edition, 2) analysis, which includes tonal, motivic, and structural aspects of the work, 3) analysis of Boulanger's orchestral technique, and 4) an interview with conductor Mark Stringer.I will demonstrate that Lili Boulanger's Psaume 130, Du fond de l'Abime can be arranged for reduced forces while preserving its essential elements. This version will be more accessible for professional, college, community and church choirs, and orchestras.

We present the results from a user study looking at the ability of observers to mentally integrate wind direction and magnitude over a vector field. The data set chosen for the study is an MM5 (PSU/NCAR Mesoscale Model) simulation of Hurricane Lili over the Gulf of Mexico as it approaches the southeastern United States. Nine observers participated in the study. This study investigates the effect of layering on the observer's ability to detrmine the magnitude and direction of a vector field. We found a tendency for observers to underestimate the magnitude of the vectors and a counter-clockwise bias when determining the average direction of a vector field. We completed an additional study with two observers to try to uncover the source of the counter-clockwise bias. These results have direct implications to atmospheric scientists, but may also be able to be applied to other fields that use 2D vector fields.

Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of analysis serves as a means to guide musical decisions in the actual performance of the works. The conclusion briefly discusses performance practice issues and the possibility of a turn-of-the-century feminine aesthetic.

Lili Boulanger was an important composer of early twentieth century French music. Her compositional style represents a development and mastery of musical techniques of the great composers of her time including Fauré, Debussy and Wagner combined with her own creative expression. The result is a compelling musical language that was uniquely her own. She held an important place among her contemporaries in Paris and her accomplishments were considered newsworthy during her lifetime (1893- 1918). She obtained a much sought-after publishing contract with Ricordi. Her more famous sister, Nadia Boulanger, felt that Lili was the better composer of the two, and her peers and music professors clearly felt that both her musical and personal qualities were extraordinary. Evidence of her intelligence, creativity, and artistic growth can be seen in her music. As the first woman to win the Prix de Rome (July 5, 1913), Lili Boulanger, unlike Clara Schumann, Fanny Mendelssohn, or Alma Mahler, was acknowledged and acclaimed during her lifetime for her skill as a composer. Yet, nearly a century later the music of this talented French composer is not as well known as it deserves to be. In an effort to discover the reasons for this relative anonymity, this document will examine Lili Boulanger's life including her family and childhood influences, musical training, preparation for the Prix de Rome and the influence of Claude Debussy and other composers. This document will discuss her mature compositional style, specifically as it is reflected in her song cycle, Clairières dans le ciel. The text will be examined in conjunction with the literary movement of symbolism in 20th century France and the symbolist poet, Francis Jammes, with special attention to the composer's personal identification with the poetry. Considerations of the musical setting of the cycle will include the melodic style as it relates to the text, the harmonic idiom and its relation to the poetry, rhythmic and metrical devices used, formal devices and the relationship of the piano accompaniment and the voice. Performance considerations for this cycle include the recommended transpositions if performed by soprano rather than the tenor voice for which it was originally composed and the level of difficulty from an interpretative as well as technical standpoint.

Jean Ahn (b. 1976) is one of the active Korean woman composers in the U.S. Ahn’s goal is to introduce her works in the U.S. by composing pieces that combine Korean musical elements with Western compositional techniques. The purpose of this study is to provide an introduction to and analysis of Folksong Revisited for solo piano by Jean Ahn. This work demonstrates how Jean Ahn integrates Korean traditional musical elements and Western musical compositional techniques. For better understanding of Ahn’s three Korean folksong arrangements in the Folksong Revisited, this document provides brief information about Korean traditional music and explores elements of it. This document also examines the folksong sources of each piece and Ahn’s compositional approaches to them, and then provides performance suggestions.

Lili Boulanger (1893-1918) is the first female composer to win the Prix de Rome in France. She had an early death due to Crohn¡¦s Disease at the age of twenty-four. During her brief and difficult life, she completed more than thirty musical pieces, one third of which were choral works. The 1913 Prix de Rome award is a clear line of demarcation of Lili's choral compositions. The early secular choral works, composed for the preparation of the first round of Prix de Rome(1911 to 1913), are much less known; her four well-known grand sacred choral works¡Ð¡§Psaume 24¡¨, ¡§Psaume 129¡¨, ¡§Psaume 130¡¨ and ¡§Vieille prière bouddhique¡¨¡Ðwere written between 1913 and 1918. Regrettably, the early secular works have been overwhelmed by the four splendor sacred works in the past century. Nine of the early works survive, and they were: ¡§Sous bois¡¨, ¡§Renouveau¡¨, ¡§Les sirènes¡¨, ¡§Soleils de septembre¡¨, ¡§Pentant la tempête¡¨, ¡§La source¡¨, ¡§Hymne au soleil¡¨, ¡§Pour les funérailles d¡¦un soldat¡¨ and ¡§Soir sur la plaine¡¨. The lyrics are from nineteen-century French poems; the music has such extreme intensity, dramatic power, demanding vocal techniques, as well as challenging piano skills. This thesis consists of five parts: an introduction, a basic review of Lili Boulanger¡¦s life and works, the analysis of the nine secular choral works, the interpretation of the works and a conclusion. There are also three appendices attached. Appendix 1 offers the translation and a pronunciation guide of the nine works. Appendix 2 is the program of the conducting recital. Appendix 3 is the program of the lecture recital.

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Thèses (M.A.)--Université de Sherbrooke (Canada), 2006. / In ProQuest dissertations and theses. Titre de l'écran-titre (visionné le 16 oct. 2007). Publié aussi en version papier.