Jean-Michel Defaye composed Á La Maniére de Debussy in 2001 as part of a series of trombone solos written to emulate the compositional styles of significant predecessors. This study compares Á La Maniére de Debussy to the harmonic, melodic, and rhythmic practices of Claude Debussy (1862–1918), an innovative French composer and recognized figure of musical Impressionism. At present, there is limited scholarship on Defaye’s Á La Maniére de Debussy and its compositionally imitative nature. The first section of this document presents a survey of historical information, current literature, and methods of examination. The second section provides biographical information on composers Jean-Michel Defaye and Claude Debussy. The third section exhibits a compositional comparison of Á La Maniére de Debussy to Debussy’s use of harmony, melody, and rhythm. The final section draws a conclusion to the piece’s importance to the trombone solo repertoire and includes an interview with French trombonist Jacques Mauger who collaborated with Defaye on Á La Maniére de Debussy. Although this document is not a performance guide, an informed performance of Á La Maniére de Debussy requires a trombonist to understand Debussy’s unique treatment of harmony, melody, and rhythm.

À la Manière de Stravinsky is one piece in a series of works composed by Jean-Michel Defaye that written emulating the compositional styles of significant composers of the past. This dissertation compares Defaye’s work to common compositional practices of Igor Stravinsky (1882 – 1971). There is currently limited study of Defaye’s set of À la Manière pieces and their imitative characteristics. The first section of this dissertation presents the significance of the project, current literature, and methods of examination. The next section provides critical information on Jean-Michel Defaye and Igor Stravinsky. The following three chapters contain a compositional comparison of À la Manière de Stravinsky to Stravinsky’s use of rhythm, articulation, and harmony. The final section draws a conclusion of the piece’s significance in the solo trombone repertoire. This study will add to the published material on Jean-Michel Defaye and this influential series of pieces and is intended to further the interest of research into the works of this important composer.

Est-il possible de parler d’un savoir-vivre grec antique ? La sociologie contemporaine définit le code de politesse comme un ensemble de règles proposant des modèles de conduite adaptés aux différentes occasions de rencontre. La pensée grecque antique, quant à elle, ne formula jamais une idée pareille : entre le VIIIe et le Ve siècle av. J.-C., les Grecs semblent plutôt avoir évalué la conduite sociale en fonction d’un principe de correspondance entre d’une part l’aspect et les manières de chaque individu et d’autre part la disposition de son esprit. Ce travail vise à la fois à mettre en lumière les spécificités culturelles de cette idée antique et à étudier les manières dont celle-ci orientait le jugement social. L’analyse est menée par le biais de catégories inspirées des recherches du sociologue américain Erving Goffman, entièrement réélaborées afin de les adapter aux sources. L’attention est d’abord focalisée sur l’épopée homérique, dont l’examen permet de cerner des principes majeurs de la politesse en Grèce ancienne. Ensuite l’étude se concentre sur le rôle social qu’ont eu ces principes aux époques archaïque et classique, notamment en ce qui concerne la conversation, la gestuelle et les occasions de sociabilité. / Is it possible to talk about politeness in ancient Greece ? Modern sociology defines politeness as a system of rules, which establish behavioural patterns in accordance with different social situations. Ancient Greek thought never conceived a similar idea. Instead, between the 8th and the 5th century BC, the Greeks seem to have appraised social conduct through the lens of a principle of correspondence between one’s aspect and demeanour and the virtue of one’s soul. This study aims at shedding light upon the cultural features of this Greek idea, and to outline the ways in which it oriented social judgement. The analysis is conducted through categories inspired by the research of the sociologist Erving Goffman, entirely readapted in order to apply them to ancient sources. The prime focus of the work is on Homer. This is followed by a study of the role of the principles of ancient Greek politeness, as gleaned from the epics, with regard to conversation, gestural expressiveness and meeting occasions in the Archaic and Classical periods. / Si può parlare di buone maniere per la Grecia d’epoca arcaica e classica ? La sociologia contemporanea definisce il codice di buona educazione come un insieme di regole che propongono modelli di comportamento adatti alle diverse occasioni d’incontro. Il pensiero greco antico non formulò mai un’idea simile: tra l’VIII e il V secolo a. C., i Greci sembrano piuttosto aver valutato la condotta sociale in funzione di un principio di corrispondenza tra l’aspetto e le maniere del singolo individuo e la sua virtù spirituale. Questo lavoro si propone di mettere in luce le specificità culturali di tale idea antica e di studiare i modi in cui essa orientava il giudizio sociale. L’analisi è condotta mediante categorie ispirate alle ricerche del sociologo americano Erving Goffman, completamente rielaborate per adattarle alle fonti. Ampio spazio è dedicato allo studio dell’epos omerico, l’esame del quale permette d’individuare alcuni principî di buona educazione tipici della Grecia antica, il cui ruolo sociale in epoca storica viene quindi studiato nell’ambito della conversazione, della gestualità e delle riunioni mondane.

Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituo de Estudos da Linguagem / Made available in DSpace on 2018-08-15T22:23:26Z (GMT). No. of bitstreams: 1 MeloFranco_LenonRogeriode_M.pdf: 1830662 bytes, checksum: d63fce9d22e9ed1808c6436f83f0a25d (MD5) Previous issue date: 2010 / Resumo: A dissertação se ocupa da recepção da obra francesa Gaspard de la Nuit: fantaisies à la manière de Rembrandt et de Callot desde sua publicação nos anos românticos até nossos dias. As leituras de Sainte-Beuve, Baudelaire, Mallarmé e André Breton, sobretudo, são revisadas à luz de exames sincrônicos e diacrônicos. Os diferentes acolhimentos do texto são oportunidade e aporte para discutirmos seus aspectos prevalentes, tais como a relação da poesia com as artes plásticas, a fundação de um novo gênero que é o poema em prosa moderno e a noção de poète maudit. Após o decantamento crítico de numerosos leitores, apresentamos então nossa exegese particular da obra - que se acrescenta a esses registros recepcionais que foram analisados / Abstract: Not informed / Mestrado / Literatura Geral e Comparada / Mestre em Teoria e História Literária