Thesis (Ph. D.)--University of North Texas, 2004. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 255-265).

Thèse--Paris--Sorbonne, 1978. / Glossaire p. 476-484. Bibliogr. et discogr. p. 485-515. Index.

xiv, 111 p. : music. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / As a prolific song composer whose works span the development of the French song cycle, Massenet is worthy of close examination. To date, analyses of his songs have included a cursory glance by Frits Noske and a review of thematic relationships by Mario Champagne. These analyses leave many of Massenet's compositions untouched and exclude many musical features of merit. This thesis offers a thorough evaluation of Massenet's songs with the aim of tracing the development of his style as an outgrowth of German influence. I focus on three works from the beginning, middle, and end of Massenet's career--Poeme d'avril, Poeme d'amour, and Expressions lyriques--that show the progression of Massenet's style and establish his place as a bridge between the great lieder composers of the early nineteenth century and the great melodie composers of the early twentieth century. / Committee in charge: Dr. Stephen Rodgers, chair; Dr. Jack Boss; Prof. Laura Wayte

Over the last quarter-century, scholars have taken a unified approach in discussing form in Italian and French opera of the nineteenth century. This approach centers around the four-part aria and duet form begun by Bellini, codified by Rossini, modified by Verdi, and dissolved by Puccini. A similar trajectory can be seen in French opera in the works of Meyerbeer, Gounod, and Massenet; however, only Meyerbeer and Gounod have received significant critical attention. This is in part due to Massenet's reception as a "composer for the people," a title ill fitting and ripe for reconsideration. This dissertation will examine duet forms in Massenet's oeuvre and will focus on the gradual change in style manifest in his twenty-five operas. Massenet's output can be divided into three distinct periods delineated by his approach to form. Representative works from each period will show how he inherited, interpreted, thwarted, and ultimately rewrote the standard formal conventions of his time and in doing so, created a dramaturgical approach to opera that unified the formerly separate number-based elements. Massenet's longevity and popular appeal make him the quintessential French opera composer of the fin de siècle and the natural choice for examining reconstructed conventions.

Treatise (D.M.A.) Florida State University, 2008. / Advisor: Douglas Fisher, Florida State University College of Music. Title and description form dissertation home page (viewed 4-6-2009). Document formatted into pages; contains 59 pages.

The evidence found through comparing and contrasting staging manuals strongly suggests that Massenet might have been involved in the staging of his operas. Several important differences, which include the implications of the use of a chair versus a bed in the final scene, are presented through a comparison of the final duet of Massenet's Opera Thaïs in a restaging from the livret de mise en scène F-Pbh T 8 (1) with the Metropolitan Opera's 2008 production. In addition, a probable date between the premiere in 1894 and the revision in 1898 for the livret de mise en scène F-Pbh T 8 (1) is deliberated. Three staging manuals for Thaïs are examined, which were found to contain the same information, and these findings are contrasted with four staging materials for Massenet's opera Manon and several other staging materials for works by various composers.

abstract: Miguel de Cervantes Saavedra created the character of Don Quixote in his book El ingenioso hidalgo Don Quijote de la Mancha, published in 1605. Since its creation, stories from the book have been reimagined in art, in literature and in music. Frequently, Cervantes – the man and author – and Quixote – the novel’s protagonist and hero – have been inextricably linked in character. Subsequent adaptors of the novel have been influenced by this connection: composers Jules Massenet (1842-1912), Jacques Ibert (1890-1962) and Mitch Leigh (1928-2014) all wrote their own versions of the Quixote saga. Though their approaches to the story are varied, the basic characteristics of it remain: Love, Life and Dreams. Those themes are reflected in the old knight’s death scene in each of their respective works. Here, the lives of the adaptors are briefly discussed and a dramatic and musical (Schenkerian), analysis of Quixote’s last hours are presented. / Dissertation/Thesis / Doctoral Dissertation Music 2016

No description available.

Abbé Prévost’s novel L’Histoire du chevalier des Grieux et de Manon Lescaut (1731) has inspired at least four operas, notably by Daniel Auber, Jules Massenet, Giacomo Puccini, and Hans Werner Henze. This study will look at the three nineteenth-century operas based on that novel: Auber’s Manon Lescaut (1856), Massenet’s Manon (1884), and Puccini’s Manon Lescaut (1893). Massenet’s treatment receives the most attention because it is the most popular, and arguably the most well-known, of the three operas. I will discuss Manon’s role in the novel and operas, and its impact on the dramatic conception of each work. In the three operas I will examine her arias and other music, and her relationships with other characters. The goal is to gain a better understanding of each composer’s interpretation of Prévost’s heroine and to explore why Manon is different in each work.

Francisco Braga (1868-1945) fut une personnalité musicale très marquante en son temps : compositeur, chef d’orchestre, professeur, il occupa de nombreuses et importantes fonctions dans le scénario musical brésilien, qui assista à d’importantes transformations à partir du début du XXe siècle. Malgré son séjour de dix ans en Europe, ce compositeur demeure encore virtuellement méconnu à l’étranger ce qui s’avère être également vrai auprès des nouvelles générations de musiciens dans son pays natal. Cette thèse présente la biographie de Braga et l’analyse de quelques-unes de ses œuvres orchestrales. En examinant sa trajectoire dans les divers contextes musicaux, l’on sera en mesure de mieux déterminer la portée de son œuvre artistique. Un catalogue de ses compositions, ainsi que divers documents difficiles d’accès accompagnent ce travail. / Francisco Braga (1868-1945) has been a famous musician in his time: as composer, conductor and teacher, he held several and important positions in the Brazilian musical scenario, which suffered important changes from the beginning of the 20th century. Notwithstanding his ten-year period in Europe, he still remains virtually unknown to audiences abroad, a fact which proves to be also true among the new generations of musicians in his native country. This dissertation presents thus Braga’s biography as well as the analysis of some of his orchestral works. Examining his career within the various musical contexts, we shall be able to better apprehend the significance of his artistic output. Included are a catalog of his compositions and various selected documents.