Looking back to the thirty years of Baltic musicologists' conferences we can distinguish their two main functions, the fulfilling of which has taken place inseparably from one another. First of all, they have had an unvaluable social importance preserving and reinforching our Baltic identity and solidarity. At the same time they habe been one of the main audience before which we have during tens of years acquainted one another with the best achievements of our musicological thought.

Looking back to the thirty years of Baltic musicologists'' conferences we can distinguish their two main functions, the fulfilling of which has taken place inseparably from one another. First of all, they have had an unvaluable social importance preserving and reinforching our Baltic identity and solidarity. At the same time they habe been one of the main audience before which we have during tens of years acquainted one another with the best achievements of our musicological thought.

Of the three manuscripts that form the basis of this thesis, MS Cape Town, South African Library, Grey 4c7 is, in musicological terms the most important of the three manuscripts. It is a complete Carthusian Antiphonary, of the late 14th century, written for the Charterhouse of Champmol, near Dijon, the mausoleum of the Dukes of Burgundy. It also contains an extensive Tonary, a Hymnary and a Kyriale. The two didactic verses which form part of the Tonary are of particular importance, since MS 4c7is one of the few manuscripts in the world intended for musical performance to contain the Ter terni by William of Hirsau; furthermore it is apparently the only Carthusian manuscript of any kind to contain the Oyapente et dyatessaron by Hucbald. The manuscript is placed in the context of the Carthusian liturgy of the 12th to the 16th centuries and is compared with 33 manuscripts of this period. It is shown that, although a marked textual similarity exists between the manuscripts, there are variant melodies. The conclusion is therefore drawn that the Carthusians did not have a single exemplar for the melodies in their liturgical books. It is shown that MS 4c7 and MS Oijon, Bibliotheque municipale 118, also written for Champmol, were copied from the same exemplar and that they are closely related to MSS Beaune, Bibliotheque municipale 27, 34 and 41, ot the neighbouring Charterhouse of Fontenay. The second manuscript, MS Grey 3c23, an Antiphonary for nuns, for Lauds and Vespers, written for the Charterhouse of Mont-Sainte-Marie, at Gosnay, near Arras, has been dated 1538 by the original scribe. This manuscript is almost identical to MS AGC C II 817. The presence of a Sequence, foreign to the Carthusian tradition, is however unique toMS 3c23. The third manuscript, MS Grey 6b3, is an Evangeliary, signed by the scribe, Amelontius de Ercklems, in 1520. Its provenance is the Charterhouse of Our Lady of the Twelve Apostles at Mont-Cornillon near Liege. Musicological features of the manuscript which are discussed are the Hymn 'Te decet laus', and the accent neumes at the ends of pericopes. / Art History, Visual Arts & Musicology / D.Mus. (Musicology)

Que se passe-t-il sur scène lors d’un concert de rock ? Quels sont les éléments qui permettent d’apprécier ce moment perçu comme "unique" (improvisation, durée des morceaux, performance, interprétation,…) qui ne semble pas identique au disque ?L’angle d’approche de ce projet se base sur les différences musicologiques entre une version phonographique d’une chanson et sa version concert. L’hypothèse de départ est que ces différences font sens.Dans ce cadre, plusieurs analyses sont nécessaires : l’analyse musicologique, l’analyse scénographique et la prise en compte des éléments sociologiques. En effet, nous pensons que le processus de passage sur scène d’un groupe de musique actuelle, outre un rapport privilégié avec le public qu’il est pertinent de prendre en considération, influe sur le processus créatif du groupe, sur la composition même.Plusieurs concepts sont abordés pour traiter ce questionnement : l’authenticité liée aux musiques rock, la postmodernité, le problème ontologique rencontré par les musiques actuelles, le processus de re-création, la fête et le rituel liés au concert, l’interprétation et la performance. Nous traitons aussi des enjeux du disque (création, industrie) et du concert (définition, création) dans le but de comprendre les contraintes matérielles d’un groupe sur la création.Pour mener à bien ce projet, nous nous appuyons sur l’étude du groupe Noir Désir (productions phonographiques, scéniques, influences, analyses du corpus, etc.) et particulièrement sur des analyses comparatives entre versions phonographiques et versions scéniques afin de découvrir les modalités d’existence d’une re-création musicale lors d’un passage sur scène. / What exactly happens on stage during a rock concert ? What are the elements that enable us to appreciate this moment perceived as "unique" (improvisation, duration of songs, performance, interpretation…) which does not seem to be identical to the record?The angle of approach to this project is based on the musicological differences between a phonographic version of a song and its live version. The hypothesis is that these differences make sense.In this perspective, several points of analysis are necessary: the musicological analysis, the scenographic analysis as well as the sociological aspects.Indeed we think that not only a privileged relationship with the public is relevant, but also the process by which a popular music group does from creating records to going on stage influences the creative process of the group and of the composition itself.To answer these questions, the following concepts will be used: the notion of authenticity that is linked to rock music, postmodernity, the ontological problem which popular music faces, the process of re-creation, the celebration and the rituals inherent to concerts, interpretation and performance. To understand the material constraints of creation for a music group, we dealt with the underlying implications of recording and stage performance. In order to carry out this project successfully, we chose to study Noir Désir (phonographic productions, scenic productions, influences, corpus analysis, etc.) with an emphasis on comparative analysis between phonographic versions and scenic versions to discover the modalities of existence of musical re-creation from record to stage performance.

Of the three manuscripts that form the basis of this thesis, MS Cape Town, South African Library, Grey 4c7 is, in musicological terms the most important of the three manuscripts. It is a complete Carthusian Antiphonary, of the late 14th century, written for the Charterhouse of Champmol, near Dijon, the mausoleum of the Dukes of Burgundy. It also contains an extensive Tonary, a Hymnary and a Kyriale. The two didactic verses which form part of the Tonary are of particular importance, since MS 4c7is one of the few manuscripts in the world intended for musical performance to contain the Ter terni by William of Hirsau; furthermore it is apparently the only Carthusian manuscript of any kind to contain the Oyapente et dyatessaron by Hucbald. The manuscript is placed in the context of the Carthusian liturgy of the 12th to the 16th centuries and is compared with 33 manuscripts of this period. It is shown that, although a marked textual similarity exists between the manuscripts, there are variant melodies. The conclusion is therefore drawn that the Carthusians did not have a single exemplar for the melodies in their liturgical books. It is shown that MS 4c7 and MS Oijon, Bibliotheque municipale 118, also written for Champmol, were copied from the same exemplar and that they are closely related to MSS Beaune, Bibliotheque municipale 27, 34 and 41, ot the neighbouring Charterhouse of Fontenay. The second manuscript, MS Grey 3c23, an Antiphonary for nuns, for Lauds and Vespers, written for the Charterhouse of Mont-Sainte-Marie, at Gosnay, near Arras, has been dated 1538 by the original scribe. This manuscript is almost identical to MS AGC C II 817. The presence of a Sequence, foreign to the Carthusian tradition, is however unique toMS 3c23. The third manuscript, MS Grey 6b3, is an Evangeliary, signed by the scribe, Amelontius de Ercklems, in 1520. Its provenance is the Charterhouse of Our Lady of the Twelve Apostles at Mont-Cornillon near Liege. Musicological features of the manuscript which are discussed are the Hymn 'Te decet laus', and the accent neumes at the ends of pericopes. / Art History, Visual Arts and Musicology / D.Mus. (Musicology)

Cette thèse se propose de démontrer que, au-delà de son image d’interprète de la musique de Jean-Sébastien Bach, le pianiste Glenn Gould a développé, à travers ses nombreux écrits, une véritable pensée musicologique, qui surprend par sa cohérence et dont les racines sont à chercher en réalité du côté d’Arnold Schoenberg, le compositeur qui l’aura le plus influencé. Nous nous attachons donc ici à l’observation et à l’analyse de cette pensée à travers les écrits du musicien canadien, l’objectif étant la mise en évidence du rapport existant avec la pensée de Schoenberg. L’analyse comparative menée ici repose sur les principes que Gould avait lui-même placés au fondement de sa pensée : le raisonnement justifiable, l’esprit de re-création, le concept inductif et la musicologie scientifique. Pour ce faire, nous avons adopté un cheminement logique passant successivement par les domaines suivants : méthode, création musicale, interprétation, critique, pédagogie et enregistrement. / This research tends to demonstrate that, beyond the picture of the performer of Johann Sebastian Bach’s music, Glenn Gould, the pianist, has developed through his numerous writings a real musicological thought which is distinguished by a strong coherence ; its roots are in fact to be found in Arnold Schoenberg’s thought, the composer whose influence was the most important for Gould. We intend here to propose an analytical and critical observation of Glenn Gould’s musicological thought by using the principles upon which he had himself set his thought, which are : justified reasoning, re-creation spirit, inductive concept and scientific musicology. With that aim, we used a logical progression examining successively the following themes : the method, the musical creation, the musical performance, the criticism, the pedagogy and finally the recording.

This dissertation falls in line with work produced during the past fifteen years or so, aimed at improving our appreciation of late medieval/early Tudor English Drama. The approach is based especially on looking at the rapport likely to be achieved between audience and players (and via the players, with the playwrights), in actual performance. Attention is given to the permanent modes of human thought, that are unaffected by the ephemeralities of a particular period; attention is therefore drawn to the traps that may mislead the unwary twentieth-century critic, and some new insights are offered into the purposes of the playwrights. Several cycle plays are treated, together with two of the moralities and two interludes. The point is made that these playwrights showed a considerable mastery of the possibilities inherent in drama, as is demonstrated by the provision for achieving rapport with the audience / The reformed churches have theological and musicological criteria for their hymns, which, however, are not always unambiguous. After the introduction of the Jeugsangbundel (1984) an informal song, with informal accompaniment, entered the worship and forms a prominent part of the singing in Dutch Reformed Churches today. Some congregations compile their own volumes of songs. This study set out to identify these congregations by means of a questionnaire and evaluate the songs. Other relevant information was also required from congregations. 21 % of the respondent congregations sing unapproved songs. They have a larger percentage of young people than those singing official songs. Congregations prefer a balance of formal and informal hymns and both are sung with equal enthusiasm. The melody is the strongest characteristic of the informal song and edification the strongest of the formal hymn. The evaluation, however, shows that a considerable number of songs do not meet the required standard / Art History, Visual Arts & Musicology / M.A. (Musicology)

This dissertation falls in line with work produced during the past fifteen years or so, aimed at improving our appreciation of late medieval/early Tudor English Drama. The approach is based especially on looking at the rapport likely to be achieved between audience and players (and via the players, with the playwrights), in actual performance. Attention is given to the permanent modes of human thought, that are unaffected by the ephemeralities of a particular period; attention is therefore drawn to the traps that may mislead the unwary twentieth-century critic, and some new insights are offered into the purposes of the playwrights. Several cycle plays are treated, together with two of the moralities and two interludes. The point is made that these playwrights showed a considerable mastery of the possibilities inherent in drama, as is demonstrated by the provision for achieving rapport with the audience / The reformed churches have theological and musicological criteria for their hymns, which, however, are not always unambiguous. After the introduction of the Jeugsangbundel (1984) an informal song, with informal accompaniment, entered the worship and forms a prominent part of the singing in Dutch Reformed Churches today. Some congregations compile their own volumes of songs. This study set out to identify these congregations by means of a questionnaire and evaluate the songs. Other relevant information was also required from congregations. 21 % of the respondent congregations sing unapproved songs. They have a larger percentage of young people than those singing official songs. Congregations prefer a balance of formal and informal hymns and both are sung with equal enthusiasm. The melody is the strongest characteristic of the informal song and edification the strongest of the formal hymn. The evaluation, however, shows that a considerable number of songs do not meet the required standard / Art History, Visual Arts and Musicology / M.A. (Musicology)