The purpose of the following study is to make to stylistic analysis, on the basis of form, harmony, melody, and rhythm, of the Concerto for Two Pianos and Orchestra by Harl McDonald, a twentieth-century American composer. When a composer begins the composition of a concerto he is faced with a series of specific problems, e.g., the degree of prominence to be given the soloist in relation to the orchestra, the technique of the solo instrument, the traditional first movement sonata form, and the balance between solo and orchestra in regard to tone color and sound mass. By determining the elements of style typical of this particular work, the investigator aims to set forth in a general way to how the composer treated each of the problems stated above.The concerto for Two Pianos was selected for study because of its modernity and because of the writer's active interest in works for this medium.

L’étude fournit un panorama exhaustif de la facture du piano dans les provinces belges. Elle s’étend de 1761, année de la première référence écrite au piano, à 1851, date jalon marquée par l’industrialisation progressive des techniques et la standardisation des modèles. Entre ces deux dates, le dépouillement des almanachs permet de dénombrer plus d’une centaine de facteurs, majoritairement actifs à Bruxelles. Ils possèdent, suivant les registres des patentables, de petits ateliers. L’examen des instruments conservés montre que la production est de qualité. Elle relève à part entière de l’artisanat et est centrée sur les modèles domestiques – pianos carrés et pianos droits. En 1850, elle avoisine 1 750 instruments par an. Une cinquantaine de brevets d’invention liés au piano sont déposés. Ils témoignent, tout comme la participation croissante des facteurs aux expositions des produits de l’industrie, de la formidable énergie qui mobilise la facture du piano durant la période considérée.

Jonah's Prayer is a choral work for solo tenor, a mixed choir of not fewer than 30 members, two pianos and a few percussion instruments to be played by choir members. The piece lasts about 13 minutes; it is a work intended for church choir use but could be performed in other venues as well.

The purpose of this document is to investigate the influence of Bela Bartok's music, specifically the Sonata for Two Pianos and Percussion, on George Crumb's Music for a Summer Evening. It concentrates on two specific areas: 1) the role of symmetry and 2) instrumentation. These two items were stressed during an interview with Crumb by the author, which is appended to the paper.

Made available in DSpace on 2015-04-14T13:39:15Z (GMT). No. of bitstreams: 1 460551.pdf: 425770 bytes, checksum: 4f4d95634bb1dea7fdcfd54541ab7023 (MD5) Previous issue date: 2014-01-07 / Jos? Lu?s Peixoto emerges in Portuguese literature scenario with a particular writingstyle. By exploring different language aspects and with a huge literary production, Peixoto calls attention because of the way he builds the narrators of his books. This study aims to look into the verification of the different constitution of the narratorspresent in the novel Cemit?rio de Pianos, published in 2006. By reading the work, along with a theoretical corpus constituted by Wayne Booth, Terry Eagleton, Maria L?cia Dal Farra and Robert Humphrey, we analyze the processes of creation and formation of these narrators, as well as the presentation techniques of a fragmented narrative. Thus, our analysis looks for features that indicate the characteristics of a narrator who destabilizes the reader, who, in turn, reconfigures the literary work. / Jos? Lu?s Peixoto surge no cen?rio portugu?s provido de um estilo particular de escrita. Explorando diferentes aspectos da linguagem e com uma produ??o liter?ria vast?ssima, chama aten??o a maneira como Peixoto constr?i os narradores de seus livros. O presente estudo pretende debru?ar-se na verifica??o da constitui??o dos diferentes narradores presentes no romance Cemit?rio de Pianos, publicado em 2006. A partir da leitura da obra, juntamente com um corpus te?rico formado por Wayne Booth, Terry Eagleton, Maria L?cia Dal Farra e Robert Humphrey, verificam-se os processos de constru??o e forma??o desses narradores, assim como as t?cnicas de apresenta??o de uma narrativa fragmentada. Dessa maneira, nossa an?lise procura tra?os que indiquem caracter?sticas de narradores que desestabilizem o leitor, fazendo com que este, por sua vez, reconfigure a obra liter?ria.

O presente trabalho tem como objetivo verificar o papel das Sagradas Escrituras na conformação dos romances Nenhum olhar (2005) e Cemitério de pianos (2008), do escritor português José Luís Peixoto. A premissa é de que, em ambas as obras, o diálogo com o texto bíblico é determinante para o processo interpretativo. Após um levantamento da fortuna crítica do romancista e da proposição de um diálogo entre Bíblia e Literatura no âmbito acadêmico, introduzem-se elementos básicos da organização das narrativas, de acordo com os conceitos de fábula e trama, de Boris Tomachevski. A partir da teoria de Gérard Genette, os romances de Peixoto são tomados como hipertextos das Escrituras, numa perspectiva transposicional e paródica. Tendo em vista a aproximação entre os romances e a Bíblia, os principais aspectos da hermenêutica agostiniana são apresentados, a fim de subsidiar a análise das obras. A imagética explorada por José Luís Peixoto em suas narrativas é igualmente analisada sob essa perspectiva, reconhecendo nos romances a bipolaridade bíblica entre mundo apocalíptico e demoníaco e a atualização questionadora de uma série de imagens icônicas do paradigma judaico-cristão, com destaque para a imagem da família. A estrutura reiterativa dos romances é igualmente analisada, num diálogo com a concepção tipológica e escatológica do tempo na Bíblia e com a noção de repetição, de Søren Kierkegaard. O resgate de elementos do hipotexto bíblico, transpondo-os por meio da paródia a novos contextos, problematiza a visão de mundo cristã e as respostas que esta dá aos questionamentos da pós-modernidade. / This paper aims to evaluate the role of Sacred Scripture in the framing of the novels Nenhum olhar (2005) and Cemitério de pianos (2008), by Portuguese writer José Luís Peixoto. The starting point is that, in both works, the dialog with biblical text is determinant to the interpretation process. After a review of the novelist’s critical fortune and of the proposition of a dialog between the Bible and Literature in the academical scope, basic elements of narrative framing are introduced, according to the concepts of fable e plot, by Boris Tomashevski. Starting from the theory by Gérard Genette, Peixoto’s novels are taken as hypertexts of the Scripture, in a transpositional and parodic perspective. In view of the approximation between the novels and the Bible, the main aspects of Augustinian hermeneutics are presented, with the goal of subsidizing the works’ analysis. The imagery explored by José Luís Peixoto in his narratives is also analysed under this perspective, acknowledging in the novels the biblical bipolarity between apocalyptic and demonic world and the questioningly updating of a series of iconic images of the Judeo-Christian paradigm, with highlight on the image of family. The novels’ reiterative structure is also analysed, in dialog with the typological and scatological conception of time in the Bible and with the notion of repetition, by Søren Kierkegaard. The retrieval of elements from biblical hypotext, transposing them through parody to new contexts, problematizes the Christian worldview and its answers to postmodern questionings.

O presente trabalho tem como objetivo verificar o papel das Sagradas Escrituras na conformação dos romances Nenhum olhar (2005) e Cemitério de pianos (2008), do escritor português José Luís Peixoto. A premissa é de que, em ambas as obras, o diálogo com o texto bíblico é determinante para o processo interpretativo. Após um levantamento da fortuna crítica do romancista e da proposição de um diálogo entre Bíblia e Literatura no âmbito acadêmico, introduzem-se elementos básicos da organização das narrativas, de acordo com os conceitos de fábula e trama, de Boris Tomachevski. A partir da teoria de Gérard Genette, os romances de Peixoto são tomados como hipertextos das Escrituras, numa perspectiva transposicional e paródica. Tendo em vista a aproximação entre os romances e a Bíblia, os principais aspectos da hermenêutica agostiniana são apresentados, a fim de subsidiar a análise das obras. A imagética explorada por José Luís Peixoto em suas narrativas é igualmente analisada sob essa perspectiva, reconhecendo nos romances a bipolaridade bíblica entre mundo apocalíptico e demoníaco e a atualização questionadora de uma série de imagens icônicas do paradigma judaico-cristão, com destaque para a imagem da família. A estrutura reiterativa dos romances é igualmente analisada, num diálogo com a concepção tipológica e escatológica do tempo na Bíblia e com a noção de repetição, de Søren Kierkegaard. O resgate de elementos do hipotexto bíblico, transpondo-os por meio da paródia a novos contextos, problematiza a visão de mundo cristã e as respostas que esta dá aos questionamentos da pós-modernidade. / This paper aims to evaluate the role of Sacred Scripture in the framing of the novels Nenhum olhar (2005) and Cemitério de pianos (2008), by Portuguese writer José Luís Peixoto. The starting point is that, in both works, the dialog with biblical text is determinant to the interpretation process. After a review of the novelist’s critical fortune and of the proposition of a dialog between the Bible and Literature in the academical scope, basic elements of narrative framing are introduced, according to the concepts of fable e plot, by Boris Tomashevski. Starting from the theory by Gérard Genette, Peixoto’s novels are taken as hypertexts of the Scripture, in a transpositional and parodic perspective. In view of the approximation between the novels and the Bible, the main aspects of Augustinian hermeneutics are presented, with the goal of subsidizing the works’ analysis. The imagery explored by José Luís Peixoto in his narratives is also analysed under this perspective, acknowledging in the novels the biblical bipolarity between apocalyptic and demonic world and the questioningly updating of a series of iconic images of the Judeo-Christian paradigm, with highlight on the image of family. The novels’ reiterative structure is also analysed, in dialog with the typological and scatological conception of time in the Bible and with the notion of repetition, by Søren Kierkegaard. The retrieval of elements from biblical hypotext, transposing them through parody to new contexts, problematizes the Christian worldview and its answers to postmodern questionings.

O presente trabalho tem como objetivo verificar o papel das Sagradas Escrituras na conformação dos romances Nenhum olhar (2005) e Cemitério de pianos (2008), do escritor português José Luís Peixoto. A premissa é de que, em ambas as obras, o diálogo com o texto bíblico é determinante para o processo interpretativo. Após um levantamento da fortuna crítica do romancista e da proposição de um diálogo entre Bíblia e Literatura no âmbito acadêmico, introduzem-se elementos básicos da organização das narrativas, de acordo com os conceitos de fábula e trama, de Boris Tomachevski. A partir da teoria de Gérard Genette, os romances de Peixoto são tomados como hipertextos das Escrituras, numa perspectiva transposicional e paródica. Tendo em vista a aproximação entre os romances e a Bíblia, os principais aspectos da hermenêutica agostiniana são apresentados, a fim de subsidiar a análise das obras. A imagética explorada por José Luís Peixoto em suas narrativas é igualmente analisada sob essa perspectiva, reconhecendo nos romances a bipolaridade bíblica entre mundo apocalíptico e demoníaco e a atualização questionadora de uma série de imagens icônicas do paradigma judaico-cristão, com destaque para a imagem da família. A estrutura reiterativa dos romances é igualmente analisada, num diálogo com a concepção tipológica e escatológica do tempo na Bíblia e com a noção de repetição, de Søren Kierkegaard. O resgate de elementos do hipotexto bíblico, transpondo-os por meio da paródia a novos contextos, problematiza a visão de mundo cristã e as respostas que esta dá aos questionamentos da pós-modernidade. / This paper aims to evaluate the role of Sacred Scripture in the framing of the novels Nenhum olhar (2005) and Cemitério de pianos (2008), by Portuguese writer José Luís Peixoto. The starting point is that, in both works, the dialog with biblical text is determinant to the interpretation process. After a review of the novelist’s critical fortune and of the proposition of a dialog between the Bible and Literature in the academical scope, basic elements of narrative framing are introduced, according to the concepts of fable e plot, by Boris Tomashevski. Starting from the theory by Gérard Genette, Peixoto’s novels are taken as hypertexts of the Scripture, in a transpositional and parodic perspective. In view of the approximation between the novels and the Bible, the main aspects of Augustinian hermeneutics are presented, with the goal of subsidizing the works’ analysis. The imagery explored by José Luís Peixoto in his narratives is also analysed under this perspective, acknowledging in the novels the biblical bipolarity between apocalyptic and demonic world and the questioningly updating of a series of iconic images of the Judeo-Christian paradigm, with highlight on the image of family. The novels’ reiterative structure is also analysed, in dialog with the typological and scatological conception of time in the Bible and with the notion of repetition, by Søren Kierkegaard. The retrieval of elements from biblical hypotext, transposing them through parody to new contexts, problematizes the Christian worldview and its answers to postmodern questionings.

Le piano, instrument de musique occidental, détient une position historique unique dans la musique persane. La musique d’Iran est constituée à partir d’un repértoire canonique classique qui fait état de caractéristiques transmises de génération en génération, avec quelques innovations apportées au fil du temps. Lorsque des échelles musicales ont été portées sur un piano à Téhéran dans les années 1870, les membres de la cour impériale étaient le seul public témoin de l’évènement. À l’époque, Sorourolmolk, musician du palais Qajar sous le règne de Nāsseredin Shah Qajar (1848-1896), a tenté de changer l’accordage du piano et de jouer les airs traditionnels persans, inspirés par les techniques du santur et du tār. Ainsi, la pratique du piano en Iran a immédiatement été associée à la musique qui existait déjà depuis des générations. On parlera alors de “piano persan.” Plus tard, l’élite instruite de la société et les étudiants de la première école de musique militaire à Téhéran (Sho’beh-ye Music-e Dārolfonoun) ont été parmi les premiers “praticiens” du piano Persan. Cette thèse étudie l’art du piano persan à Téhéran depuis son introduction dans les années 1880 jusqu’à la revolution de 1979. Durant cette période, la pratique du piano persan a progressivement mûri, culminant dans les compositions et interprétations de Moshir Homāyoun-e Shahrdār (1886-1969), Mortezā Mahjoubi (1900-1965), et Javād Ma’roufi (1915-1993). Mahjoubi est considéré comme le plus eminent compositeur et interprète qui a instauré le piano traditionnel persan (Piano-ye Sonnati) comme une forme d’art distinctive. Les éléments les plus remarquables du piano persan traditionnel, les techniques de jeu, et les systèmes de réglage en microtones, de même que les innovations apportées à la pratique canonique par Ma’roufi, constituent les axes principaux de cette recherche. En outre, avec l’essor de la musique classique occidentale, la pratique du piano persan qui était presque entièrement fondée sur des techniques instrumentales ainsi que sur des formules et mélodies persanes autochtones n’a pas été maintenue au sein du Téhéran du XXe siècle. Le piano classique occidental coexista alors avec le style persan. Ce mémoire s’attache donc à étudier la place du piano classique occidental dans la société persane en présentant les contributeurs majeures en ce demaine, ce qui comprend aussi le style de Emanuel Melik-Aslāniān (1915- 2003). Cette recherche met aussi un accent particulier sur les claviéristes femmes, leur enseignement, leur style de jeu et leur performances publiques de la période de Qajar à celle de Pahlavi. Aujourd’hui, on constate de plus en plus de tentatives prometteuses pour revitalizer l’art du piano persan. Cela est particulièrement vrai pour le style de Mahjoubi dont l’héritage remarquable marque l’histoire d’évolution de la pratique du piano persan. Actuellement, la meilleure élève de Mahjoubi, Madame Fakhri Malekpour, enseigne le style traditionnel du piano persan en cours privés à Téhéran. L’effort fait pour éveiller l’interêt et former une nouvelle génération de pianistes pourrait faire en sorte qu’à l’avenir, cette forme unique d’art de piano sera plus connue et advantage pratiquée aux côtés des autres styles pianistiques. / Piano, a western musical instrument has a unique historical position in Persian music. Iran has its own music as part of its culture, a classical canon with an enduring repertoire and characteristic techniques handed down from generation to generation with some improvements made along the way. When the first keys were played on a piano in Tehran in the 1870s, the members of the imperial court were the exclusive audience. At the time, Sorourolmolk, the master musician of the Qajar palace during the reign of Nāsseredin Shah Qajar (1848-1896), attempted to change the tuning of piano and play traditional Persian tunes in a way inspired by santur and tār techniques. Thus, the practice of piano in Iran was immediately associated with the music that had already existed for generations. This would eventually become known as “Persian piano.” Later, the educated elite of the society, and students of the first military music school in Tehran (Sho’beh-ye Music-e Dārolfonoun) were among the first practitioners of Persian piano. This dissertation studies the art of Persian piano in Tehran from its introduction in 1880s until the Revolution of 1979. During this period, Persian piano practice gradually matured, culminating in the compositions and performances of Moshir Homāyoun-e Shahrdār (1886-1969), Mortezā Mahjoubi (1900-1965), and Javād Ma’roufi (1915-1993). Of this group, Mahjoubi is considered the most prominent composer and performer, and is the one credited with establishing Persian piano as a distinctive art form. This study looks at his work, and also focuses a spotlight on Ma’roufi’s style and contributions to Persian piano. With regard to the most notable elements in traditional Persian piano, the dissertation offers a thorough analysis of the techniques and tuning systems linked to the Persian microtone, and explores innovations in the canonic practice of traditional Persian piano. With the rapid expansion of western classical music in Iran in the twentieth century, the practice of Persian piano based almost entirely on indigenous Persian instrumental techniques, forms, and melodies, no longer held an exclusive place in piano performance. Accordingly the dissertation moves on to the practice of piano in Iran in the twentieth century and finds that Western classical piano co-existed with the Persian style. The study delves into the establishment of the western classical piano in Persian society and presents the major contributors in this field including Emanuel Melik-Aslāniān (1915- 2003). The dissertation places particular emphasis on female keyboard players, their musical education, style of play, and public performances from the Qajar period through the Pahlavi era. Today, promising attempts to revitalize the art of Persian piano are on the rise. This is especially true for Mahjoubi’s style whose outstanding legacy marks a milestone in the evolution of Persian piano practice. Presently, Mahjoubi’s best student, Fakhri Malekpour, is teaching the traditional style of Persian piano in private lessons in Tehran. The effort to awaken interest, and to train a new generation of practitioners just might mean that this unique form of piano art will become more well known and practiced alongside other pianistic trends on into the future.

The compositions of Steve Reich and György Ligeti both contain periodic rhythmic structures. Although periods are not usually easily perceived, the listener may perceive their combinations in a hierarchy of rhythmic structures. This document is an attempt to develop an analytical method that can account for this hierarchy in periodic music. I begin with an overview of the features of Reich's and Ligeti's music that contribute to the property of periodicity. I follow with a discussion of the music and writings of Olivier Messiaen as a precedent for the periodic structures in the music of Reich and Ligeti. I continue by consulting the writings of the Israeli musicologist Simha Arom and describing the usefulness of his ideas and terminology in the development of my method. I explain the working process and terminology of the analytical method, and then I apply it to Reich's Six Pianos and Ligeti's Désordre.