No description available.

The purpose of this study, ve to analyze the stylistic characteristics in the unaccompanied music of one twentieth century composer, Francis Poulenc, in order to discover the choral problems which would confront choruses and conductors as they performed his music. It is hoped that this study will not only enable choral conductors to better understand, interpret, and appreciate the music of Poulenc, but also will serve as a guide toward the investigation of other twentieth century composers and their works.

This thesis presents extended program notes for a sixty–minute vocal graduate recital consisting of the following repertoire for soprano: the arias “Soffri, o cor” and “Dimmi qual prova mai” from Alessandro Scarlatti’s cantata Dal Bel Volto d’Irene; a role study of Zerlina from Wolfgang Amadeus Mozart’s opera Don Giovanni, including her arias “Batti, batti, o bel Masetto” and “Vedrai, carino;” Francis Poulenc’s song cycle Cocardes; selections from Arnold Schoenberg’s song cycle Das Buch der Hängenden Gärten; “Der Hirt auf dem Felsen” by Franz Schubert, a chamber work written for soprano, piano, and clarinet; and selections from American composer Ricky Ian Gordon’s song cycle Orpheus and Euridice, composed as a companion piece to the Schubert “Der Hirt auf dem Felsen.” These works span three centuries and cover four languages and multiple genres and musical styles. The content of this thesis contains detailed information on these works through historical study, musical analysis, and research in performance practice.

Thesis--Boston University. / Vita. Bibliography: p. 646-668.

The aim of the present thesis is to analyze the works of the composers belonging to the groupe referred to as Les Six (G. Auric, D. Milhaud, L. Durey, A. Honegger, F. Poulenc a G. Tailleferre), with particular reference for the compositions written for flute. In the opening part of the text, we concentrate on delimiting the cultural and artistic context in which the group in question was established, including the musical (collaboration with E. Satie) and literary (J. Cocteau) influences. In the following part, we present a brief individual chapter on each of the members, provide a fundamental information on his/her life and work and propose a more detailed analysis of the compositions for flute.

Si la vie musicale en France sous l’Occupation est aujourd’hui un champ de recherche bien balisé, le parcours de l’un des compositeurs majeurs de cette période, Marcel Delannoy (1898-1962), n’a encore fait l’objet d’aucune étude approfondie. Appuyé sur un large éventail de sources, dont le riche fonds Delannoy conservé à la BnF, ce travail vise à combler cette lacune en situant Delannoy dans le contexte plus large d’une génération particulièrement exposée sous Vichy. Dans ce contexte coercitif mais favorable à la création musicale, plusieurs compositeurs de cette génération (notamment Poulenc et Honegger) sont en effet impliqués dans diverses activités qui révèlent leurs engagements et leur degré d’accommodation face à la situation d’Occupation. Pour rendre compte des activités de Delannoy sous Vichy, il s’est avéré nécessaire d’élargir la périodisation. D’abord parce que son principal projet et succès de la période, Ginevra, un opéra créé en 1942 à l’Opéra-Comique, est le fruit d’une commande d’État de 1938. Et plus généralement parce que ses choix musicaux et extra-musicaux, comme ceux de ses contemporains, ne peuvent être compris dans le seul contexte des 4 années d’Occupation. / Although the French musical life during the Occupation is now a familiar field of research, no detailed study has been made of Marcel Delannoy (1898-1962), one of the most important composers of the period. Supported by a wide range of sources, including the large collection of Delannoy’s papers conserved at the BnF, the present work aims to fill this gap by situating Delannoy in the larger context of a generation of musicians that were especially visible during the Vichy years. In this context, both coercive and favorable to musical creation, several composers (notably Poulenc and Honegger) were indeed involved in a number of activities that reveal their commitments and the degree of adaptation in the face of the Occupation. To account for Delannoy’s activities under Vichy, it was necessary to extend the period under study: his principal project and success of the period, Ginevra (an opera premiered in 1942 at the Opéra-Comique), was the result of a 1938 State commission; more generally, his musical and extra-musical choices, much like those of his contemporaries, cannot be understood if they are restricted to the four years of the Occupation.

This thesis presents extended program notes for a seventy-minute vocal graduate recital consisting of the following repertoire for tenor: Johann Sebastian Bach’s cantata Ich armer Mensch ich Sündenknecht; two songs from the eighteenth-century Spanish collection Tonadillas Escénicas; Gaetano Donizetti's song La derniére nuit d'un novice; Francis Poulenc's song cycle Tel jour telle nuit; Jake Heggie's song cycle Friendly Persuasions; and John Corigliano's Three Irish Folk Songs for Flute and Tenor. Spanning four centuries of music and representing four different language traditions, these works are sufficiently representative of the tenor repertoire. The content of this thesis features detailed information on these works through historical study, and musical analysis.

No description available.

Thesis (Ph. D.)--State University of Iowa, 1964. / Includes bibliographical references (leaves 373-380).

No description available.