At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). Relying on primary sources such as reviews, other historically relevant documents, as well as the art historical literature, I trace the evolution of the cultural role of primitivism in pre- and post-World War 1 French culture. / French critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism. / Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.

Thesis (M.A.)--Memorial University of Newfoundland. / Restricted until October 1995. Typescript. Bibliography: leaves [146]-152. Also available online.

Thesis (D.M.A.)--University of Southern California. / Includes bibliographical references.

Thesis (Ph. D.)--Yale University, 1981. / Includes bibliographical references (leaves 287-288).

Thesis (M.A.)--Eastern Illinois University, 1972. / Includes bibliographical references (leaves 134-137).

Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains v, 70 p. : col. ill. Includes bibliographical references.

The trumpet has always maintained a central role in the jazz genre. However, throughout the history of chamber music the trumpet was overlooked until the mid-twentieth century when brass chamber music and mixed chamber ensembles rose to popularity. An infiltration of the popular American style, jazz, into classical chamber music changed composers' treatment of the trumpet. This thesis focuses on the role and treatment of the trumpet in selected jazz-influenced classical chamber works in order to highlight that the trumpet's prominence in jazz helped to establish its place in twentieth-century chamber music. A brief history of classical brass chamber music and the origins and development of jazz is given. Trumpet performance techniques and compositional practices idiomatic to the different jazz style periods, ranging from ragtime to cool jazz, are given. These techniques are then traced through selected chamber music works of Stravinsky, Martinu, Schuller, Babbitt, and Wilson. Selected works were chosen based on the degree of jazz influence and are representations of the jazz style period they emulate. A comparison of how classical composers in Europe and the United States viewed the trumpet in jazz, in regards to chamber music, is detailed over the course of the twentieth century.

Made available in DSpace on 2014-06-11T19:26:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2008Bitstream added on 2014-06-13T20:55:17Z : No. of bitstreams: 1 vazzoler_lf_me_ia.pdf: 661466 bytes, checksum: e1ad82c415da1b637531008c17b8ae99 (MD5) / Nesta pequisa estuda-se a fase neoclássica do compositor Igor Stravinsky, identificando procedimentos composicionais específicos presentes em tal fase do compositor russo. Tais procedimentos estão estreitamente conectados com modelos referenciais da música da tradição tonal e apontam para interessante e pertinente diálogo entre contextos musicais bastante contrastantes. O objetivo desta dissertação, a partir da constatação de possíveis relações entre a fase neoclássica e a fase russa de Stravinsky, é discutir e analisar os procedimentos técnicos composicionais presentes na música da fase neoclássica. Para identificar tais procedimentos serão analisadas duas peças neoclássicas de Stravinsky: a Sonata para piano (1924) e o Capriccio para piano e Orquestra (1929). / This research is a study of Stravinsky´s neoclassical period in order to identify specific compositional procedures. These procedures are closely connected with models of tonal reference and point to an interesting dialogue through contrasting musicals contexts. The objective of this dissertation is to investigate possible relationships between the neoclassical and the russian period of Stravinsky's music, discussing mainly the technical procedures found in the neoclassical phase. To identify these procedures it will be analyzed two pieces of Stravinsky: Sonata for piano (1924) and Capriccio for piano and Orchestra (1929).

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

En la presente tesis se estudia la significación del texto y la profunda relación existente entre éste y la música en la producción sacra de Igor Stravinsky, que se da desde su primera composición religiosa (Pater Noster, 1926) hasta su última gran creación, Requiem Canticles (1965-1966). Asimismo, se pone de manifiesto que esa estrecha conexión alcanza su cenit en Canticum Sacrum (1955) y Threni (1957-1958), obras de gran importancia por su riqueza musical y por la hondura de su mensaje. Tras realizarse una contextualización de dichas composiciones dentro de la producción de Stravinsky y un análisis pormenorizado de las mismas, se demuestra que en ellas se dan cita diferentes elementos representativos de los tres periodos creativos del artista, por lo que, además de ser un compendio de las aportaciones de éste en el terreno de la música sacra, las dos obras mencionadas constituyen un auténtico modelo prototípico de su experiencia musical. Se evidencia que si bien Canticum Sacrum y Threni son las primeras piezas en las que el compositor ruso emplea el método dodecafónico serial de Arnold Schoenberg (dejando a salvo algunos fragmentos del ballet Agon), en ellas se hallan las claves que permiten entender la manera personal en que éste aplica dicho sistema, y se prefigura la futura evolución de su técnica. Igualmente, en este trabajo se analizan los medios por los cuales Stravinsky fusiona distintos lenguajes y procedimientos compositivos en las dos citadas obras. / Orfila Abadía, F. (2014). La significación del texto, la interrelación texto-música y la integración de lenguajes y procedimientos compositivos en la obra sacra de Igor Stravinsky. El caso Canticum Sacrum y Threni [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/45998 / TESIS