Cette version du mémoire a été tronquée d'un élément protégé par le droit d'auteur, l'''Annexe 5a audio, K'viria de Riho''. Une version plus complète est disponible en ligne pour les membres de la communauté de l'Université de Montréal et peut aussi être consultée à la Bibliothèque de la Faculté de Musique de l'UdeM. / Ce mémoire porte sur la notion de fusion musicale à la multiplicité d'influences dans ma démarche en composition musicale. Je commencerai par définir le terme de fusion, les différents types de fusion musicale ainsi que leur relation à la tradition musicale d'un côté, et leur relation à une démarche contemporaine en composition musicale. Puis, j'analyserai quantité des styles et traditions qui forment la base de la littérature musicale dont je me sers dans la construction de mon langage personnel, autant du côté des démarches déjà existantes en fusion que du côtés des musiques relevant de traditions non-fusion. Celles qui m'ont le plus influencées sont la musique classique européenne et la musique classique du Moyen-Orient, puis, d'autres influences phares se trouvent dans les musiques classiques d'Inde, la musique vocale de Géorgie, la musique de gamelan Balinais, et dans le Hard Rock ainsi que le Rock Progressif. J'explorerai ensuite de manière plus concrète les modes musicaux, la mélodie et son enrichissement grâce à l'ornementation mélodique, et le rythme, dans lequel la métrique apparaît comme essentielle, et la polyrythmie comme toute aussi enrichissante. Ces trois paramètres – mode, mélodie et rythme - forment les trois grands piliers de mon langage musical. Je ferai des aller-retours entre l'apport des traditions, leur réinterprétation créative et l'expansion de leurs paramètres jusqu'à en dépasser les frontières, ce qui débouchera sur la possibilité et la volonté de la création d'un nouveau style musical en soi, qui dépasserait, peut-être, l'esthétique de la fusion. / This memoir discusses the concept of musical fusion with multiple influences in my compositional works. I will start by defining the term fusion, the different types of fusion as well as their relationship to musical tradition, on the one hand, and their relationship to a contemporary musical compositional endeavor. I will then analyse diverse musical styles and traditions that form the basis of the musical literature that I use in constructing my personal musical language, both in the branch of already existing fusion musics, and in the branch of non-fusion musics. The musics that most influenced me are european classical music and middle-eastern classical music, and then, other important ones include classical indian music, vocal georgian music, balinese gamelan music, Hard Rock and Progressive Rock. Afterwards I will explore in more concrete detail the musical modes, the melody and its complexification with the mechanisms of ornamentation, rhythm, within which time signatures appear to be an essential aspect, and polyrhythm to be it's important mechanism of complexification. These three parameters – mode, melody and rhythm – form the three great pillars of my musical language. I will go back-and-forth between the intakes from tradition, their creative reinterpretation and the expansion of their parameters, until we reach a point where we go beyond their frontier, at which point we will envision the possibility and the will to create a new musical style in itself, which, perhaps, goes beyond the esthetic of fusion.

This study investigates the possibility of applying Hatten’s theory of musical gesture to a formal system of musical analysis. Using historical antecedents and established musicological practice as a guide, a range of musical parameters in a motive length span of music are incorporated into a single gesture. This gesture forms the basic semantic unit upon which an analytical tableau structure is built, and a syntax is developed to allow derivations of new gestures; a large scale structure displaying fractal-like self-similarity is then proposed. The completed system is applied to the analysis of the ‘Adagio’ of Mozart’s Flute Quartet K.285 to test whether it can consistently be implemented and whether it produces falsifiable results while maintaining predictive power. It is found that these requirements are indeed met and that a set of inference rules can be derived suggesting that the proposed system has ample scope for further development. / Art History, Visual Arts & Musicology / M. Mus.

This study investigates the possibility of applying Hatten’s theory of musical gesture to a formal system of musical analysis. Using historical antecedents and established musicological practice as a guide, a range of musical parameters in a motive length span of music are incorporated into a single gesture. This gesture forms the basic semantic unit upon which an analytical tableau structure is built, and a syntax is developed to allow derivations of new gestures; a large scale structure displaying fractal-like self-similarity is then proposed. The completed system is applied to the analysis of the ‘Adagio’ of Mozart’s Flute Quartet K.285 to test whether it can consistently be implemented and whether it produces falsifiable results while maintaining predictive power. It is found that these requirements are indeed met and that a set of inference rules can be derived suggesting that the proposed system has ample scope for further development. / Art History, Visual Arts and Musicology / M. Mus.