The term symphonie concertante refers to a multi-movement orchestral work of symphonic genre for two or more solo instruments and an orchestra. The symphonie concertante emerged in Paris around 1770, and during first two decade of its existence the genre was primarily a French one. This genre flourished during the second half of the eighteenth century and satisfied the public demand for solo instruments in the symphonies as well as the growing taste for virtuosity that audiences favored. The earliest composers were Mannheimers and Parisians, and the first symphonies concertantes published were mostly by French composers. The principal Parisian symphonie concertante composers were Giovanni Guiseppe Cambini, Jean-Baptiste Davaux, François Devienne, François-Joseph Gossec, Ignace Pleyel and Chevalier Joseph de Saint-Georges. Jean-Baptiste Davaux (1742~1822), a native of La Cote-St André, was first in popularity during the 1770s and 1780s. His earliest work dates from about 1772 and his reputation grew immeasurably during the years followed. Davaux's fame persisted well into the nineteenth-century because of his symphonies concertantes. Despite its great popularity during the last quarter of the eighteenth century, however, the symphonie concertante has not received much attention in the scholarship, and very limited research has been done on Davaux and his symphonies concertantes. My dissertation examines the symphonies concertantes of Jean-Baptiste Davaux, who is considered by the French scholars to be one of the originators of the genre. The dissertation comprises the first in-depth study of the formal structure and social function of the symphonies concertantes. Because the formal structure of symphonie concertante has been largely ignored heretofore, detailed formal analyses of these symphonies concertantes clarifies the formal definitions of the genre found in theoretical treatises and music criticism of the era. The purpose of the study is to clarify the genre's relation to the classical concerto form, formulate its theoretical and formal definition, and help readers to understand its musical and sociological significance in eighteenth-century concert life. Moreover, an edition of the extant symphonies concertantes by Davaux, transcribed for the first time from the eighteenth-century printed source, is included as an appendix.

Symphonie Militaire is a three movement work for twelve solo wind instruments composed by Edouard Batiste (1820-1876), a professor at the Paris Conservatoire and organist. The composition is scored for flute, two oboes, two B-flat clarinets, two bassoons, E-flat trumpet with valves, two F horns with valves, trombone, and B-flat ophicleide. In this edition, which was prepared from the original manuscript, the trumpet part is transposed to B-flat and a tuba has been substituted for the ophicleide. Based on a study of the score, as well as knowledge of wind band music of the period, several speculations have been made concerning the reason for the composition of the piece. The limited instrumentation supports the idea that, like other military symphonies, Symphonie Militaire may have been written for a special occasion. The work is, however, at least a reflection of the concern in 1845 for the reconstruction of the French military bands.

The achievements of Dvorak, Borodin and Cajkovskij among others served as models for the first Serbian symphonies. Their themes were often based on authentic folk tunes or on tunes composed in folk spirit, and they demanded thematic work of primarily variational type, thereby producing looser and sometimes rhapsodic structures. Amold Schönberg was not alone in expressing his distaste for such \"folkloristic symphonies\" and their \"static treatment of folklore, but the public and many composers in different countries were sensitive to their melodic, rhythmic and harmonic richness, wide emotional span and lyrical charm. This different kind of symphony had a decisive influence on Serbian composers who wished to create a national school of their own.

Die ukrainische Symphonie ist im Laufe von zwei Jahrhunderten einen komplizierten Weg des Werdens und der Entwicklung gegangen. Das Ergebnis ist eine nationale symphonische Schule, die die musikalische Kunst der Ukraine mit einer großen Anzahl von Meisterwerken bereichert hat.

Les cérémonies d’ouverture et de clôture des Jeux Olympiques modernes (1896-2008) se composent d’un rituel et d’un spectacle, inspirées des Jeux Olympiques de l’Antiquité, des conceptions de Pierre de Coubertin ainsi que du contexte dans lesquelles elles évoluent au cours du XX e siècle.Pour dégager le sens de ces spectacles populaires, trois niveaux d’analyses sont indispensables.Dans un premier temps nous nous interrogerons sur le sens de la liturgie olympique, c’est à dire la dimension symbolique du rituel olympique. L’apport de l’Antiquité est à ce sujet essentiel.Dans un second temps, nous nous questionnerons sur l’impact de l’esthétique et la manière de mettre en scène ces spectacles. Les conceptions de Pierre de Coubertin, véritable connaisseur des mises en scène, est ici l’élément déterminant. Nous verrons également l’apport de théoriciens et d’artistes comme Maurice Pottecher ou René Morax et John Ruskin dans l’esthétique souhaitée par Coubertin.Enfin, dans un dernier point et pour mettre en perspective les deux première thématiques, nous nous intéresserons à la dimension dramaturgique de ces cérémonies pour voir que deux thèmes traversent l’ensemble des spectacles ; le culte à mystère et la science. / Opening and closing ceremonies of the modern Olympic Games (1896-2008) are made up of a ritual and a show, inspired by the Olympic Games of antiquity, conception of Pierre de Coubertin as well as of context in which they evolve in the course of XXth century.To clear the sense of these popular shows, three levels of analyses are necessary.At first, we will think about the sense of Olympic liturgy, that is symbolic dimension of the Olympic ritual. The essential subject in this case is the contribution of antiquity.In a second point, we will be questioned on the impact of the aesthetics and the way to stage these shows. Pierre de Coubertin's conceptions, in this case, is conciderated as the decisive element of the true expert of productions. Endeed, We will see the contribution of theoreticians and artists Maurice Pottecher or René Morax and John Ruskin in the desired aesthetics by Coubertin.Finally,in a last point, in order to put in perspective two previous themes, we will be interested in the dramaturgic dimension of these formalities to see that two topics cross all shows; worship with mystery and science.

I mitten av 1800-talet inleddes i Frankrike en renässans för den tidiga kyrkomusiken i allmänhet och den gregorianska sången i synnerhet. Charles-Marie Widor var en av dem som tog intryck av denna rörelse och genom den utvecklade och delvis omvärderade sin syn på musik i kyrkan. Han baserade sina sista två orgelsymfonier, Symphonie Gothique och Symphonie Romane på kyrkans mest centrala teman – Kristi födelse och uppståndelse. Mitt syfte med denna uppsats och att studera dessa orgelsymfonier har varit att fördjupa mig i hur gregorianiken påverkade Widors kompositionsstil och hur konsertant musik utanför gudstjänstens liturgi kan bära ett kyrkligt budskap baserat i dess valda teman. Jag har velat dokumentera min process att som organist och kyrkomusiker studera in och komma fram till en medveten konstnärlig gestaltning av symfonierna. Widor blev med åren övertygad om att kyrkomusik måste vara baserad på kyrkans egna teman för att kunna bli sakral konst. Han använde sig också av en palett av former och kompositionstekniska grepp för att variera musiken i symfoniska dimensioner. Dessa två orgelsymfonier är Widors bidrag till den rörelse som inte bara återupprättade utan gav den gregorianska sången högsta status i den romersk-katolska kyrkan vid sekelskiftet 1900.

The lecture recital was given July 10, 1973. The Symphonie-Passion by Marcel Dupre was performed following a lecture on various factors that influenced the development of the organ symphony in France. In addition to the lecture recital, three other public recitals were performed, including solo compositions for the organ and three chamber works for organ and instruments. The first solo recital, including works of J. S. Bach, P. Hindemith, L. Sowerby, and L. Vierne, was performed on June 4, 1969. On April 17, 1970 the second solo recital was performed. Compositions by J. S. Bach, D. Buxtehude, M. Duprd, N. Dello Joio, S. Karg--Elert, and J. Langlais were included in the program. On January 25, 1971, a program of organ chamber works by N. Lockwood, D. Pinkham, and F. Martin, as well as solo works by F. Lizst, W. Latham, and Marcel Duprl, was performed. The four programs were recorded on magnetic tape and are filed with the written version of the lecture as a part of the dissertation.

Die ukrainische Symphonie ist im Laufe von zwei Jahrhunderten einen komplizierten Weg des Werdens und der Entwicklung gegangen. Das Ergebnis ist eine nationale symphonische Schule, die die musikalische Kunst der Ukraine mit einer großen Anzahl von Meisterwerken bereichert hat.

No description available.

I denna uppsats har jag sammanställt olika teorier kring rytmik och metrik för att skapa en metod för analys av klassiska verk. Denna metod använder jag sedan på musik av Hector Berlioz för att undersöka om det finns rytmiska och metriska abstrakt som står ut. Vidare används resultatet från analysen för att skriva ett eget stycke som ska reflektera det studerade styckets rytmiska karaktär. Under projektet upptäcker jag bland annat att aspekter av frasrytm är något svårare att inkorporera i ett nytt stycke än andra aspekter och reflekterar slutligen kring hur metoden kan utvidgas och förbättras, samt kring mitt förhållande till metoden ur ett konstnärligt perspektiv.