Academic literature on the topic 'Debussy, Claude (1862-1918) – Dans la presse'
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Dissertations / Theses on the topic "Debussy, Claude (1862-1918) – Dans la presse":
Fautereau, Vassel Émilie de. "Émergence de la figure historique de Claude Debussy dans la presse et la littérature de son temps." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL005.pdf.
To highlight the role of critics in the constitution of the historical figure of Claude Debussy, it could suffice to note that his career, which starts around 1884 and ends at his death in 1918, precisely overlaps the golden age of the French press. Though, his revolutionary musical conceptions also generated numerous analysis and debates, in a sometimes controversial context. And the première of Pelléas et Mélisande spurred, in 1902, what we may call the critical controversy of the century. Our research project aimed to gather critical articles in sufficient numbers so that, through the confrontation of the texts, could emerge the most faithful representation of Debussy, such as his time perceived him. Our appendixes present near 800 excerpts, transcribed and sorted. The discourse on Debussy evolves, but does present some constants; for example, critics often call upon categories coming from painting (impressionism) or literature (symbolism) in order to attempt — with little actual success — to categorize among familiar movements the works of a composer, keen on pictorial arts and poetry. Another dimension emerges from the corpus: its remarkable formal richness. Lexical and rhetorical invention, pastiche, caricature, apologues, portraits… As the literary spills into the field of the critic, the works and the composer are conversely integrated in the literary field, and become fictional matter. Portraits and novel extracts have completed the corpus, shedding light on the way literature has contributed to the imprint of the figure of the composer in our collective memory
Lassauzet, Benjamin. "Claude Debussy et l'humour." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC034.
Claude Debussy isn’t a composer whose musical production tends to be associated to humour. However, one must consider and rehabilitate a humorist Debussy, too often forgotten, if one wants to obtain a more faithfull idea of his work. In order to understand the reasons why one has not, until this day, accorded to Debussy’s humour the role it deserved in his style and production, we will investigate the different steps of the aesthetical relation with his work, as described by Jean-Jacques Nattiez: the poïetic and the aesthesic. We shall observe the downside risk that may seize up the mechanism of comic perception and understanding in music
Spampinato, Francesco. "Debussy et l'imaginaire de la matière : métaphorisation et corporéité dans l'expérience musicale." Aix-Marseille 1, 2006. http://www.theses.fr/2006AIX10063.
Bruschini, Adrien. "Tonalités, motifs et structures d'intervalles dans les mélodies de Claude Debussy (1887-1893)." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2049/document.
In the late 1880's, Claude Debussy's musical language, influenced by Wagner, symbolism and Baudelaire's poetry, deeply transforms itself.The tonal system, still regarded as the unique horizon of expectations (Jauss) of European musical institutions, is pushed to the background in the composer's melodies by his characteristic associations with poetical themes like memories, humor, and reclusion.This thesis focuses on an analysis of these transformations and on a comparison of this new musical language with Ernest Chausson's Serres chaudes, which still shares the same poetic and musical influences
Delecluse, Francois. "Dans l'atelier de Claude Debussy. Processus créateur et méthodes de composition dans les esquisses des dernières oeuvres,1915-1917." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSES039.
This dissertation describes the compositional process and the techniques used by Claude Debussy at the end of his life. Starting from a preliminary thought on the status of Debussy’s compositional practices, several features of the creative process and some compositional techniques may be highlighted, by analysing the sketches which record the traces of the creative work. These traces appear as crossings-out, which can be interpreted with the tools given by the genetic criticism. The corpus includes several avant-textes from works composed during the summer 1915, En blanc et noir for two pianos, the etudes for the piano, and the cello sonata plus the violin sonata, composed between 1916 and 1917. From the most pertinent documents, that are part of the genetic files and carry many traces of the creative process, diplomatic transcriptions have been realised. They do not constitute facsimile, nor normalised transcriptions; they rather represent the manuscript in terms of time and space, linking it also to the achieved work. These transcriptions form the basis of the analysis through which three perspectives are considered: the genesis of the ideas, the compositional techniques applied to the material, and the gestation of the musical shape. The notion of musical idea allows exploring first the constitution of a musical project, often focused on an extra-musical element, then the relationship between the melodic invention and the compositional process, and, lastly, the building of musical phrases. The compositional techniques go in complementary pairs: the ellipse and the interpolation, the harmony and the rhythm, the duplication and the variation. The musical shape is approached from two points of view: first, the relationship between the formal functions and their mobility, peculiar to the work in progress; second, the specific difficulty located in the conclusion areas. This ‘guide tour’ from Debussy’s studio leads up to hypothesise that there is a compositional method, relying on the categories identified by the analysis, and that further studies can support, moderate and precise
Choi-Diel, In-Ryeong. "Evocation et cognition : le reflet dans l'eau en poésie et en musique à la fin du XIXe et au début du XXe siècle." Paris 8, 1998. http://www.theses.fr/1998PA081499.
The aim of this thesis was to work out a model accounting for the process of evocation which could apply to both poetic and musical analysis, based on a double formal and cognitive principle inspired by marc dominicy's "evocation theory". We do consider evocation to be a cognitive process common to poetry and music and relying on encyclopedic memory. The formal principle peculiar to both means of artistic expression is that which is defined by nicolas ruwet as superficial parallelism. The semantics of the prototype underlies the content of evocation in its global form. By pointing out the main principles of poetical and musical works; we argue that there is a relation of evocation between their global form and the prototypes they represent. We then suggest a procedure that enables us to find back the content put in hy the author while taking into account the specificity of each of those arts. Through the analysis of poetry and music dealing with the theme of water reflection, our research shows how poets and musicians manipulate their own artistic material in order to build evocation. They explore the formal and semantic-cognitive prototypical properties of this image: mirror effect, liquidity, fluidity, wave motion, light mirroring, mysterious reverie, and downward image. All these elements that help the reader or the listener recovering his own mental representation, held back in his long-term memory. We finally conclude on the idea that tilts model could also apply to other sorts of arts. As movies or opera for instance
Kreidy, Ziad. "La relation Orient-Occident dans l'esthétique et l'œuvre de Tōru Takemisu." Paris 8, 2008. http://www.theses.fr/2008PA083046.
This manuscript is based on a critical approach of the aesthetical identity of the Japanese composer Tōru Takemitsu (1930-1996). In this sense, the analysis of the East-West relationship in the music of Takemitsu mainly consists of situating his work in the occidental written music tradition. Following a brief first chapter describing the writings on Takemitsu, the second and third chapters of this manuscript describe Takemitsu's discovery of traditional Japanese art. The fourth chapter – Aesthetical principles and tendencies – tries to determine the aesthetical foundations of the music of Takemitsu by considering it in a cosmic ideal. The analytical approach principally considers the following characteristics: the slowness and the statism, the positivism of emptiness, the spatio-temporal concept of ma, the fluidity sound/silence, the circularity of mythical time, the Japanese garden and the spatialness of sound. The fifth chapter – The refusal of formal characterization – analyses the formal thought of Takemitsu that is based on the eastern tradition on the search of absolute in art. The music of Takemitsu is characterized by the absence of strict laws that rule the musical language, by the inspiration of nature as well as by the influence of the philosophical thought of Gaston Bachelard. Finally, the last chapter shows the clear influence of Debussy that Takemitsu considered to be his mentor – as well as Messiaen. The analysis of "How slow the wind" for orchestra of Takemitsu establishes a point of similarity with "Prélude à l'après-midi d'un faune" by Debussy
Goulon-Fontaliran, Emmanuèle. "La poétique des images de l'eau dans la mélodie française à la charnière des XIXe et XXe siècles : pour comprendre l'interférence des arts à la croisée des disciplines : essai d'interprétation d'"Ut pictura poesis"." Paris 4, 2008. http://www.theses.fr/2008PA040184.
This study, a possible way of interpreting Horace's Ut picture poesis, is an attempt to understand the mutual interplay of the arts around water-related representations. It draws from the various disciplines such as literature, aesthetics, and linguistics and aims at constructing a coherent aesthetics that will highlight the power of water and aquatic imagery as artistic stimulants. Within melody as a genre, the creations of French composers converged in the quest for a musical poetics tending towards an artistic fusion of text, music and metaphors. The concern for the ephemeral and for time as duration which was at the heart of the transition period at the turn of the 20th century finds its expression through water images. The poem imposes itself as an experience of thought and perception. Melody, far from merely placing music at the service of text, reveals – beyond metaphors and figuration -- the poem itself as music. Three poems and their musical adaptations are analysed and compared in this study : Baudelaire's Le Jet d’eau, Mallarmé's Soupir and Verlaine's Il pleure dans mon coeur. The willingness of artists to embrace the aquatic element awakens in them what Bachelard called, "the imagination of matter". In that sense, the character of Ophelia, whether through original creations or through the universal features Shakespeare endowed her with, becomes centrally symbolic. The figure of Ophelia suffuses Dupont's Poèmes d'automne, with the melancholy-inducing virtues/qualities of water. Could one go as far as to talk of an aesthetics of fluidity ? This study attempts to provide an answer to this question
Gribenski, Michel. "Le chant de la prose dans l'opéra (France, Italie, Allemagne), 1659-1902 : élements de poétique, d'esthétique et d'histoire du goût." Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040197.
Although prose opera only appeared in Europe at the turn of the nineteenth and twentieth centuries, in Russian, French, German and Czech opera, some ventures into prose singing and reflections about it did occur in France as early as the eighteenth century. Seen as an aperiodic verbal form, prose can be considered to have been an essential part of the operatic genre from the beginning. Indeed, aperiodic free mixed verse is used in French tragédie en musique, and before that in Italian opera, in association with largely non-periodic singing, especially in recitative. This formal characteristic of recitative is summed up in the metaphoric and pejorative phrase of “musical prose”, which was created in France and Germany in the second half of the eighteenth century by admirers of the Italian periodic melody. This opposition between two modes of singing, recitative-like and aria-like singing, can be seen as a conflict between two contradictory principles in opera: on the one hand, a prosa oratio principle, whose linearity represents the dramatic progressive succession ; on the other hand, a versus principle, whose periodic circle constitutes the traditional form of lyrics. On a stylistic level, prose also has to do with prosaic matters and language, not only in the naturalistic drame lyrique, but more generally in recitative singing. The latter is sometimes considered the prose of music, not only because of its form, but also because it deals with less lyrical matters than aria. This relationship between formal and stylistic levels is particularly tight in prosodic matters, especially in the treatment of the famous mute e, which provokes multiple ideological debates concerning natural, realistic, or prosaic styles of diction. Attempts to solve this problematic opposition between verse and prose logics led various musicians, librettists and theorists to go beyond formal and stylistic dichotomy and to rethink opera as an organic whole: in the form of a lyric-dramatic poem and a poetic-musical speech, where singing, orchestra, and silence are combined. The problem of prose singing in opera thus clearly reveals the generic, aesthetic, and ideological issues concerning lyric theatre