Tesis sobre el tema "Debussy, Claude (1862-1918) – Appréciation"
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Veber, Zdenka. "La réception de la musique de Claude Debussy en Croatie". Paris 4, 1985. http://www.theses.fr/1985PA040008.
Texto completoFautereau, 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.
Texto completoTo 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
Pascoal, Maria Lucia Senna Machado 1937. "Preludios de Debussy : reflexo e projeção". [s.n.], 1989. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284333.
Texto completoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-13T22:14:36Z (GMT). No. of bitstreams: 1 Pascoal_MariaLuciaSennaMachado_D.pdf: 7534551 bytes, checksum: b7212ad76f9190cc72764d409cad2c9b (MD5) Previous issue date: 1989
Resumo: Existem peças musicais que se constituem em conjutos homogeneos e seu estudo pormenorizado nos leva a compreender o pensamento musical de um compositor. Um desses conjuntos de peças são os 24 Prelúdios de Claude Debussy, escritos entre 1909/1912, representativos de sua plena maturidade. Obra das mais importantes na literatura pianistica pelo maneira nova de tratar o instrumento, é também pela própria composição que nos revela como Debussy, utilizando-se de ténicas antigas, outras estranhas ao repertório europeu, cria sua linquagem original: amplia os códigos de sua epoca, inventa novos que se projetam e abrem caminhos para a música do século xx. O que este trabalho demonstra: através da análise e levantamento das técnica, faz ligações e comparações dos Prelúdios de Debussy com músicas de diversas épocas, sistemas e estilos musicais/pianisticos, considerando-os portanto, como reflexo e projeção
Abstract: Some musical works may be considered as an homogeneous whole and by studying them in detail, the composer's musical thought will be revealed. One of these pieces are DEBUSSY'S 24 PRELUDES, written between 1909- 12. Representing the culmination of his artistic maturity, they are an important work in the pianistic literature because of the new treatment that is given to the instrumento Also regarding the composition itself, Debussy makes use of ancient as well as foreign techniques, that until then did not belong to the European repertoire. In these PRELUDES the composer shows how he creates his original language, by increasing the codes of his time and inventing new ones, which outstood and have opened the way for the outcome of the twentieth century's music. That's what is demonstrated here, comparing DEBUSSY'S PRELUDES to music of different times as well as musical/pianistic systems and styles, considering them in view of alI that as REFLECTION and PROJECTION
Doutorado
Doutor em Artes
Blount, Jodi Lambert. "Claude Debussy's Images, series two, and the influences on Debussy's compositional style". Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008243.
Texto completoLassauzet, Benjamin. "Claude Debussy et l'humour". Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC034.
Texto completoClaude 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
Etheridge, Kay 1954 Apr 18. "Stylistic and Technical Considerations for Pedaling the Debussy Preludes, Together with Three Recitals of Selected Works of L. van Beethoven, A. Berg, J. Brahms, F. Chopin, C. Debussy, W.A. Mozart, S. Prokofieff, A. Schoenberg, F. Schubert, and R. Schumann". Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc330821/.
Texto completoRode, James A. "Sensory understanding if the piano preludes of Claude Debussy". Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/341.
Texto completoBachelors
Arts and Sciences
Music
Pieva, Mirka Campello da. "O estudo pour les octaves de Claude Debussy : um relato sobre a organização do processo de aprendizagem motora". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/6489.
Texto completoAstilla, Christopher. ""Between the Staves" - Adaptations of Debussy's Six épigraphes antiques and Creative Tasks of the Performer". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5205/.
Texto completoRevol, Patrick. "Influences de la musique indonésienne sur des musiciens français de 1889 à nos jours". Paris 8, 1998. http://www.theses.fr/1998PA081487.
Texto completoAccording to a widely-accepted idea, debussy's work was deeply influenced by javanese music at the universal exhibition of 1889. After closer study, it can be noted that no thorough analysis of that supposedly obvious statement has ever been done. In a first part this work aims at bringing the evidence of that influence. In a second part we leave debussy in order to show that, in his wake, a fair number of french composers paid a particular attention to gamelan music. Although it has never been. Demonstrated, debussy's admiration for java has been acknowledged for a long time. However this is rarely mentioned as far as ravel is concerned. Though it does not affect his music in such a drastic way, yet the gamelan influence is omnipresent in laideronnette imperatrice des pagodes. We have devoted a few pages to the study of this work and attempted to demonstrate that a lot of musical parameters pertain to extra-european techniques. If java left a mark on the minds of debussy and ravel, from the 1930's trench artists rather started looking toward bali. This new trend can be explained because of certain number of reasons - both political and esthetic - into which we have given some insight. We deal with works of messiaen, jolivet, varese, boulez, dutilleux, mache, eloy, aperghis. We have not in the least attempted to set up a complete catalogue of trench composers connected with balinese music. We have chosen to study the materials used by each of them in order to single out the elements pertaining to indonesian techniques. Althought our approach is not of an ethnomusicological nature, we have thought appropriate to include further information particularly a chapter on the instruments, illustrated by photographs that we have taken in java and bali
Leydon, Rebecca Victoria. "Narrative strategies and Debussy's late style". Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42076.
Texto completoDebussy's late works, which include the Etudes and the three Sonatas, exhibit a distinct style which combines elements of late nineteenth-century chromaticism with atonal features, innovative formal structures and new pitch resources. This study begins with the assumption that the large-scale tonal structure of most nineteenth-century instrumental music is analogous to the "plot" of a classical narrative text; in contrast, Debussy's quasi-tonal structures represent alternatives to that classical narrative syntax. I view Debussy's innovative musical language as a departure from a prevailing "narrative code," which is embodied in the works of composers like Wagner, and dominated by notions of tension and resolution, tonal departure and return, and monumental formal structures. In contrast to this tonal idiom, Debussy's late works exhibit other modes of organization which can be more accurately modeled using alternative story-types. The alternative narrative models I invoke come out of two main research areas: studies on the development of story-telling ability in children, and studies of the spatial and temporal relationships exhibited in the early silent cinema. Throughout this study I attempt to contextualize the array of narrative strategies manifested in Debussy's music within the general cultural reorientations of the early twentieth century that we identify as Modernism.
Marchetto, Luiz Fernando Lemos [UNESP]. "Chanson polifônica francesa: um estudo nas obras corais a capella de Claude Debussy e Maurice Ravel". Universidade Estadual Paulista (UNESP), 2004. http://hdl.handle.net/11449/95111.
Texto completoUniversidade Estadual Paulista (UNESP)
Este trabalho tem por objetivo estudar a chanson polifônica francesa, em particular as chansons para coral a cappella, escritas por Claude Debussy e Maurice Ravel, esperando que sirva de subsidio aos regentes corais, ajudando-os a compreender os elementos musicais e literários presentes nestas obras. Através de pesquisa na bibliografia, aborda-se a transformação da chanson ao longo do tempo para, em seguida, contextualiza-la dento da produção musical de C. Debussy e M. Ravel, apontando as principais características de suas linguagens musicais e as influências literárias que as inspiraram. Os dois conjuntos de chansons foram analisados, considerando seus elementos musicais e poéticos. Apesar das diferanças existentes no emprego da textura, da harmonia e da linguagem poética entre as chansons aqui analisadas, conclui-se que o fator comum que permeia estas obras é o uso da sonoridade natual das palavras, às quais se agrega de forma harmoniosa, funcionando como reforço expressivo das idéias e imagens sugeridas nos textos.
The dissertation presents the study of the French poliphonic chanson, particularly those composed by Claude Debussy and Maurice Ravel. with the purpose of helping choir conductor to better undestand musical and literay elements present in these songs. The evolution of the chanson throught time is approached based on resarch of bibliography. The two sets of poliphonic chansons by Debussy and Ravel have been analyzed, calling attention to their poetical and musical elements. Besides the differencs in the texture, harmony and poetic language between the chansons here studied, it is possible to conclude that what they have in common is the natural sonority of their lyrics, to which music is added harmoniously, as an expressive reinforcemente to idas and images present in the poetic text.
Dubiau-Feuillerac, Mylène. "Paul Verlaine dit par Claude Debussy (1882-1904) : rythme, poétique et diction poetico-musicale". Toulouse 2, 2008. http://www.theses.fr/2008TOU20032.
Texto completoFar from of a research of the only meaning of words, in a semantic perception, Paul Verlaine's poetry is working with others significant parameters of the langage : sonorities, length, rythm. This marks of subject's inscription in the discurse, which reveals the orality of Paul Verlaine's poems, reach a sonorous reality with the compositions of Claude Debussy. Rythm, which is an essential parameter of music, but also of poetry, is the focal point of our work on the interactions between rythm in poetry of Paul Verlaine (1844-1896) and rythm in the mélodies of Claude Debussy(1862-1918). The tradition of diction in this time seems to be indissociable with the elaboration of the seventeen mélodies of Claude Debussy on Paul Verlaine's poems. There are in the heart of the tradition of reading poetry in public in the parisian salons. The orality of the poems, as specificity of Paul Verlaine who works with rythm in poetry, gives an interpretation which is a play with conventional poetry. Claude Debussy try to write in music as Paul Verlaine does in his writings that are all regular verses in poetry. These propositions of rythm in this regular context lead the musician to recreate the structuration of the musical discurse. The study of diferent musical parameters in the mélodie, in interaction with the literary marks, reinvent an interpretation of the genre of mélodie française. The double diction (voice and piano) gives a sensible approach to the poetics of the poem, that recreate musical discurse
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.
Texto completoBruschini, Adrien. "Tonalités, motifs et structures d'intervalles dans les mélodies de Claude Debussy (1887-1893)". Thesis, Nice, 2014. http://www.theses.fr/2014NICE2049/document.
Texto completoIn 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
Seligson, Robert Jan. "The Rapsodie for Orchestra and Saxophone by Claude Debussy: a Comparison of Two Performance Editions". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330587/.
Texto completoGuigue, Didier. "Une étude "pour les sonorités opposées" : pour une analyse orientée objets de l'oeuvre pour piano de Debussy et de la musique du XXe siècle". Paris, EHESS, 1996. http://www.theses.fr/1996EHES0309.
Texto completoMost of analytic tools developed during this century are exclusively devoted to the basic low-level components of music writing : pitch classes. It is however an evidence that, at least since debussy, forming and linking complex abstract sound-objects are, too, decisive composing features. This work exposes the basis of a computer-aided method of information and evaluation of the components of the musical score which may bring out all the necessary data for a neutral-level analysis of the formal functions of these objects. Our experimental analyses of some piano works of debussy, show how such an object-oriented approach could be included in a more general analytic method
Michel, Fabien. "La querelle des d'Indystes et des Debussystes". Dijon, 2000. http://www.theses.fr/2000DIJOL034.
Texto completoPelleas ans Melisande’s success was from 1902 the pretext to a quarrel between french musicians : on one side the Debussysts won by the novelty of Claude Debussy’s musical language (1862-1918), on the other side the d’Indysts gathered around Vincent d’Indy (1851-1931)
Hozman, Denny. "Preludia F. Chopina, A. N. Skrjabina a C . Debussyho - srovnání". Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202920.
Texto completoNguyen, Hoang hau. "L'influence de la musique asiatique sur la composition chez Claude Debussy". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040160.
Texto completoThe cultural and artistic interference and interaction that flowered during the 19th century between Europe and Asia brought a new enormous storage of artistic material at the disposal of European artists. Both continents derived from it materials useful to them in terms of literature, paintings, music, architecture and even religion... The present thesis, “Influence of Asian music on Claude Debussy’s composing”, aims at spotting out exotic materials subtly and sensitively brought into play by Debussy – a progressist spirit open to new trends, symbol of Impressionism in music and, above all, top celebrity for his setting of the new limits for timbres. Analysis of 140 Debussy’s officially published works confirms his success in using Asian materials for his music. Moreover, the thesis also manage to bring into light this other aspect of Debussy, as the final and successful product from the blend between Japanese estheticism, purity of the traditional scales and boldness in the use of new timbres from Asian instruments
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.
Texto completoThe 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
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.
Texto completoThis 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
Cunha, Taíssa Poliakova Pacheco. "A influência dos sinos em obras para piano de Messiaen, Debussy e Rachmaninov e as respectivas consequências na sua performance". Master's thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/21824.
Texto completoEste trabalho procura confrontar as características específicas das diferentes tradições sineiras, quer da Europa, quer da Rússia, com as obras Noël de Olivier Messiaen, Cloches à travers les feuilles de Claude Debussy e Sonata op. 36 nº 2 de Sergei Rachmaninov. Para isso, são apresentadas e estudadas as escolas sineiras, analisados os trechos musicais com inspiração sineira das obras seleccionadas e enquadrados biograficamente os três autores em causa. Através desta confrontação encontrei soluções técnicas e interpretativas para os referidos trechos musicais que respeitam as diferentes especificidades das tradições sineiras inspiradoras. Pretendo, também, demonstrar que este conhecimento pode sustentar uma performance fiel aos mundos musical, cultural e social destes compositores.
This work seeks to confront the specific characteristics of the different bellringing traditions, both European and Russian, with the pieces Noël by Olivier Messiaen, Cloches à travers les feuilles by Claude Debussy and Sonata op. 36 no. 2 by Sergei Rachmaninov. For this purpose, I present and study these bellringing schools, analyze the musical excerpts with bellringing inspiration of the selected pieces and contextualize the three above-mentioned authors biographically. Following of this confrontation I propone technical and interpretative solutions for the afore-mentioned musical excerpts which respect the different specificities of the bellringing traditions that inspired them. It is also my intention to demonstrate that this knowledge can support a performance that is faithful to the musical, cultural and social worlds of these composers.
Kreidy, Ziad. "La relation Orient-Occident dans l'esthétique et l'œuvre de Tōru Takemisu". Paris 8, 2008. http://www.theses.fr/2008PA083046.
Texto completoThis 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
Elgarrista, Gabriela. "André Schaeffner : un portrait intellectuel à travers ses écrits sur Debussy et Stravinsky". Thesis, Université Côte d'Azur (ComUE), 2016. http://www.theses.fr/2016AZUR2034.
Texto completoAndré Schaeffner (1895-1980), better known as ethnologist than for his musicological activity, in his works concerning classical music embraces a position against the kind of critique that claims to be “objective” or neutral towards the artwork. He makes a plea for a “critique of admiration” that takes sides and displays one’s preferences. His writings pay no heed to a teleological or systematic approach of the history of music. Instead, he puts the composer’s work in perspective, reconstructing its historical and aesthetic background. Many condemned this kind of approach as lacking any judgement criterion. Nevertheless, thanks to his study of the circumstances in which a composer’s works were created, Schaeffner was able to call into question common and supposedly true preconceptions and stereotypes. Based on a study of several documents – both published and unpublished texts, drafts, rich correspondence – this thesis shows how Schaeffner carried out this kind of critique, especially in his writings concerning two composers that he fervently admired: the deceased Claude Debussy and Igor Stravinsky, still alive at that time and with whom Schaeffner was acquainted; as well as how Schaeffner’s theories were received upon publication and what their validity is nowadays
Lahodná, Jana. "Hudební soutěže jako inspirační a rozvojový prvek interpretace 20. století". Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-178059.
Texto completoOkamoto, Naoko. "La critique musicale par trois écrivains - Romain Rolland, André Suarès, Jacques Rivière". Tours, 2007. http://www.theses.fr/2007TOUR2010.
Texto completoThe music delivers an impression to us which we can describe. The men, since always, tried to talk about the music. But, "talk about the music" is not easy ; it is an art difficult to express and retranscribe by words, in an objective way, since the music works above all on the feeling. Then how to talk about the music ? To answer this question, we chose three writers- Romain Rolland, André Suarès and Jacques Rivière, for which criticism is a purpose of explanation. The situation of musical criticism is especially delicate since we try to explain all the science. There is the negative opinions and the positive opinions on musical criticism. What the three writers aim by musical criticism, it is the "human truth" because the music represents humanity. Criticism seeks to explain the truth - a truth which emanates from the music itself, but which also transcends it
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.
Texto completoThis 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.
Texto completoAlthough 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
"Rethinking form through transformation: analytical studies of Debussy's "Prélude à l'après-midi d'un faune" and "Jeux"". 2014. http://library.cuhk.edu.hk/record=b6115490.
Texto completoTheoretical development that stems from David Lewin’s transformational theory has flourished since its inception in 1987. However, the analytical application of Lewin’s theory remains scant, with Musical Form and Transformation: Four Analytical Essays (1993) standing out as one major achievement. Transformational theory is more often used to address specific theoretical issues, rather than to enhance our understanding of musical works or stylistic traits of individual composers. This study explores the applicability of Lewin’s transformation theory to two of Debussy’s orchestral masterworks, Prélude à l’après-midi d’un faune and Jeux, and contributes to Debussy scholarship by offering readings that cast new light on the interrelationship between pitch organization and form in them.
Detailed summary in vernacular field only.
Hong, Ding.
Thesis (Ph.D.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 181-191).
Abstracts also in Chinese.
Tobin, Anthony Aubrey. "Octatonic, chromatic, modal, and symmetrical forms that supplant tonality in five piano preludes by Claude Debussy". 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3077401.
Texto completoTomas, Oriol. "Variations sur Pelléas : l'apport d'une partition gestuelle à la direction d'un chanteur lyrique". Mémoire, 2010. http://www.archipel.uqam.ca/3577/1/M11617.pdf.
Texto completoRagno, Janelle Suzanne. "The Lutheran hymn "Ein' Feste Burg" in Claude Debussy's Cello Sonata (1915): motivic variation and structure". Thesis, 2005. http://hdl.handle.net/2152/2058.
Texto completoLee, Kyung-Ae. "A comparative study of Claude Debussy's piano music scores and his own piano playing of selections from his Welte-Mignon piano roll recordings of 1912". 2001. http://hdl.handle.net/2152/10669.
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