DOCSLIB.ORG

The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000 The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000: A Performative and Analytical Study, with a Catalogue Raisonné of the Extant Works Analytical Study: The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000: A Study of Instrumental Techniques, Forms and Genres, with a Catalogue Raisonné of the Extant Corpus By Brandon Philip Jones ORCHID ID# 0000-0001-9083-9907 Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy July 2018 Faculty of Fine Arts and Music The University of Melbourne ABSTRACT The Conservatoire de Paris concours were a consistent source of new literature for the trumpet and cornet from 1835 to 2000. Over this time, professors and composers added over 172 works to the repertoire. Students and professionals have performed many of these pieces, granting long-term popularity to a select group. However, the majority of these works are not well-known. The aim of this study is to provide students, teachers, and performers with a greater ability to access these works. This aim is supported in three ways: performances of under-recorded literature; an analysis of the instrumental techniques, forms and genres used in the corpus; and a catalogue raisonné of all extant contest works. The performative aspect of this project is contained in two compact discs of recordings, as well as a digital video of a live recital. Twenty-six works were recorded; seven are popular works in the genre, and the other nineteen are works that are previously unrecorded. The analytical aspect is in the written thesis; it uses the information obtained in the creation of the catalogue raisonné to provide an overview of the corpus in two vectors. The first vector is the forms and genres of the corpus, explored in chapter two. Each section includes an example of each type of work, as well as visuals showing when each type was most popular. The second vector is explored in chapter three, where selections of instrumental techniques employed within the contest works are explored. Each section includes musical examples of each technique, as well as the trends regarding the use of the technique over the entire corpus. The catalogue raisonné of all extant works is contained in Appendix I; it is a significant contribution to the body of research on trumpet literature with entries for each contest work, including summarised research on works that could not be located or definitively identified. ii DECLARATION I am aware of the University’s policy on plagiarism. This thesis comprises only my original work towards the PhD, and due acknowledgement has been made in the text to all other material used to comply with intellectual property and ownership practices. This thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Name and signature: Brandon Jones Date: July 2018 iii ACKNOWLEDGEMENTS There are many people who have assisted in the completion of this study, and I would not have arrived at this point without their effort, generosity, and support. I would like to extend a heartfelt thank you to the following: My performance supervisor and trumpet teacher, Dr. Joel Andrew Brennan, for his creative vision, expectation of excellence, and unwavering support throughout this project. My research and writing supervisor, Dr. Melanie Plesch, for her keen eye for detail, constant guidance on each phase of this project, and above all, her patience. Pianist Rhodri Clarke, for his exceptional skills as an accompanist. Audio engineers James Atkins and Oliver Powell, for ensuring a high-quality result in each recording session. My parents, Meredith and Charles, for their wise counsel and emotional support. The staff and my fellow students at the University of Melbourne for their constant encouragement and interest. The staff of the Bibliothèque Nationale de France - Département de la Musique, for kindly assisting me in gathering many of the works I catalogued. iv Table of Contents Table of Figures ....................................................................................................................... vii Table of Musical Examples ...................................................................................................... ix Introduction ................................................................................................................................ 1 Chapter 1 – Literature Review, Theory, and Methods ............................................................... 7 Introduction .................................................................................................................... 7 Literature Review........................................................................................................... 7 Theoretical Framework ................................................................................................ 15 Methodology ................................................................................................................ 34 Chapter 2 – Forms and Genres of the Corpus .......................................................................... 40 Introduction .................................................................................................................. 40 Works in Binary Form ................................................................................................. 40 Works in Ternary Form ............................................................................................... 42 Improvisatory-style Works .......................................................................................... 46 Concertinos .................................................................................................................. 5 2 Concertos ..................................................................................................................... 56 Works in Sonata Form ................................................................................................. 58 Suites ............................................................................................................................ 60 Variations ..................................................................................................................... 64 Through-Composed Works .......................................................................................... 69 Chapter 3 – Technical Features of the Corpus ......................................................................... 73 v Introduction .................................................................................................................. 73 Multiple-Tonguing ....................................................................................................... 73 Double-Tonguing ......................................................................................................... 74 Triple-Tonguing ........................................................................................................... 82 Pitch Range and Microtones ........................................................................................ 88 Ornamentation.............................................................................................................. 93 Extended Techniques ................................................................................................. 100 Use of Mutes .............................................................................................................. 108 Conclusion ............................................................................................................................. 118 Bibliography .......................................................................................................................... 122 Appendix I ............................................................................................................................. 128 Appendix II ............................................................................................................................ 348 Appendix III ........................................................................................................................... 388 vi Table of Figures Figure 1.1: Tremolo notation ................................................................................................... 29 Figure 1.2: Ornament notation ................................................................................................. 32 Figure 1.3: Photographs of mutes ............................................................................................ 34 Figure 1.4: Sample size per time period on graph ................................................................... 38 Figure 2.1: Percentage of contest works in binary form by decade ......................................... 41 Figure 2.2: Percentage of contest works in ternary form by decade ........................................ 43 Figure 2.3: Percentage of contest works that are improvisatory-style works by decade ......... 48 Figure 2.4: Percentage of contest works that are concertinos by decade ................................ 53 Figure 2.5: Percentage of contest works that are concertos by decade ................................... 57 Figure 2.6: Percentage of contest works in sonata form by decade ......................................... 59 Figure 2.7: Percentage of contest works that are suites by decade .......................................... 61 Figure 2.8: Percentage
Load more

Recommended publications
  • Voir Le Dépliant De Présentation Du Festival 2019
    9e édition les 7, 8 et 9 JUIN 2019 FONTAINEBLEAU Thème LE PEUPLE Pays invités LES PAYS NORDIQUES NOTE À L'ATTENTION DES AMBASSADEURS #FHA19 festivaldelhistoiredelart.com Préprojet de la 9e édition du Festival de l'histoire de l'art 18 janvier 2019 Réalisation Jean-Baptiste Jamin d'après la maquette de Philippe Apeloig Document de travail – merci de ne pas diffuser 4 Pays invités : les pays nordiques 8 Thème : le Peuple 12 Forum de l’Actualité 14 Cinéma 16 Salon du livre et de la revue d’art 18 Visites et spectacles 20 Jeune public 22 Université de printemps 24 Les organisateurs 28 Le comité scientifique 30 Les partenaires 43 Appel au mécénat Festival de l’histoire de l’art 7, 8 et 9 juin 2019 4 Pays invités : les pays nordiques Carte de la Scandinavie, du Groenland, de l'Islande, des îles Féroé, des Orcades et de la Mer Baltique - Portulan, XVIe siècle - Lyon, bibliothèque numérique 5 Chaque année, le Festival invite un pays La programmation dédiée aux pays Ces quelques questionnements à présenter son actualité de l'art, nordiques est en cours d’élaboration par le n’entendent en rien épuiser la thématique. la production artistique qui s'y comité scientifique du Festival, assisté par S'y ajouteront les sujets relatifs aux œuvres developpe, ses avant-gardes, ses un groupe de travail composé de d’art et au patrimoine, à l’histoire de ruptures et ses paradoxes, ainsi que sa spécialistes de chacun des pays invités. l’architecture, de l’urbanisme, à scène artistique contemporaine l’archéologie, à la muséographie, à la C’est également l’occasion de comparer En mettant à l’honneur un territoire danse, au design, à la musique, à la ses méthodes de recherche et composé de cinq pays, il s’agira d’en photographie, au cinéma, voire au théâtre.
    [Show full text]
  • Open Research Online Oro.Open.Ac.Uk
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Open Research Online Open Research Online The Open University’s repository of research publications and other research outputs Beyond neoclassicism: symphonic form, catharsis, and political commentary in Barraine’s Deuxi`eme symphonie (1938) Book Section How to cite: Hamer, Laura (2018). Beyond neoclassicism: symphonic form, catharsis, and political commentary in Barraine’s Deuxi`eme symphonie (1938). In: Mawer, Deborah ed. Historical Interplay in French Music and Culture 1860 - 1960. Abingdon and New York: Routledge, pp. 121–138. For guidance on citations see FAQs. c 2018 The Author Version: Accepted Manuscript Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk 1 PART II: French Music and Culture, 1930–1960 2 6 Beyond Neoclassicism: Symphonic Form, Catharsis and Political Commentary in Barraine’s Deuxième symphonie (1938) Laura Hamer By the 1930s, neoclassical trends – especially of the Stravinskian variety – were very well established in France. The French preoccupation with the past had been developing throughout the later nineteenth century and increased with Stravinsky’s residency in France.1 Stravinsky’s particular brand of neoclassicism did not find favour, however, with a number of intellectual young composers of the 1930s, notably those associated with La Jeune France, who regarded neoclassicism as a false path for musical modernism and were scathing in their attacks upon it.
    [Show full text]
  • Prix De Rome 1940-1949
    Prix de Rome 1940-1949 http://www.musimem.com/prix-rome-1940-1949.htm Alfred DÉSENCLOS - Rolande FALCINELLI - Pierre SANCAN - Raymond GALLOIS MONTBRUN - Claude PASCAL - Charles JAY - Marcel BITSCH - Gérard CALVI - PIERRE-PETIT - Robert LANNOY - Jean-Pierre DAUTEL - Jean-Michel DAMASE - Odette GARTENLAUB - Jeanine RUEFF - Adrienne CLOSTRE - Georges DELERUE - Pierre VILLETTE 1940-1941 Pas de concours 1942 Alfred DÉSENCLOS Rolande FALCINELLI (1920-2006) Rolande Falcinelli, née à Paris, le 18 février 1920 a commencé très tôt des études de piano et de solfège à peine âgée de 5 ans. En 1927, elle interprétait la Valse de Rachmaninov au cours d'un concert au Trocadéro avec la Garde Républicaine. Entrée au Conservatoire de Paris en 1932, elle obtenait là une 1ère médaille de solfège l'année suivante, alors âgée de 13 ans. Elève d'Isidore Philipp et d'Abel Estyle (piano), de Marcel Samuel-Rousseau (harmonie), de Simone Plé-Caussade (fugue), d'Henri Busser (composition) et de Gaston Litaize et Marcel Dupré (orgue), elle obtient de nombreux prix : 1er Prix d'harmonie (1938), d'accompagnement au piano (1938), de fugue (1939), d'orgue et d'improvisation (1942), 2ème Prix de composition. En 1942, ses études musicales étaient couronnées par un deuxième Second Grand Prix de Rome. Dès 1945, elle suppléait Ludovic Panel au Sacré-Cœur de Montmartre avant d'être titularisée l'année suivante. Professeur d'orgue au Conservatoire américain de Fontainebleau de 1948 à 1955, à l'Ecole normale de musique de Paris de 1951 à 1955, elle succédait à Marcel Dupré en 1955 dans sa classe d'orgue du CNSM et prit sa retraite en 1987.
    [Show full text]
  • Aktuelle Rezension
    Aktuelle Rezension French Saxophone - 20th Century Music for Saxophone & Orchestra aud 97.500 EAN: 4022143975003 4022143975003 www.musicweb-international.com (Rob Barnett - 21.05.2004) Here is a provocatively attractive and varied collection that should appeal to saxophone buffs as well as enthusiasts of these composers and this style-genre. With the exception of the Debussy these are all uncommon works and will attract interest ... and more. The Tomasi shows Tassot as a soloist able to coax honey and amber from the sax. The legato phrasing is notable slightly coloured with a jazzy voice. The music has the motion of sea-wrack and deep green tones. The second episode is more animated with a ‘Bolero’ stomp. The brass can be scaldingly Baxian and the boiling climaxes at 7.01 and 11.15 are redolent of La Valse (again a Ravel cross-reference). Soon we return to the warbling and rough-rolling brass - a little like Messiaen meets Bax. There are only two movements the second of which starts with a sinister Baxian chase. This is extremely effective music also reminding me of the music of Louis Aubert (the superb Tombeau de Chateaubriand - hear it on Marco Polo) and the melodramatic Bernard Herrmann. Tomasi is well worth dedicated exploration and persistence as the Lyrinx CD (LYR 227) also reviewed here further bears out. I have been working on a review of his gorgeous opera Don Juan for several months now. I was much looking forward to the Caplet having heard his scorchingly imaginative and tragic Epiphanie for cello and orchestra last year.
    [Show full text]
  • Download Booklet
    Music from Paris Claude Pascal Claude Arrieu Jules Mouquet François Casadesus Gabriel Pierné Francis Chagrin The Atlanta Chamber Winds WWW.ALBANYRECORDS.COM TROY1127 ALBANY RECORDS U.S. Robert J. Ambrose, conductor 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2009 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. The Music Jules Mouquet: Suite Jules Mouquet was born in Paris on July 10, 1867 and spent his entire life there. He studied harmony and composition Claude Pascal: Octuor pour Instruments à Vent at the Paris Conservatory, eventually becoming Professor of Harmony in 1913. Mouquet won many prizes for his Claude Pascal was born in Paris on February 19, 1921. Showing unusually strong musical talent early in life, he music including the Prix de Rome, the Prix Trémont and the Prix Chartier. Like many turn of the century French entered the Paris Conservatory at age ten. In 1952 he became a Professor of Music at the Conservatory and by 1966 composers, Mouquet favored subjects from Greek mythology, as a sort of neoclassical reaction against the treatments was named Deputy Director. He also achieved success as an active opera singer and was hired at opera theatres of Norse legend in Wagner’s operas. His best known work is his flute sonata entitled La Flute de Pan. He died in Paris around Paris. He served as a music critic for the French journal Le Figaro from 1969-1979.
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Escola Francesa De Clarinete José Eduardo Guerra Viana
    MESTRADO MÚSICA - INTERPRETAÇÃO ARTÍSTICA Clarinete Escola Francesa de Clarinete José Eduardo Guerra Viana SETEMBRO/2017 ESMAE ESCOLA SUPERIOR DE MÚSICA E ARTES DO ESPETÁCULO POLITÉCNICO DO PORTO MESTRADO MÚSICA - INTERPRETAÇÃO ARTÍSTICA M Clarinete Escola Francesa de Clarinete José Eduardo Guerra Viana Projeto apresentado à Escola Superior de Música e Artes do Espetáculo como requisito parcial para obtenção do grau de Mestre em Música – Interpretação Artística, especialização Sopros, Clarinete Professor Orientador Nuno Fernandes Pinto SETEMBRO/2017 2 Dedico este trabalho aos meus pais, ao meu irmão e aos amigos pelo incansável apoio. iii Agradecimentos Ao meu pai, à minha mãe e ao meu irmão pelo incondicional apoio, carinho e paciência, que nunca lhes poderei retribuir. À restante família, que sempre me apoiou. A todos os meus amigos e um especial agradecimento ao Diogo Taveira, pela sua amizade e ajuda incansável. Aos professores Luís Santos e Michel Arrignon, que para além de todo o conhecimento que me transmitiram no clarinete e na música, transmitiram valores para a vida toda. Por último, ao professor Nuno Pinto, que para além de meu professor, orientador e referência clarinetística, é um amigo que irei preservar. iv Resumo Este trabalho propõe entender as bases e as características representativas da Escola Francesa de Clarinete. É composto por uma contextualização do Conservatório de Paris, desde os seus Professores às obras escritas para o Concours de Prix, que tanta influência teve sobre esta Escola. São, também, abordados dois momentos marcantes na evolução organológica do clarinete realizado por Ivan Müller e Hyacinthe Klosé. Neste trabalho é também apresentada uma breve análise sobre quatro obras que espelham esta Escola.
    [Show full text]
  • Lili Boulanger (1893–1918) and World War I France: Mobilizing Motherhood and the Good Suffering
    Lili Boulanger (1893–1918) and World War I France: Mobilizing Motherhood and the Good Suffering By Anya B. Holland-Barry A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music) at the UNIVERSITY OF WISCONSIN-MADISON 2012 Date of final oral examination: 08/24/2012 This dissertation is approved by the following members of the Final Oral Committee: Susan C. Cook, Professor, Music Charles Dill, Professor, Music Lawrence Earp, Professor, Music Nan Enstad, Professor, History Pamela Potter, Professor, Music i Dedication This dissertation is dedicated to my best creations—my son, Owen Frederick and my unborn daughter, Clara Grace. I hope this dissertation and my musicological career inspires them to always pursue their education and maintain a love for music. ii Acknowledgements This dissertation grew out of a seminar I took with Susan C. Cook during my first semester at the University of Wisconsin. Her enthusiasm for music written during the First World War and her passion for research on gender and music were contagious and inspired me to continue in a similar direction. I thank my dissertation advisor, Susan C. Cook, for her endless inspiration, encouragement, editing, patience, and humor throughout my graduate career and the dissertation process. In addition, I thank my dissertation committee—Charles Dill, Lawrence Earp, Nan Enstad, and Pamela Potter—for their guidance, editing, and conversations that also helped produce this dissertation over the years. My undergraduate advisor, Susan Pickett, originally inspired me to pursue research on women composers and if it were not for her, I would not have continued on to my PhD in musicology.
    [Show full text]
  • Roger Mcvey Leonard Garrison
    WWW.ALBANYRECORDS.COM TROY1585 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. LEONARD GARRISON ROGER MCVEY FLUTE PIANO Parisian Impressions Louis Aubert (1877-1968) 9 Lied [2:11] TROY1585 LEONARD GARRISON Henri Gagnebin (1886-1977) FLUTE 10 March of the Jolly Fellows [2:27] Georges Brun (1878-1961) ROGER MCVEY PIANO 11 Romance, Op. 41 [4:41] Arthur Honegger (1892-1955) Leonard Garrison, 12 Romance [2:46] Charles-Édouard Lefebvre (1843-1917) Armand Bournonville (1890-1957) Deux pièces, Op. 72 13 Danse pour Katia [2:12] [5:17] 1 I. Barcarolle mélancolique Henri Büsser (1872-1973) flute 2 II. Scherzo [3:14] [2:46] 14 Les Cygnes Gérard Meunier (b. 1928) 15 Les Écureuils [1:39] 3 Au crépuscule [2:40] Johannes Donjon (1839-1912) Claude Arrieu (1903-1990) 16 Offertoire, Op. 12 [4:44] Sonatine [3:29] 17 Pan! (Pastorale No. 1) flute 4 I. Allegro moderato [2:57] Henri Büsser (1872-1973) 5 II. Andantino [1:40] Petite suite, Op. 12 6 III. Presto [2:12] 18 I. En sourdine: Andante poco adagio [2:13] Victor Alphonse Duvernoy (1842-1907) 19 II. Valse lente: Allegretto [2:03] Deux morceaux, Op. 41 [3:06] 20 III. Vieille chanson: Andante Leonard Garrison, 7 I. Lamento [4:36] [1:59] 21 IV. Scherzetto: Allegro vivace 8 II. Intermezzo [3:16] Total Time = 62:07 WWW.ALBANYRECORDS.COM TROY1585 ALBANY RECORDS U.S.
    [Show full text]
  • Who Is Paule Maurice?? Her Relative Anonymity and Its Consequences
    WHO IS PAULE MAURICE? HER RELATIVE ANONYMITY AND ITS CONSEQUENCES by Anthony Jon Moore A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL December 2009 Copyright © Anthony Jon Moore 2009 ii ACKNOWLEDGEMENTS I would like to express my sincere and deep appreciation to the many people who fielded my incessant queries and one-track mind conversations for the last two years, especially Dr. Kenneth Keaton, Dr. Laura Joella, Dr. Stuart Glazer, and my translator, Elsa Cantor. The unbelievable support that materialized from individuals I never knew existed is testimony to the legacy left behind by the subject of this thesis. I want to extend my heartfelt appreciation to Jean-Marie Londeix for responding to my many emails; Sophie Levy, Archivist of the Conservatoire National Supérieur de Musique de Paris for providing me with invaluable information; Marshall Taylor for donating his letter from Paule Maurice and his experiences studying Tableaux de Provence with Marcel Mule; Claude Delangle for Under the Sign of the Sun; James Umble for his book, Jean-Marie Londeix: Master of the Modern Saxophone; and Theodore Kerkezos for his videos of Tableaux de Provence. I want to thank Dr. Eugene Rousseau, Professor Emeritus Jack Beeson, Sarah Field, the Clarinet and Saxophone Society of Great Britain, Dr. Julia Nolan, Dr. Pamela Youngdahl Dees, Dr. Carolyn Bryan, and Dr. William Street, for generously taking a call from a stranger in search of Paule Maurice.
    [Show full text]
  • The Convergences Between Georges Migot and André Jolivet (1932-1937)
    Université de Montréal La Spirale, Le Zodiaque, and Mana: The Convergences Between Georges Migot and André Jolivet (1932-1937) La Spirale, Le Zodiaque, et Mana : Les convergences entre Georges Migot et André Jolivet (1932-1937) par Ariana Marie Hurt Faculté des études supérieures et postdoctorales Mémoire présenté à la Faculté de musique en vue de l’obtention du grade de Maîtrise en musique, option musicologie juillet 2019 © Ariana Hurt 2019 Université de Montréal Faculté de Musique Ce mémoire intitulé La Spirale, Le Zodiaque, and Mana: The Convergences Between Georges Migot and André Jolivet (1932-1937) La Spirale, Le Zodiaque, et Mana : Les convergences entre Georges Migot et André Jolivet Présenté par Ariana Marie Hurt A été évalué par un jury composé des personnes suivantes Sylveline Bourion Président-rapporteur François de Médicis Directeur de recherche Nathalie Fernando Membre du jury ii Résumé Ce mémoire porte sur la convergence des compositeurs français Georges Migot (1891-1976) et André Jolivet (1905-1974) au cours des années 1930 sur le plan de leurs idées en esthétique musicale, de leur démarche compositionnelle, et de leur implication administrative sur la scène musicale parisienne. Ceci a pour but de mieux comprendre l’amitié spéciale entre Migot et Jolivet, mesurer son influence sur leurs personnalités musicales, observer son impact sur leur engagement commun au sein de la société de concert La Spirale, et, plus globalement, évaluer sa portée sur l’ensemble de la scène musicale française. Actuellement, Stravinsky, Ravel et le Groupe des Six prennent une grande place dans les histoires de la vie musicale française de l’entre-deux-guerres.
    [Show full text]
  • “L'art N'a Pas De Patrie?” Musical Production and Resistance in Nazi
    Title Page “L’art n’a pas de patrie?” Musical Production and Resistance in Nazi-Occupied Paris, 1940-1944 by Julie Ann Cleary B.M. in Clarinet Performance, Rhode Island College, 2012 M.F.A. in Historical Musicology, Brandeis University, 2014 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 Committee Membership Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Julie Ann Cleary It was defended on April 22, 2019 and approved by Dr. Olivia Bloechl, Professor, Department of Music Dr. Lisa Brush, Professor, Department of Sociology Dr. Michael Heller, Associate Professor, Department of Music Dr. Deane L. Root, Professor, Department of Music Dissertation Director: M.A. James P. Cassaro, Professor, Department of Music ii Copyright © by Julie Ann Cleary 2019 iii Abstract “L’art n’a pas de patrie?” Music Production and Resistance in Nazi-Occupied Paris, 1940-1944 Julie Ann Cleary, Ph.D. University of Pittsburgh, 2019 Scholarship from various fields including history, Vichy studies, sociology, and musicology have dissected myths surrounding the Occupation of France (1940-1944), which fall into two generalities of total collaboration or total resistance. The reality lies in the middle, in which many individuals participated in resistance or collaboration in a variety of degrees. I argue that composing, performing, and listening to music are substantial resistant acts, using the resistance movements in Occupied Paris as a case study. This study has two overarching goals.
    [Show full text]