GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

A SURVEY OF FRENCH KEYBOARD MUSIC FROM 1880 TO 1950

French music flourished from the last quarter of the nineteenth century into the early twentieth century, especially in the genres of opera and orchestral music. Although French keyboard music enjoyed less popularity, being overshadowed by these predominant genres, prominent impressionist figures Claude Debussy (1862-1918) and Maurice Ravel (1875-1937) . . brought its revival to the French music. Scholars consider Debussy to be a frontrunner of Impressionism, and his influence had a major impact on subsequent composers. As a result of his popularity, other significant works by French composers seem to be overlooked by pianists and audiences and are not as often performed. Because keyboard works by Debussy and Ravel are a popular performance choice among pianists, I was eager to examine music by other French composers. Through my resea,rch, I found many great works that warranted further study and deserve a place in the keyboard repertoire. This recording project contains works by lesser-known French composers written between the years of 1880 and 1950, namely Emmanuel Chabrier (1841-1894), Gabriel-Urbain Faure (1845-1924), Charles Koechlin (1867-1950), Albert Roussel (1869-1937), Erik Satie (1866-1925), Francis Poulenc (1899-1963), Darius Milhaud (1892-1974), Robert Casadesus (1899-1972) and Henri Dutilleux (b.1916). Since piano repertoire is abundant, it is sometimes difficult to create a performance program. Therefore, it frequently becomes the default to choosing familiar repertoire rather than using the opportunity to expand the repertoire. As a pianist, I feel responsible to search for hidden musical treasures with which pianists and audiences alike are not so well acquainted. This recording project explores nine lesser-known French compositions written between 1880 and 1950. I expect this to be an opportunity to introduce both pianists and audiences to outstanding but unfamiliar works by French composers. This dissertation was recorded on two compact discs in Dekelboum Concert Hall at Clarice Smith Performing Arts Center of the University of Maryland. The recordings are archived in the University of Maryland Library.

Gabriel Fauré, Brustbild

Signatur des Originals: S 36/F03648

Expérience sonore des usagers dans l'espace public urbain: l'exemple du boulevard Saint-Laurent à Montréal.

La recherche sur le phénomène sonore, depuis les théorisations de Pierre Schaeffer entourant le concept de « l’objet sonore », a largement évolué nous permettant d’en saisir toute sa complexité. Poursuivant ce même dessein, nous proposons une approche compréhensive du phénomène sonore dans l’espace public urbain en nous penchant plus spécifiquement sur l’interprétation sonore des usagers empruntant les grandes rues commerciales de la ville et en l’occurrence, celles de Montréal. Au quotidien, le citadin déambule et chemine dans l’espace public en prenant conscience de son environnement à l’aide de ses sens. Outre l’aspect visuel, l’ensemble des autres sens sont, pour la plupart du temps, négligés par les designers de l’espace urbain. Il en résulte une conception du projet urbain relativement pauvre au niveau sonore. Dans ce mémoire, il sera question d’aborder le son sous l’angle de l’expérience subjective telle qu’elle est vécue par les usagers. L’objectif de nos travaux tend donc à approfondir la compréhension de l’expérience sonore de l’usager dans l’espace public urbain afin d’en intégrer les principes en amont du processus de conception. Les théories et méthodes issues du domaine de l’environnement sonore voient leur champ d’investigation élargi par l’anthropologie des sens. La richesse de cette approche permet de mieux saisir les multiples dimensions qui façonnent le vécu sonore des usagers. Le cadre de références puise également dans les pratiques artistiques. L’analyse de ces dernières fait émerger des dimensions utiles à la compréhension de l’expérience sonore. Cette expérimentation a été effectuée à l’aide de différentes méthodes de collecte de données permettant de recueillir un maximum de matière qualitative. Ainsi, des observations, des parcours d’écoute qualifiée, des parcours commentés et finalement des entretiens en profondeur ont été menés. Cette recherche a permis de mieux comprendre le dialogue existant entre le son, l’espace et l’usager en révélant les différentes dimensions de l’expérience sonore de la grande rue commerciale et notamment, celles entourant la culture des sens.

Autographed portrait of Gabriel Beer-Hofmann Portraits Men

Signed: Zur Erinnerung! - Gabriel - October XXIX -

Seated portrait of Gabriel Beer-Hofmann holding a book Portraits Men

F 5792

Autographed portrait of Gabriel Beer-Hofmann Portraits Men

Signed: Zur Erinnerung! - Gabriel - October XXIX -

Hardness results for computing optimal locally Gabriel graphs

Delaunay and Gabriel graphs are widely studied geo-metric proximity structures. Motivated by applications in wireless routing, relaxed versions of these graphs known as Locally Delaunay Graphs (LDGs) and Lo-cally Gabriel Graphs (LGGs) have been proposed. We propose another generalization of LGGs called Gener-alized Locally Gabriel Graphs (GLGGs) in the context when certain edges are forbidden in the graph. Unlike a Gabriel Graph, there is no unique LGG or GLGG for a given point set because no edge is necessarily in-cluded or excluded. This property allows us to choose an LGG/GLGG that optimizes a parameter of interest in the graph. We show that computing an edge max-imum GLGG for a given problem instance is NP-hard and also APX-hard. We also show that computing an LGG on a given point set with dilation ≤k is NP-hard. Finally, we give an algorithm to verify whether a given geometric graph G= (V, E) is a valid LGG.

On Locally Gabriel Geometric Graphs

Let be a set of points in the plane. A geometric graph on is said to be locally Gabriel if for every edge in , the Euclidean disk with the segment joining and as diameter does not contain any points of that are neighbors of or in . A locally Gabriel graph(LGG) is a generalization of Gabriel graph and is motivated by applications in wireless networks. Unlike a Gabriel graph, there is no unique LGG on a given point set since no edge in a LGG is necessarily included or excluded. Thus the edge set of the graph can be customized to optimize certain network parameters depending on the application. The unit distance graph(UDG), introduced by Erdos, is also a LGG. In this paper, we show the following combinatorial bounds on edge complexity and independent sets of LGG: (i) For any , there exists LGG with edges. This improves upon the previous best bound of . (ii) For various subclasses of convex point sets, we show tight linear bounds on the maximum edge complexity of LGG. (iii) For any LGG on any point set, there exists an independent set of size .

Amor, muerte y esperanza : reflexiones desde Gabriel Marcel

Resumen: No vivimos solos ni morimos solos. Por ello el acompañamiento del enfermo terminal desde una actitud de amor, sostenido en su base por la esperanza trascendente, es ciertamente necesario como actitud cristiana de donación, y su reflexión se incorpora a toda antropología que no deje de lado la tanatología. Si la antropología margina el “thanatos”, se torna fragmentaria e incompleta. Morir no es el fin de la biografía que le “pasa” a los demás: es la experiencia universal a la cual cada uno ha de prepararse. Este asunto será analizado teniendo como guía a un destacado filósofo francés, Gabriel Marcel, quien, de algún modo, ha dado luz con sus escritos y su preocupación vital sobre esta temática.

[Discurso do Deputado Hermes Gabriel : Sessão da Câmara dos Deputados de 02 de maio de 1960]

Discurso proferido durante a 1ª Sessão da Câmara dos Deputados na nova capital do país. Questão de ordem sobre as irradiações das sessões da Câmara e a respeito da distribuição do Diário do Congresso Nacional - DCN.

Cartas enviadas por Gabriel Aresti a Justo Garate entre 1960 y 1968

1 nota y 3 cartas (manuscritas) ; entre 155x047mm y 210x295mm. Caja 1 - Carpeta 47

Structural geology of the region between Pacoima and Little Tujunga Canyons, San Gabriel Mountains, California

An area of about 25 square miles in the western part of the San Gabriel Mountains was mapped on a scale of 1000 feet to the inch. Special attention was given to the structural geology, particularly the relations between the different systems of faults, of which the San Gabriel fault system and the Sierra Madre fault system are the most important ones. The present distribution and relations of the rocks suggests that the southern block has tilted northward against a more stable mass of old rocks which was raised up during a Pliocene or post-Pliocene orogeny. It is suggested that this northward tilting of the block resulted in the group of thrust faults which comprise the Sierra Madre fault system. It is show that this hypothesis fits the present distribution of the rocks and occupies a logical place in the geologic history of the region as well or better than any other hypothesis previously offered to explain the geology of the region.