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.

"I am still learning" : late works by masters.

Mode of access: Internet.

The rest flies down the wind : complexities of late style in the work of Christina Stead

Examining the late style of a writer is like skirting around quicksand. End-of-career reflection can subvert long standing critical accounts; revisionist publishing histories or newly minted archival work can do likewise. And, as Nancy J. Troy suggests, an artist’s last thoughts are rarely planned as such (15). In the case of Christina Stead any consideration of late style is made more difficult because, chronologically speaking, her ‘late’ works were written some 20 years before her death in 1983. Thus chronology can be deceptive, as Nicholas Delbanco points out in Lastingness: The Art of Old Age. Stead’s last novel, I’m Dying Laughing The Humourist, was completed, at least in rough draft form in 1966, when Stead was 64, but friends and readers suggested many changes. The book was published posthumously in 1986. Stead’s work is receiving increasing critical attention so a discussion of her ‘late style’ is important, particularly given that her fiction seems to refuse so many attempts at category-making. This perspective reveals two interesting aspects of her late work: first her consistent engagement with the problems of age for women, and in particular women writers, and second, the consequence of a life-long attention to the representation of dialogic sound in her novels, a preoccupation that results in what can be termed an aural signature. My discussion refers to Edward Said’s and Nicholas Delbanco’s ideas about late style by way of a focus on selective biographical issues and Stead’s engagement with radical politics before moving to an examination of what can be called an aural signature in several novels. Her fiction demonstrates one of the agreed markers of late style: she was constantly looking forward and looking back through innovation in form and content.

Kansalaisuus ja yhteiskunnallinen yhteisö : T. H. Marshallin ja Talcott Parsonsin perintö nykyaikaiselle kansalaisuustutkimukselle

This work examines the concept of citizenship of TH Marshall and the societal community concept of Talcott Parsons. I am especially interested in whether Marshall s concept of citizenship or Parsons s concept of societal community enable to develop such an analytical framework that creates a basis for relevant examination of how the mechanisms that include or exclude citizenship into the society constitute. The focus is in societal heterogeneity, which will easily introduce multicultural issues in the form of diversity-based conflicts in values, norms and identities. The focus of the review is in the religious orientation and in the examination of the backgrounds of ethnic groups. The research method is the thorough examination of the texts and commenting of the literature of TH Marshall and Talcott Parson, based on which I build my own argumentation and interpretation. As research findings I propose that especially the late works of Talcott Parsons offer analytical tools to study societal pluralism in a way that gives fruitful basis also to the thinking of the 21st century researchers. Parsons s analytical frames of reference form relevant starting points in relation with the social analyses that are made based on inclusion and exclusion. Parsons describes the societal community as differentiated and segmented network, in which different customs and operation models are accepted. Cultural understanding differentiates how and in which context these will be applied. In the conditions of open systems culture can, however, not operate as a connector of the variations of actors neither as a common code that fades away conflicts. Parsons s thinking opens a view into the multicultural world, which is a world society and which consists of ethnic groups that are not internally monolithic but instead in a status of constant cultural redefinition. Individuals and groups are differentiated based on sex, age, different capacities, place of residence, belonging into different collectivities, etc. The late works of Talcott Parsons provide a realistic and an effective, theoretical framework for research of citizenship problems in multicultural conditions. Keywords: citizenship, societal community, society, community, religion, ethnic background, inclusion, exclusion, values and norms.

THE GREAT RUSSIAN PIANO TRADITION: SELECTED REPERTOIRE BY TCHAIKOVSKY, RACHMANINOFF AND PROKOFIEV

This dissertation explores representative piano music by three great Russian composers: Tchaikovsky, Rachmaninoff and Prokofiev. The areas of research include: 1) the short character piece; 2) the Russian piano transcription tradition; 3) the concerto and sonata cycle; 4) extra-musical imagery; 5) the influence of popular and dance music of the period. Perhaps the most important result of this research is learning how the art of incorporating a singing quality at the piano stands at the center of Russian pianistic heritage. The first recital features compositions by Sergei Prokofiev. The Seventh Sonata exhibits rebellious, uncompromisingly dissonant treatment of its musical content. Ten Pieces from “Cinderella” shows an ascetic approach to piano texture - a common characteristic in Prokofiev’s late works. The Third Concerto is Prokofiev’s masterpiece in the genre. One of the 20th century’s most performed concerti, it overflows with pianistic challenges. For my second dissertation recital, I have chosen Peter Ilich Tchaikovsky’s The Seasons. These short character pieces were inspired by literary sources. The text portrays Russian rural life, nature, moments of intimate reflection, and imaginary experiences and impressions. Tchaikovsky’s gift as a melodist and remarkable musical individualist is represented in his two Nocturnes as well as in the Nutcracker Suite, masterfully transcribed by Mikhail Pletnev. The final program features Sergei Rachmaninoff’s Ten Preludes, Op. 23, regarded as a culmination of the turn-of-the-century grand Russian pianistic style. The Fantasy Pieces helped establish Rachmaninoff’s reputation as a pianist-composer, a profoundly lyrical poet of the piano. The three Rachmaninoff transcriptions, the Minuet, the Hopak and the Polka de W.R. preserve the spirit of the Golden Era’s musical salon. These pieces were written to delight and dazzle audiences with their bold character, musical taste, virtuosic tricks and technical finesse. The three recitals comprising this dissertation were presented in Gildenhorn Recital at the University of Maryland School of Music on November 13, 2010, April 11, 2011 and February 27, 2012. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

THE GREAT RUSSIAN PIANO TRADITION: SELECTED REPERTOIRE BY TCHAIKOVSKY, RACHMANINOFF AND PROKOFIEV

This dissertation explores representative piano music by three great Russian composers: Tchaikovsky, Rachmaninoff and Prokofiev. The areas of research include: 1) the short character piece; 2) the Russian piano transcription tradition; 3) the concerto and sonata cycle; 4) extra-musical imagery; 5) the influence of popular and dance music of the period. Perhaps the most important result of this research is learning how the art of incorporating a singing quality at the piano stands at the center of Russian pianistic heritage. The first recital features compositions by Sergei Prokofiev. The Seventh Sonata exhibits rebellious, uncompromisingly dissonant treatment of its musical content. Ten Pieces from "Cinderella" shows an ascetic approach to piano texture - a common characteristic in Prokofiev's late works. The Third Concerto is Prokofiev's masterpiece in the genre. One of the 20th century's most performed concerti, it overflows with pianistic challenges. For my second dissertation recital, I have chosen Peter Ilich Tchaikovsky's The Seasons. These short character pieces were inspired by literary sources. The text portrays Russian rural life, nature, moments of intimate reflection, and imaginary experiences and impressions. Tchaikovsky's gift as a melodist and remarkable musical individualist is represented in his two Nocturnes as well as in the Nutcracker Suite, masterfully transcribed by Mikhail Pletnev. The final program features Sergei Rachmaninoff's Ten Preludes, Op. 23, regarded as a culmination of the turn-of-the-century grand Russian pianistic style. The Fantasy Pieces helped establish Rachmaninoff's reputation as a pianist-composer, a profoundly lyrical poet of the piano. The three Rachmaninoff transcriptions, the Minuet, the Hopak and the Polka de W.R. preserve the spirit of the Golden Era's musical salon. These pieces were written to delight and dazzle audiences with their bold character, musical taste, virtuosic tricks and technical finesse. The three recitals comprising this dissertation were presented in Gildenhorn Recital at the University of Maryland School of Music on November 13, 2010, April 11, 2011 and February 27, 2012. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

Tempêtes. Composition audiovisuelle.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU ).

Inmanencia mistica en la obra de Federico Garcia Lorca

The purpose of this dissertation was to analyze the works of Federico García Lorca within the mystic context that dominates their very genesis. The problematic definition of mysticism was explored lest it be confused with traditional mysticism, which implies union with the divine. The historiography of literature speaks of the Mystic Genre, yet it does not address the mystic mode of artistic creation due to its inability to adhere to rational measure. This mode of conception was explored through Lorca's poetic discourse: ‘Lorquian mysticism’ is the result of the poet's cultivation of an innate spiritual potential enhanced by external influences and technical mastery. ^ There is visible influence of Fray Luis of León in Lorca's early Libro de poemas and El maleficio de la mariposa, as well as of Saint John of the Cross in the later Diván del Tamarit, Sonetos de amor and Yerma. However, definitive echoes of poets from the Sufi and other Eastern mystic traditions were also illustrated in these late works. A persistent longing to elide the physical condition, the greatest obstacle of the transcendental quest, is the essence of Lorca's poetic voice. ^ The object of this analysis was Lorca's language, which reaches levels removed from conventional thought. His dazzling metaphors and his particular use of symbols and of paradox compare equitably with those of great mystic poets. Like them, Lorca was faced with the same limitations of language to describe an ineffable experience; he embraced what Octavio Paz describes as ‘sacred language’: there is a linguistic frugality as well as an ambiguity in Lorca's poetic art that result from his realization of supercognitive states. Yet such an interpretation is rejected by the rationalist approach, invoking the age-old debate between faith and reason and signaling the application of psychoanalytical theory. This limited approach was disputed on the basis of reader-response theory. Lorca was truly an eclectic and a modification of the conventional reader's preestablished horizon of expectations is essential in order to seal the gaps in his late works. This innovative perspective placed Lorca within the framework of a new mysticism in the modern world. ^

Late piano works. [music] /

Title on v.2 varies: Early and late piano works.

Memoirs of the life and works of the late Right Honourable Sir John Sinclair, bart.,

Mode of access: Internet.

Works of Dr. John Tillotson, late archbishop of Canterbury /

V. 1. Life; Sermons 1-8.- V. 2. Sermons 9-31.- V. 3. Sermons 32-54.- V. 4. Sermons 55-84.- V. 5. Sermons 85-116.- V. 6. Sermons 117-143.- V. 7. Sermons 144-175.- V. 8. Sermons 176-206.- V. 9. Sermons 207-244.- V. 10. Sermons 245-254. Prayers. Rule of faith.

The works of Mr. Abraham Cowley : in two volumes. Consisting of those which were formerly printed ; and those which he design'd for the press ; publish'd out of the author's original copies with the Cutter of Coleman-Street. Also an account of his life and writings by the right reverend Dr. Sprat, late Lord Bishop of Rochester.

Contiene: Vol. 1 ([2], lxviii, 372 p.)

The whole works of John Flavel, late minister of the gospel at Dartmouth, Devon.

I. The life of John Flavel. The fountain of life.--II. The method of in the gospel-redemption. Pneumatologia; a treatise of the soul of man.--III. Pneumatologia (cont.) A practical treatise of fear. The righteous man's refuge. A blow at the root; or, The causes and cure of mental errors. Vindiciarum vindex. The second appendix; of Antinomianism. A sermon on gospel-unity.--England's duty. Mount Pisgah. Divine conduct; or, The mystery of Providence. Wonderful sea-deliverances. Antipharmacum saluberrimum. Tidings from Rome; or, England's alarm.-- V. Husbandry spiritualized; or, The heavenly use of earthly things. Navigation spiritualized; or, A new compass for seamen. [Miscellaneous tracts and sermons]--VI. Preparations for sufferings. The balm of the covenant. An exposition of the Assembly's Shorter catechism. A reply to Mr. Philip Cary's Solemn call. Sacramental meditations. [Miscellaneous tracts and sermons].

The works of the late Clifton Wintringham ... : now first collected and published entire : with large additions and emendations from the original manuscripts /

Mode of access: Internet.

The works of the late Clifton Wintringham ... : now first collected and published entire : with large additions and emendations from the original manuscripts /

Mode of access: Internet.