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FRANCIS POULENC: A STUDY OF HIS ARTI...

DANIEL, KEITH WILLIAM.

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FRANCIS POULENC: A STUDY OF HIS ARTISTIC DEVELOPMENT AND HIS MUSICAL STYLE.

Record Type:	Electronic resources : Monograph/item
Title/Author:	FRANCIS POULENC: A STUDY OF HIS ARTISTIC DEVELOPMENT AND HIS MUSICAL STYLE./
Author:	DANIEL, KEITH WILLIAM.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1980,
Description:	619 p.
Notes:	Source: Dissertations Abstracts International, Volume: 41-07, Section: A.
Contained By:	Dissertations Abstracts International41-07A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8016184
ISBN:	9781083302021

FRANCIS POULENC: A STUDY OF HIS ARTISTIC DEVELOPMENT AND HIS MUSICAL STYLE.
DANIEL, KEITH WILLIAM.

FRANCIS POULENC: A STUDY OF HIS ARTISTIC DEVELOPMENT AND HIS MUSICAL STYLE. - Ann Arbor : ProQuest Dissertations & Theses, 1980 - 619 p.

Source: Dissertations Abstracts International, Volume: 41-07, Section: A.

Thesis (Ph.D.)--State University of New York at Buffalo, 1980.

This item must not be sold to any third party vendors.

Despite the widespread popularity of Francis Poulenc (1899-1963), no general survey of his oeuvre (some 150 works in all) exists. Although it is essentially conservative in nature and neo-classical in style, and thus seems to offer few problems to the listener, its marked individuality deserves more careful analysis than it has so far received. The first part of this dissertation examines the sociological, cultural, and musical influences which helped to form Poulenc's style. In referring to himself as "wildly eclectic", Poulenc acknowledged the enormous effect that other composers (especially Mozart, Debussy, Satie, and Stravinsky), as well as artists (Dufy, Matisse) and poets (Apollinaire, Cocteau, Eluard), had on his aesthetic development and on his musical style. In five biographical chapters, the author presents the artistic environment in which Poulenc lived and worked, and the events and friendships which shaped his life and music. The initial chapter deals with the first fourteen years of Poulenc's life, focusing on the cultural milieu in which he was raised. Chapter 2 concentrates on his emergence as a composer, through his piano lessons with Ricardo Vines and his friendship and association with Erik Satie, with Jean Cocteau, and with the other members of Les Six. The third chapter is concerned with the years 1921-1932, a period during which Poulenc expanded his social contacts, composed some of his more personal works, and studied and set the poetry of Max Jacob and Guillaume Apollinaire. However, the music of this period lacks stylistic consistency and assurance, traits which were achieved early in the fourth period (1932-1945). During these years, Poulenc began his fruitful collaboration with Pierre Bernac, regained his Christian faith and in his own way brought it to bear on his music, and came to grips with Paul Eluard's poetry and the tragedy of World War II. During the last eighteen years of his life, Poulenc was able to compose peacefully and profusely, as is indicated in Chapter 5. He was also able to pay his respects to visual artists whom he had long admired--a relationship which is examined in this final chapter of the first part of the dissertation. The second part deals directly with Poulenc's music. His style, its general characteristics (form, melody, harmony, etc.), and its evolution are discussed in Chapter 6. Since Poulenc's style differs markedly from genre to genre, the remaining six chapters examine the most important of these: chamber music, concertos, piano music, choral music, songs, and stage works. In each of these chapters, the general stylistic characteristics of the genre are presented, followed by a discussion of individual works, together with their historical background whenever possible. The dissertation concludes with a complete and detailed list of works and an extensive bibliography, including all published writings by Poulenc himself.

ISBN: 9781083302021Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

FRANCE

FRANCIS POULENC: A STUDY OF HIS ARTISTIC DEVELOPMENT AND HIS MUSICAL STYLE.
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245 1 0 $a FRANCIS POULENC: A STUDY OF HIS ARTISTIC DEVELOPMENT AND HIS MUSICAL STYLE.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1980
300 $a 619 p.
500 $a Source: Dissertations Abstracts International, Volume: 41-07, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
502 $a Thesis (Ph.D.)--State University of New York at Buffalo, 1980.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a Despite the widespread popularity of Francis Poulenc (1899-1963), no general survey of his oeuvre (some 150 works in all) exists. Although it is essentially conservative in nature and neo-classical in style, and thus seems to offer few problems to the listener, its marked individuality deserves more careful analysis than it has so far received. The first part of this dissertation examines the sociological, cultural, and musical influences which helped to form Poulenc's style. In referring to himself as "wildly eclectic", Poulenc acknowledged the enormous effect that other composers (especially Mozart, Debussy, Satie, and Stravinsky), as well as artists (Dufy, Matisse) and poets (Apollinaire, Cocteau, Eluard), had on his aesthetic development and on his musical style. In five biographical chapters, the author presents the artistic environment in which Poulenc lived and worked, and the events and friendships which shaped his life and music. The initial chapter deals with the first fourteen years of Poulenc's life, focusing on the cultural milieu in which he was raised. Chapter 2 concentrates on his emergence as a composer, through his piano lessons with Ricardo Vines and his friendship and association with Erik Satie, with Jean Cocteau, and with the other members of Les Six. The third chapter is concerned with the years 1921-1932, a period during which Poulenc expanded his social contacts, composed some of his more personal works, and studied and set the poetry of Max Jacob and Guillaume Apollinaire. However, the music of this period lacks stylistic consistency and assurance, traits which were achieved early in the fourth period (1932-1945). During these years, Poulenc began his fruitful collaboration with Pierre Bernac, regained his Christian faith and in his own way brought it to bear on his music, and came to grips with Paul Eluard's poetry and the tragedy of World War II. During the last eighteen years of his life, Poulenc was able to compose peacefully and profusely, as is indicated in Chapter 5. He was also able to pay his respects to visual artists whom he had long admired--a relationship which is examined in this final chapter of the first part of the dissertation. The second part deals directly with Poulenc's music. His style, its general characteristics (form, melody, harmony, etc.), and its evolution are discussed in Chapter 6. Since Poulenc's style differs markedly from genre to genre, the remaining six chapters examine the most important of these: chamber music, concertos, piano music, choral music, songs, and stage works. In each of these chapters, the general stylistic characteristics of the genre are presented, followed by a discussion of individual works, together with their historical background whenever possible. The dissertation concludes with a complete and detailed list of works and an extensive bibliography, including all published writings by Poulenc himself.
590 $a School code: 0656.
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856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8016184