'Gabriel Pierné (1863-1937) and the Composer-Conductor Identity'

费思的研究对象皮尔内是20世纪初巴黎最杰出的指挥家之一。他首演了德彪西，拉威尔和斯特拉文斯基的作品，仅举几例，并领导科隆管弦乐团22年。鉴于这一长期而享有盛誉的指挥任期，他被认为是“战后巴黎[音乐]舞台上最有权势的人之一”（尼科尔斯2002：42）。然而，皮耶内作为一名作曲家也非常活跃-比他的大多数巴黎管弦乐队指挥同行更活跃-主要来源显示出对他创作方面的强烈意识。Faith的研究旨在了解Pierné作为指挥家的重要贡献，以及他的作曲家-指挥家身份的接受，以及这种双重角色对他自己的音乐传播的影响。通过扩展，信仰的目的是阐明作曲家和指挥家在第三共和国法国的作用，包括批评家重视他们的价值观，以及结合他们的影响。

Pierné, the subject of Faith's research, was one of the most prominent conductors of early twentieth-century Paris. He premièred works by Debussy, Ravel and Stravinsky, to name but a few, and steered the Colonne Orchestra for 22 years. In view of this long and prestigious conducting tenure, he has been deemed 'one of the most powerful men on the postwar Paris [music] scene' (Nichols 2002: 42). However, Pierné was also very active as a composer - more so than most of his fellow Parisian orchestral conductors - and primary sources show a strong awareness of his creative side. Faith's research seeks to understand Pierné's significant contribution as a conductor, as well as the reception of his composer-conductor identity, and the impact this dual role had on the propagation of his own music. By extension, Faith aims to shed new light on composer and conductor roles within Third Republic France, including the values which critics attached to them, and the effects of combining them.