Abstract:
As a prolific song composer whose works span the development of the French song
cycle, Massenet is worthy of close examination. To date, analyses of his songs have included a
cursory glance by Frits Noske and a review of thematic relationships by Mario Champagne.
These analyses leave many of Massenet's compositions untouched and exclude many musical
features of merit. This thesis offers a thorough evaluation of Massenet's songs with the aim of
tracing the development of his style as an outgrowth of German influence. I focus on three works
from the beginning, middle, and end of Massenet's career--Poeme d'avril, Poeme d'amour, and
Expressions lyriques--that show the progression of Massenet's style and establish his place as a
bridge between the great lieder composers of the early nineteenth century and the great melodie
composers of the early twentieth century.