Academic literature on the topic '1875-1937'

Occasional small specimens of herring have, since at least 1875, been taken by Plymouth anglers in winter under harbour lights. In 1937 larger herrings appeared, and a specialised rod fishery developed which continued, apart from the war years, until 1953, when it collapsed suddenly.

Мақола БХСР (Бухоро халқ совет республикаси)даги раҳбар арбобларнинг маориф тизимидаги ислоҳотларни амалга ошириш ва ушбу соҳада кадрлар тайёрлаш масалаларига бағишланган. Хусусан, БХСР Нозирлар Шўроси раиси Файзулла Хўжаев (1896-1938), БХСР маориф нозирлари бўлиб ишлаган ёш бухороликларнинг етакчилари бўлган Қори Йўлдош Пўлатов (1890-1965), Абдурауф Фитрат (1886-1938), Абдувоҳид Бурхонов (1875-1934), Мусажон Сайиджонов (1893-1937) кабилар БХСР маориф соҳасини ислоҳ қилишга катта эътибор қаратганликлари таҳлил қилинган.

Maurice Ravel (1875–1937), a musician of the highest order, died in a state of dementia. A genius of orchestration, a successful experimenter in musical forms and styles; he was at his best when given to composing small-scale constructions. His musical miniatures combine an extraordinary expressiveness with an unparalleled, almost mechanical precision. The latter quality provoked Stravinsky into calling him a “Swiss clock-maker of music”.

ZUSAMMENFASSUNGVordergründig betrachtet sind wir Ärzte gesunde Helfer, die Patienten kranke Hilfsbedürftige. Wir tragen den weißen Kittel, sie das Flügelhemd. Einige von uns sind selbst Patienten und wir alle haben schon kranke Ärzte behandelt. Was passiert, wenn Ärzte schwer erkranken? Wir drei krebskranke Ärzte berichten über unseren Perspektivwechsel. Unsere Erfahrungen ermöglichen uns, vom Ende her zu denken, und prägen nachhaltig unseren Blick auf die moderne Medizin.

Arthur J. Penty, an English architect in private practice in York at the turn of the century, became associated with Barry Parker and Raymond Unwin as a freelance designer and exerted a fundamentally important (though largely unsung) influence on the stylistic principles now associated with Parker and Unwin's work at the First Garden City, Letchworth (founded 1903) and at Hampstead Garden Suburb in London (commenced 1905). He was a competent Arts and Crafts designer during a late phase of this idiom's effectiveness in England, believing it to be both culturally and socially appropriate in its reflection of the English temperament and its demand for high quality production. His concerns for the latter prompted him to be an architectural theorist, to popularize the work of Voysey and Lethaby, and to advocate greater on-site collaboration between architects and craftsmen and the virtual abolition of designing on paper. It also persuaded him to become a political activist and to originate a movement-Guild Socialism-which placed great faith in the potential governance of education and production by restored crafts guilds and which enjoyed a brief moment of success in the form of a National Guilds League just after the First World War. Medievalism is the key concept linking all aspects of his life's work-his devotion to the teachings of Morris, his respect for likeminded 19th-century practical idealists, his wish to encourage a return to systems of quality control and production effective in the Middle Ages, and his "medievalist" detailing of several of Parker and Unwin's landmark buildings.

Distribution data are presented for several species of weevils (Coleoptera: Brentidae, Curculionidae) from Hungary. Ceutorhynchus viridanus Gyllenhal, 1837, Miarus ursinus Abeille de Perrin, 1906, Otiorhynchus ovalipennis Boheman, 1842, Otiorhynchus ropotamus Angelov, 1974, and Pachyrhinus lethierryi (Desbrochers des Loges, 1875) are first recorded from the country. Additionally, recent, unpublished Hungarian records of Alcidodes karelinii (Boheman, 1844), Ceratapion armatum (Gerstaecker, 1854), Curculio gyongyiae Szénási, 2022, Gronops lunatus (Fabricius, 1775), Herpes porcellus (Lacordaire, 1863), Hypera libanotidis (Reitter, 1896), Loborhynchapion amethystinum (Miller, 1857), Otiorhynchus coarctatus Stierlin, 1861, Otiorhynchus juglandis Apfelbeck, 1895, Otiorhynchus lutosus Stierlin, 1858, Otiorhynchus roubali Penecke, 1931, Otiorhynchus winkleri F. Solari, 1937 and Polydrusus crinipes Germann, 2018 are presented.

Lectotypes are designated for the following species-group names of New world Gymnetini. Genus Allorrhina Burmeister, 1842: A. baeri Bourgoin, 1911; A. gounellei Bourgoin, 1911; A. nickerli Moser, 1911; A. soror Moser, 1911; and A. tridentata Moser, 1908. Genus Amithao Thomson, 1878: Cotinis cavifrons Burmeister, 1842; Desicasta metallica Janson, 1885; and Cotinis erythropus moreletii Blanchard, 1850. Genus Astroscara Sch rhoff, 1937: G. flavoradiata Moser, 1918. Genus Blaesia Burmeister, 1842: B. subrugosa Moser, 1905. Genus Gymnetis MacLeay, 1819: G. aureotorquata Bourgoin, 1912; G. balzarica Janson, 1880; G. bouvieri Bourgoin, 1912; G. callispila Bates, 1889; G. chanchamayensis Pouillaude, 1913; G. chontalensis Janson, 1875; G. colombiana Pouillaude, 1913; G. coturnix Burmeister, 1842; G. difficilis Burmeister, 1842; G. dysoni Schaum, 1848; G. ecuadoriensis Pouillaude, 1913; Cetonia flava Weber, 1801; G. limbolaniata Pouillaude, 1913; G. mathani Pouillaude, 1913; G. meleagris Burmeister, 1842; G. nigrina Bates, 1886; G. olivina Pouillaude, 1913; Paragymnetis rubrocincta Sch rhoff, 1937; G. poecila Schaum, 1848; G. punctipennis Burmeister, 1842; G. radiicollis Burmeister, 1847; G. ramulosa Bates, 1872; G. salicis Bates, 1889; G. scheini Sch rhoff, 1937; P. burmeisteri Sch rhoff, 1937; G. vandepolli Bates, 1889; G. variabilis Moser, 1921; and G. zikani Moser, 1921. Genus Heterocotinis Mart nez, 1948: G. terminata Gory and Percheron, 1833. Genus Hoplopyga Thomson, 1880: G. aequatorialis Moser, 1918; G. boliviensis Moser, 1918; G. foeda Schaum, 1848; and G. peruana Moser, 1912. Genus Marmarina Kirby, 1827: Cetonia insculpta Kirby, 1819; G. tigrina Gory and Percheron, 1833; and Maculinetis litorea Sch rhoff, 1937. Lectotype designation, label data, and type depository are given for each species. A photograph of the lectotype is provided for most species. Commentary clarifying the status of the type series is given for some species.

L’œuvre du compositeur Maurice Ravel (1875-1937) fait résonner un Orient singulier. Si on y découvre l’ombre scintillante du monde de la pacotille « fin de siècle », on y trouve aussi les couleurs chaudes et rêveuses que la littérature et la peinture ont données à un Orient imaginé depuis plus de deux siècles. Au cours de cet article, nous présenterons quelques aspects de l’œuvre de Ravel qui font appel à une culture de l’Orient basée sur le récit et l’imagination. C’est par un processus d’appropriation très particulier que le compositeur réalise certaines de ses œuvres les plus emblématiques et caractéristiques de ce que nous appellerons un orientalisme « poétique ». Nous puiserons nos exemples musicaux dans Shéhérazade (1903) et Ma Mère l’Oye (1910).

The present paper describes 16 new species and one new genus from French Guiana and numerous taxonomic changes are proposed prior to the publication of a comprehensive guide to the Phasmatodea of French Guiana. The following 16 new species are described and illustrated: Phanocles procerus n. sp., Phanocloidea lobulatipes n. sp., Cladomorphus guianensis n. sp., Hirtuleius gracilis n. sp., Parastratocles rosanti n. sp., Parastratocles fuscomarginatus n. sp., Paraprisopus apterus n. sp., Paraprisopus multicolorus n. sp., Agrostia longicerca n. sp., Isagoras similis n. sp., Paragrostia brulei n. sp., Prexaspes globosicaput n. sp., Prexaspes guianensis n. sp., Dinelytron cahureli n. sp., Prisopus clarus n. sp. and Prisopus conocephalus n. sp.. The new genus Paragrostia n. gen. is established for the newly described Paragrostia brulei n. sp. and Paragrostia flavimaculata (Heleodoro, Mendes & Rafael, 2017) n. comb. the latter of which is here transferred from Agrostia Redtenbacher, 1906. Fifty-six new combinations are proposed with species transferred to other genera: Bacteria pallidenotata Redtenbacher, 1908, is transferred to Phanocloidea Zompro, 2001 (n. comb.); Bacteria maroniensis Chopard, 1911 is transferred to Phanocles Stål, 1875 (n. comb.); Cladomorphus gibbosus (Chopard, 1911) is transferred to Hirtuleius Stål, 1875 (n. comb.); Stratocles soror Redtenbacher, 1906, Parastratocles lugubris (Redtenbacher, 1906) and Parastratocles cryptochloris (Rehn, 1904) are transferred to Brizoides Redtenbacher, 1906 (n. comb.); Stratocles xanthomela (Olivier, 1792), Stratocles forcipatus Bolívar, 1896 and Stratocles tessulatus (Olivier, 1792) are transferred to Parastratocles (n. comb.); Olcyphides cinereus (Olivier, 1792), Perliodes affinis Redtenbacher, 1906, Perliodes nigrogranulosus Redtenbacher, 1906, Perliodes sexmaculatus Redtenbacher, 1906, Isagoras rugicollis (Gray, 1835), Isagoras sauropterus Rehn, 1947, Brizoides viridipes (Rehn, 1905) and Brizoides graminea Redtenbacher, 1906 are transferred to Agrostia Redtenbacher, 1906 (n. comb.); Agrostia flavimaculata Heleodoro, Mendes & Rafael, 2017 is transferred to Paragrostia n. gen. (n. comb.); Isagoras affinis Chopard, 1911, Isagoras chocoensis Hebard, 1921, Isagoras metricus Rehn, 1947 and Isagoras schraderi Rehn, 1947 are transferred to Tenerella Redtenbacher, 1906 (n. comb.); Xerosoma glyptomerion Rehn, 1904 is transferred to Isagoras Stål, 1875 (n. comb.); Isagoras venosus (Burmeister, 1838), Paraphasma paulense Rehn, 1918 and Paraphasma quadratum (Bates, 1865) are transferred to Prexaspes Stål, 1875 (n. comb.); Prexaspes (Prexaspes) cneius (Westwood, 1859) is transferred to Tenerella Redtenbacher, 1906 (n. comb.); Prexaspes lateralis (Fabricius, 1775) is transferred to Paraphasma Redtenbacher, 1906 (n. comb.); Isagoras santara (Westwood, 1859) and Prexaspes olivaceus Chopard, 1911 are transferred to Periphloea Redtenbacher, 1906 (n. comb.); Dinelytron agrion Westwood, 1859 is transferred to Paraprisopus Redtenbacher, 1906 (n. comb.); Anarchodes atrophicus (Pallas, 1772) is transferred to Ignacia Rehn, 1904 (n. comb.); Planudes asperus Bellanger & Conle, 2013, Planudes brunni Redtenbacher, 1906, Planudes cortex Hebard, 1919, Planudes crenulipes Rehn, 1904, Planudes funestus Redtenbacher, 1906, Planudes melzeri Piza, 1937, Planudes molorchus (Westwood, 1859), Planudes paxillus (Westwood, 1859), Planudes perillus Stål, 1875, Planudes pygmaeus (Redtenbacher, 1906) and Planudes taeniatus Piza, 1944 are transferred to Isagoras Stål, 1875 (n. comb.); Prisopoides atrobrunneus Heleodoro & Rafael, 2020, Prisopoides brunnescens Heleodoro & Rafael, 2020, Prisopoides caatingaensis Heleodoro & Rafael, 2020 and Prisopoides villosipes (Redtenbacher, 1906) are transferred to Prisopus Peletier de Saint Fargeau & Serville, 1828 (n. comb.); Melophasma antillarum (Caudell, 1914), Melophasma brachypterum Conle, Hennemann & Gutiérrez, 2011, Melophasma colombianum Conle, Hennemann & Gutiérrez, 2011 and Melophasma vermiculare Redtenbacher, 1906 are transferred to Paraprisopus Redtenbacher, 1906 (n. comb.); Prexaspes (Elasia) ambiguus (Stoll, 1813), Prexaspes (Elasia) brevipennis (Burmeister, 1838), Prexaspes (Elasia) pholcus (Westwood, 1859), Prexaspes (Elasia) viridipes Redtenbacher, 1906 and Prexaspes (Elasia) vittata (Piza, 1985) are transferred to Prexaspes Stål, 1875 (n. comb.). Twenty-six new synonymies are established: Perliodes Redtenbacher, 1906 and Chlorophasma Redtenbacher, 1906 are synonymised with Agrostia Redtenbacher, 1906 (n. syn.); Chlorophasma Redtenbacher, 1906 is synonymised with Agrostia Redtenbacher, 1906 (n. syn.); Elasia Redtenbacher, 1906 is synonymised with Prexaspes Stål, 1875 (n. syn.); Prisopoides Heleodoro & Rafael, 2020 is synonymised with Prisopus Peletier de Saint Fargeau & Serville, 1828 (n. syn.); Melophasma Redtenbacher, 1906 is synonymised with Paraprisopus Redtenbacher, 1906 (n. syn.); Bacteria crassipes Chopard, 1911 is synonymised with Bacteria pallidenotata Redtenbacher, 1908 (n. syn.); Perliodes grisescens Redtenbacher, 1906 and Metriophasma (Metriophasma) pallidum (Chopard, 1911) are synonymised with Agrostia cinerea (Olivier, 1792) (n. syn.); Perliodes nigrogranulosus Redtenbacher, 1906 and Metriophasma (Metriophasma) ocellatum (Piza, 1937) are synonymised with Isagoras rugicollis (Gray, 1835) (n. syn.); Isagoras chopardi Hebard, 1933 is synonymised with Tenerella cneius (Westwood, 1859) (n. syn.); Isagoras proximus Redtenbacher, 1906 is synonymised with Isagoras glyptomerion (Rehn, 1904) (n. syn.); Chlorophasma hyalina Redtenbacher, 1906 is synonymised with Agrostia graminea (Redtenbacher, 1906) (n. syn.); Isagoras nitidus Redtenbacher, 1906 is synonymised with Anisa flavomaculatus (Gray, 1835) (n. syn.); Prexaspes acuticornis (Gray, 1835) is synonymised with Prexaspes servillei (Gray, 1835) (n. syn.); Prexaspes nigromaculatus Chopard, 1911 is synonymised with Periphloea santara (Westwood, 1859) (n. syn.); Prexaspes (Elasia) janus Kirby, 1904 is synonymised with Paraphasma maculatum (Gray, 1835) (n. syn.); Prexaspes dictys (Westwood, 1859) is synonymised with Prexaspes brevipennis (Burmeister, 1838) (n. syn.); Parastratocles aeruginosus Redtenbacher, 1906: 107 is synonymised with Parastratocles forcipatus Bolívar, 1896 (n. syn.); Parastratocles carbonarius (Redtenbacher, 1906: 106) is synonymised with Parastratocles lugubris (Redtenbacher, 1906) (n. syn.); Prisopus spinicollis Burmeister, 1838, Prisopus spiniceps Burmeister, 1838 and Prisopus cornutus Gray, 1835 are synonymised with Prisopus ohrtmanni (Lichtenstein, 1802) (n. syn.); the genus Planudes Stål, 1875 is synonymised with Isagoras Stål, 1875 (n. syn.); Pseudophasma annulipes (Redtenbacher, 1906) is synonymised with Pseudophasma blanchardi (Westwood, 1859) (n. syn.); Ignacia appendiculatum (Kirby, 1904) is synonymised with Anarchodes atrophicus (Pallas, 1772) (n. syn.). Isagoras obscurum Guérin-Méneville, 1838 is shown to have been erroneously synonymised with Isagoras rugicollis (Gray, 1835) and is here re-established as a valid species (rev. stat.). Pseudophasma castaneum (Bates, 1865) is re-established as a valid species here (rev. stat.). Paraprisopus Redtenbacher, 1906 and the entire tribe Paraprisopodini are transferred to Pseudophasmatidae: Pseudophasmatinae (n. comb.). Lectotypes are designated for Perliodes grisescens Redtenbacher, 1906, Isagoras plagiatus Redtenbacher, 1906.Neotypes are designated for Agrostia cinerea (Olivier, 1792), Prexaspes ambiguus (Stoll, 1813), Prisopus horridus (Gray, 1835) and Prisopus sacratus (Olivier, 1792).

La place-charnière occupée par Maurice Ravel détermine en partie ses orientations stylistiques. Héritier d'une génération de compositeurs français attachés à l'esthétique romantique finissante du XIXe siècle, il s'affirme également comme un compositeur d'un présent moderne dont il épouse la diversité esthétique. C'est par une analyse comparative du langage ravélien avec celui de ses contemporains que nous pourrons le mieux apprécier l'originalité stylistique d'un compositeur parfois déroutant. Les écrits du compositeur révèlent une personnalité musicale affirmée, apte à intégrer des influences multiples sans jamais se départir de sa propre manière. Le style de Maurice Ravel se reconnaît à ses univers poétiques qui sont le reflet exact de sa personnalité. Il se reconnaît également à la précision de sa technique, part intellectuelle de la création constamment soumise par le compositeur à l'expression de sa sensibilité
The main place occupied by Maurice Ravel partly determines his orientations stylistics. Heir out of a French composer's generation bound to the finishing romantical aesthetic of XIXe century, it also affirms himself as a modern composer of his present time with his aesthetic diversity. By a comparative analysis of the ravelian langage with that of its contemporaries, we will appreciate the stylistic originality of a composer who sometimes diverts the audience. The composer's writings reveal a strong musical personality, ready to integrate different influences without never leaving its own manner. We will find the Maurice Ravel's style on his poetical universes which are the true mirror of its personality. It is also recognized with his technical precision, leaving his intellectual creation constantly subjected to his sensitive expression

Виявлено стан наукової розробленості проблеми вивчення педагогічної та культурно-просвітницької діяльності Никанора Онацького, здійснено авторську періодизацію розвитку вітчизняної наукової думки щодо даної проблеми. Удосконалено джерелознавче поле дослідження, введено до наукового обігу раніше не відомі та мало відомі архівні матеріали. Проведено бібліографічне впорядкування наукових праць педагога. Здійснено періодизацію життєдіяльності та встановлено провідні чинники формування його особистості. Обґрунтовано й виокремлено етапи педагогічної та культурно-просвітницької діяльності Никанора Онацького, з’ясовано їх змістову складову та освітньо-виховні ідеї національного спрямування культури та освіти. Узагальнено досвід педагогічної роботи, розглянуто внесок митця у становлення художньої освіти Слобожанщини, схарактеризовано творчу спадщину, окреслено перспективні напрями її використання в сучасному освітньо-виховному просторі Слобожанщини.
The thesis is devoted to a complex research of N. Onatsky’s teaching, educational and cultural activities. The state of research on the problem of pedagogical and cultural-educational activities of Nykanor Onatsky is defined and the author’s periodization of the development of national scientific thought on the issue is made. The source field of the research is expanded; previously unknown and little-known archival materials are introduced into scientific circulation. The author carried out a bibliographic compilation of scientific papers of the teacher. The periodization of N. Onatsky’s life is developed and the leading factors in the formation of his personality are clarified. The stages of pedagogical and cultural-educational activities of Nykanor Onatsky are outlined and justified; their content and educational ideas of the national direction of culture and education are analyzed. The experience of pedagogical work is summarized, the artist’s contributions to the development of art education of the region are examined, his creative heritage is characterized, perspective directions of its use in modern cultural-educational life of Slobozhanshchina are highlighted.

This thesis is a comprehensive account and analysis of the contribution of architect and author A. J. Penty to British social criticism and aesthetic theory. The central argument is that Penty has been neglected in scholarship as the result of an historical misclassification. In the existing literature he is presented as a marginal figure in the history of English guild socialism, a movement his first book did much to inspire. He was, in fact, in conflict with fundamental aspects of the guild socialist movement as it developed. Considered in totality, Penty's views were those of a reactionary conservative, and his significance in early twentieth-century political thought can best be understood by locating him within the essentially Victorian tradition of medievalism, which sought to use the social and economic arrangements of the Middle Ages as a perspective from which to criticise industrial society. The thesis therefore investigates the complex nature of Penty's intellectual debts to earlier thinkers, such as Ruskin, Carlyle, Morris, Carpenter, and Matthew Arnold. A subsidiary contention is that the continuing relevance of medievalism in Edwardian and later intellectual life has been underestimated. Some of its central themes can be discerned in the several political currents with which Penty was in varying degrees associated, such as guild socialism, distributism, Christian social action, agrarian revivalism and fascism. Support for this view has been found by examining Penty's personal and intellectual links with likeminded contemporaries, including Belloc, Chesterton, de Maeztu, Saunders Lewis, T. S. Eliot, Berdyaev and A. K. Coomaraswamy.The thesis aims to highlight the continuities between Penty and his nineteenth-century antecedents and also to identify his original contributions to the development of medievalist thinking, particularly in the sphere of international relations theory. 3 2

Ce travail de thèse propose une analyse des techniques instrumentales et orchestrales liées au violon dans treize partitions de Maurice Ravel. Dans le cadre de l’orchestre symphonique, sont ainsi présentées diverses observations concernant le traitement de cet instrument ainsi qu’une approche comparative de ses modes de jeu dans les œuvres de ce compositeur. Ces observations conduisent à une réflexion sur la façon dont les nombreuses possibilités violonistiques sont mises au service de la constitution d’un style et de modes d’expression caractéristiques, notamment à travers le timbre et une couleur instrumentale spécifiques. En exposant les techniques et les possibilités expressives du violon, cette étude contribue à mettre en lumière l’importance de cet instrument dans le domaine de l’orchestration du début du XXe siècle, à travers l’écriture ravélienne, ses constances, son évolution, ses innovations et sa postérité
This thesis proposes an analysis of instrumental and orchestral techniques related to violin in thirteen Maurice Ravel's scores. In the framework of the symphony orchestra, various observations are presented on the treatment of this instrument as well as a comparative approach of its modes of play in the works of this composer. These observations lead us to reflect on the way in which the numerous violinist possibilities are put at the service of the constitution of a style and of characteristic modes of expression, particularly through the specific timbre and instrumental color. By exposing the techniques and the expressive possibilities of the violin, this study contributes to highlight the importance of this instrument in the field of the orchestration of the beginning of the 20th century, through the Ravelian writing, its constancies, its evolution, his innovations and his posterity

According to the tile historian Thomas Bruhn, the period between 1870 and 1930 was the only period when tiles had a significant role in American ceramics. One of the leading tile companies during this period was the American Encaustic Tiling Company of Zanesville, Ohio, which created high-quality art tile. Virginia Commonwealth University has a virtual gallery of American Encaustic tiles in a four-block range along West Franklin Street. In particular, Virginia Commonwealth University has embossed tile fireplace surrounds in three houses that can be matched up to the American Encaustic catalogue of ca. 1890. Two of these houses have tile surrounds that are attributable to Herman Carl Mueller. The University also has encaustic tile pavements in various locations. This thesis will tell the story of American Encaustic tiles, especially in relation to Virginia Commonwealth University; will examine the lives and works of three of the firm's designers, Herman Carl Mueller (1854-1941), Léon Victor Solon (1872-1957), and Frederick Hurten Rhead (1880-1942); will refine the firm's history and acknowledge previously unknown American Encaustic employees via the discovery of patents; and will identify American Encaustic tiles at the Mosque, now the Landmark Theater, and tentatively attribute them to Rhead.

In his song cycle, Chansons madécasses (1926), a chamber work for voice, piano, flute, and cello, Maurice Ravel combines twentieth-century musical experimentation and exoticism with the late nineteenth-century style characteristics present in the vocal elements and instrumentation. Because early twentieth-century music appears to be closely connected to modern concerns, performers may tend to dismiss the style and technique of the early twentieth century as simply "old-fashioned" rather than examine and consider those elements as resources and valuable tools for interpreting and presenting authentic performances. The focus of this research includes a discussion of the historical, social, and textual implications of the music and poetry; a formal musical analysis of the work, including comparisons of an early twentieth-century, mid-century, and late twentieth-century recordings with regard to the use of vibrato and portamento in the voice, cello, and flute; and an examination of Chansons madécasses for elements of authentic Malagasy music and poetry. The paper also suggests methodologies for performance practice which reflect the results of these analyses. The beginnings of the rejection of traditional form - harmonic, rhythmic, and melodic structures - found in the early part of the century began to free composers and performers to explore musical presentations that gain their power not only from startling and unexpected elements of exoticism and interpretation but also from their romantic roots, which spurred the desire for a raw, even melodramatic, emotionalism. Ravel, without sacrificing the integrity of his native language, is able to blend his text with his accompaniment in a way that uses both the poem and the music to advance the "plot" and emotion of the narration, producing what might be described as a near perfect union of form and theme, structure and idea.

Le répertoire pour piano à quatre mains et deux pianos occupe une place importante dans la création de Maurice Ravel. En effet, ses compositions originales constituent des étapes décisives de sa carrière (Sites auriculaires, Ma mère l'Oye, Frontispice). Par ailleurs, les versions pianistiques de ses œuvres orchestrales (Shéhérazade, Rhapsodie espagnole, la Valse, "Fanfare" de l'éventail de Jeanne, boléro) sont des révélateurs de sa démarche créatrice. Ses adaptations des nocturnes et du prélude à l'Après-midi d'un faune de Claude Debussy mettent également en lumière l'originalité et la force de son talent de transcripteur. La qualité de ces partitions a permis à certaines d'entre elles d'acquérir une parfaite indépendance, notamment la version pour deux pianos de la valse. Le présent travail tente de cerner l'apport de Ravel sur le plan des spécificités de l'écriture pour piano à quatre mains et deux pianos. Il propose une étude du cadre historique et définit le rôle du jeu à quatre mains dans la vie du compositeur. Les activités, les préférences musicales, les relations artistiques et la création de Ravel sont ainsi présentés sous un angle nouveau. La production française de l'époque est mise en lumière à travers un schéma d'analyse qui rassemble les paramètres spécifiques des formations. Une place importante est consacrée à la discussion de la genèse et des particularités des œuvres originales. Celles-ci sont ensuite soumises à l'analyse systématique, tout comme les premières versions et transcriptions
The four-hand and two-piano repertories hold a significant position in Maurice Ravel's creative work. His original compositions mark decisive stages of his career (Sites auriculaires, Ma mère l'Oye, Frontispice); moreover, piano versions of his orchestral works (Scheherazade, Rhapsodie espagnole, la Valse, "Fanfare" from l'éventail de Jeanne, Bolero) are very revealing in terms of his creative processes. His adaptations of Claude Debussy’s nocturnes and the prelude to the Afternoon of a faun shed light as well on the originality and power of his abilities in transcribing. The quality of these scores has allowed them to attain fully independent stature, particularly in the case of the two-piano version of la Valse. The present study attempts to establish ravel's contribution to the realm of specifically pianistic textures in four-hand or two-piano music. It offers an examination of the historical background and defines the role of four-hand piano playing in the composer's life. Ravel's activities, his musical preferences, his artistic relationships and his creative mind are thus presented from a new angle. French repertory from the era is brought to light using an analytical plan based on the converging of the specific parameters in each type of instrumentation

A concepção da interpretação de uma obra musical pode advir de um processo sustentado por reflexão e ímpeto, agregando razão e emoção, o qual é gerado por impulsos e diversos conhecimentos, sendo estes musicais e/ou extra-musicais, objetivos e subjetivos. Estes são criados e reunidos ao longo da vida, durante o período de formação musical e a partir de contatos com diversas artes e normalmente dinamizado ao longo da leitura de uma determinada obra, de maneira consciente e inconsciente. Aprofundam-se através da prática musical, pesquisas e também da chamada tradição oral, através da relação mestre/discípulo. Este memorial disserta sobre meu processo de leitura, estudo e performance das Valsas Nobres e Sentimentais de Maurice Ravel, realizado durante meu curso de mestrado. Procuro reconhecer e esclarecer algumas de minhas escolhas musicais e os conhecimentos que mobilizei, adquiri e transmutei ao longo deste processo, paralelamente às reflexões de meu orientador, Ney Fialkow. Para tanto, foi necessário o registro de alguns dos meus encontros de orientação, momentos de meus estudos, algumas de minhas performances e idéias que foram geradas e despertadas durante todo este percurso. O possível reconhecimento e verbalização de todos estes registros podem muitas vezes tornar-se imprecisos, ou até mesmo impossíveis. Não há aqui a pretensão de desenvolver um guia de estudo, nem tampouco uma versão final da minha interpretação, já que esta se encontra sempre em movimento e renovação. É um registro de um determinado momento e como o mesmo se deu, ora sustentado por argumentos fundamentados em pesquisas ora por um universo fantástico e etéreo.
The interpretation concept of a musical piece may result from a process based on reflection and momentum, adding reason and emotion, which is generated by impulses and diverse knowledge, being this knowledge musical and / or extra-musical, objective and subjective. It is created and gathered throughout lifetime, during the period of musical training and from contacts with various types of art being normally activated while reading a particular piece of music in a consciously and unconsciously manner. This knowledge is deepened through musical practice, research, and the so called oral tradition, and through the master / disciple relationship. This memorial speaks about my process of reading, study and performance of the Noble and Sentimental Waltzes by Maurice Ravel, performed during my Master’s course. I try to recognize and clarify some of my musical choices and the knowledge I activated, acquired and transmuted along this process, in parallel with the reflections of my advisor, Ney Fialkow. Therefore, it was necessary to record some of my meetings with the advisor, moments of personal studies and some of my performances and ideas that were generated and arouse along this period of time. The possibility of recognition and verbalization of all these records can often become inaccurate or even impossible. There is not any intention here to develop a study guide, nor a final version of my interpretation, as this is always dynamic and renewable. It is a record of a particular moment and how it was carried out. At times, supported by arguments based on researches and at other times by a fantastic and ethereal universe.

Abstract This thesis deals with Maurice Ravel's Concerto for piano and Orchestra in G major. At first, it makes readers acquainted with important matters in author?s life and then it presents a genesis of the work and its first reception. Overview of the main inspiration sources, which are reflected in Concerto in G major follows. On basis of the analysis of harmony, musical form, piano stylization and comments of the first interpreter of the work, Marguerite Long, are formulated conclusions, important for acquirement of appropriate viewpoints for the proper interpretation. These attitudes are confronted with top performances of this composition, first by Marguerite Long and than by renowned pianists from different countries (Leonard Bernstein, Boris Krajný and Hélène Grimaud). Supplement of this thesis is a CD, which documents a few examples of the basque music, which was one of the main inspiration sources of the Concerto in G major and contents recordings of this piece of all above-mentioned pianists.