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Perret, Carine. "Analyse du style de Maurice Ravel au regard de son époque et de ses écrits : diversité esthétique et unité expressive." Montpellier 3, 2005. http://www.theses.fr/2005MON30054.
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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 sensibilitéThe 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
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Gaughan, Nuala Maria. "'Women speaking publicly' : aspects of the Irish domestic novel, 1875 - 1937." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432133.
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Никифоров, Андрій Михайлович, and Andrii Mykhailovych Nykyforov. "Педагогічна та культурно-просвітницька діяльність Никанора Онацького (1875–1937 рр.) на Слобожанщині." Thesis, СумДПУ імені А. С. Макаренка, 2016. http://repository.sspu.sumy.ua/handle/123456789/1987.
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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.
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Grosvenor, Peter Christopher. "A Medieval future : the social, economic and aesthetic thought of A.J. Penty (1875-1937)." Thesis, London School of Economics and Political Science (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285151.
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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
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Cohen, Bezerra Letierce Claudia. "Le violon dans les œuvres orchestrales de Maurice Ravel : Les techniques orchestrales et instrumentales au service de l’expression musicale." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL041.pdf.
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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 postéritéThis 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
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Schmelzer, Erika June. "The American Encaustic Tiling Company (1875-1937) and 'Art Tiles' in the West Franklin Street Historic District, Richmond, Virginia." VCU Scholars Compass, 2003. http://scholarscompass.vcu.edu/etd/4509.
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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.
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Ellis, Diana Lea. "A Performer's Analysis of Maurice Ravel's Chansons madécasses: A Lecture Recital, Together with Three Recitals of Selected Works of B. Britten, R. Schumann, S. Barber, T. Pasatieri, F. Poulenc, G. Verdi, T. Arne, and Others." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4522/.
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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.
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Flachaire, Frauke. "Maurice Ravel : l'œuvre pour piano à quatre mains. L'écriture pianistique dans le contexte historique." Paris 4, 1996. http://www.theses.fr/1996PA040082.
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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 transcriptionsThe 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
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Pingo, Ary Yuri. "Valsas nobres e sentimentais de Maurice Ravel : caminhos de um intérprete." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/61726.
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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.
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Vlasáková, Hana. "Klavírní koncert G dur Maurice Ravela." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177879.
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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.
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Martins, Ana Lucia Lana Nemi. "Espanha e Brasil : o ocidente possivel no pensamento de Jose Ortega y Gasset e Almir de Andrade." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279835.
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Orientador : Elide Rugai BastosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este trabalho pretende apontar a proximidade do discurso político de dois intelectuais, um espanhol, José Ortega y Gasset, e outro brasileiro, Almir de Andrade. Formador o primeiro, e herdeiro o segundo, dos debates intelectuais situados nos anos 20 e 30 nos seus respectivos países, ambos apresentam leituras sobre a .cultura nacional" que destoam das tradições políticas liberais sugeridas pelo mundo dos cidadãos construído a partir da Revolução de 1789. O estudo da trajetória e do contexto intelectual de cada um dos autores permitiu observar um traço geracional nos conteúdos de suas obras, especialmente no que diz respeito à idéia de crise da cultura ocidental, à crítica do pensamento liberal e à busca de um sentido histórico que pudesse ancorar a construção do Estado nacional nos seus respectivos países. O objetivo é mostrar que os dois autores, nos anos 30, sugeriam um modelo de modernização e ocidentalização para seus países que, no limite, inviabiliza a inserção da nação no mundo ocidental dos cidadãos
Abstract: This piece of work aims at pointing out the proximity between two intellectuals, Ortega y Gasset, Spanish, and Almir de Andrade, Brazilian. The former, participant of the 1920's and 1930's intellectual debates in his country and the later responsible for the debates in Brazil. Both present views upon the "national culture" putting themselves in a uni que position apart from the traditional liberal policies suggested in the world constructed after the French Revolution. Studying the intellectual context of each of the authors, allowed us to observe generational traces in their writings, especially when it comes to the idea of a western culture crises, criticism on the liberal thought and the search of historical route to be the basis of the construction of a National State. Therefore, the goal here is to show that both authors, in the 1930's, suggested a model of modernization for their countries, that, could make possible insert the State in the western world of citizens
Doutorado
Doutor em Sociologia
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Motta, Daniel Andriolli Rodrigues [UNESP]. "Quadros de uma exposição para violão solo por Kazuhito Yamashita: um estudos dos efeitos técnicos a partir da comparação com o original para piano e a orquestração de Maurice Ravel." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/95137.
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Esse trabalho tem como foco a versão de “Quadros de uma Exposição” de Modest Musorgsky feita para violão solo por Kazuhito Yamashita. Através de uma contextualização histórica e estética, insere essa obra no cânone do repertório para violão e estuda os impactos causados pela gravação desta e por sua performance. Comparando-a com o original para piano e com a orquestração feita por Maurice Ravel, analisa as técnicas violonísticas empregadas de maneira incomum. Discute as formas de escrita para o violão, seus efeitos e possibilidades de execução
This work is about the guitar version of Modest Musorgsky’s “Pictures at an Exhibition” made by Kazuhito Yamashita. By an esthetic and historical context, analyses the insertion of this piece in the classical guitar repertoire and studies the impacts by the recording and performance of it. Making a comparison with the original piano piece and with the orchestration made by Maurice Ravel, makes an analysis about the guitar techniques used in an unusual way. Debates the guitar writing, his effects and the performance possibilities
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Neymarck, Emmanuelle. "Maurice Ravel : une poétique de l’orchestration." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040192.
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Orchestrateur de référence du XXe siècle, Maurice Ravel, avec la Rapsodie espagnole, Daphnis et Chloé, Ma Mère l’Oye, La Valse ou encore avec l’orchestration des Tableaux d’une exposition, ne cesse de nous égarer dans des domaines sonores inattendus. Des réductions pour piano aux enseignements reçus au Conservatoire de Paris, en passant par la lecture des traités d’instrumentation et d’orchestration, Maurice Ravel apprend, dompte et confère à son orchestre une couleur unique qui le place au rang des plus grands orchestrateurs de son temps. Réalisée à partir de quinze œuvres symphoniques du compositeur, une analyse approfondie des aspects de l’instrumentation et de l’orchestration ravélienne a mis en lumière les principaux traits stylistiques de cet orchestrateur. Mais définir la poétique orchestrale de Maurice Ravel ne se limite pas à dresser un inventaire des seuls éléments techniques : c’est également comprendre le rôle et l’impact de ses transcriptions pour orchestre sur son langage et son œuvre. Les orchestrations ravéliennes sont-elles en définitive une simple parure de la version pianistique ou un moyen de créer une œuvre nouvelle ?Maurice Ravel, a reference among the 20th century composers, has always led his audience into unexpected musical fields with works such as the Rapsodie espagnole, Daphnis et Chloé, Ma Mère l’Oye, La Valse or the orchestration of the Tableaux d’une exposition. While writing piano reductions, while studying at the Conservatoire de Paris and reading treatises on instrumentation and orchestration, Maurice Ravel learned, tamed and gave his orchestra a unique tint, the tint that has made him one of the greatest composer of his time. Based on the study of fifteen of his symphonic works, a thorough analysis of the aspects of Ravelian orchestration has highlighted his main stylistic features. However defining Ravel’s poetical orchestration cannot be restricted to a mere listing of technical elements; it is also trying to understand the role and impact of his orchestra transcriptions on his language and on his work. Are Ravelian orchestrations simply an ornament of the piano version or the creation of a new work?
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Cassidy, Robert L. "A comparison of passacaglias in piano trios by Ravel and Shostakovich from a historical and theoretical perspective." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1343464.
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This dissertation contains a comparison from a historical and theoretical perspective of the passacaglia from the Piano Trio in E Minor, Op. 67, written by Dmitri Shostakovich (1906-1975), and the passacaglia from the Piano Trio in A Minor, written by Maurice Ravel (1875-1937).Before the history and theory discussion of these two movements begins, a background is given on the passacaglia form and its origins. References are made to the beginnings of the passacaglia in Italy and Spain, as well as the gradual evolution of the form into the keyboard music of the 17th century. Early published examples of passacaglias are displayed in chapter two.The third and fourth chapters of this dissertation are the focus of the comparison, where historical and theoretical information is discussed and deciphered. In the history section, details of the life of the composer during the time he wrote the piece are provided. The theory section contains a concentrated examination and comparison (enhanced by musical examples) of melody, harmony, rhythm, texture, and form, as used by Ravel and Shostakovich in these two passacaglias.It was concluded in this dissertation that both of these master composers used the passacaglia form successfully in their piano trios. As a result, they contributed musical masterpieces in the genre of the piano trio for musicians and scholars alike to investigate, study, and perform.School of Music
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Siafliaki, Iro. "Images en resistance : de l'ouvert de Rainer Maria Rilke et du cinéma : Jean-Luc Godard, Alexandre Sokourov, Béla Tarr." Paris 8, 2013. http://www.theses.fr/2013PA084148.
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La mise en résonance du cinéma avec certains aspects de la poésie de Rilke, surtout l’Ouvert des Élégies de Duino, au cœur de sa recherche quant aux termes qui fondent l’exigence du poète dans le temps, ne va pas de soi. Si nous la tentons, c’est parce que cela nous permet l’expérimentation de quelques directions que peut prendre la reprise de la question du cinéma comme dispositif apte à être témoin d’une réalité et aussi à agir sur elle. Se portant principalement sur l’immédiateté de l’être-au-monde, l’Ouvert implique la question du regard en tant que lien tissé avec celui-ci. Posé comme inatteignable par la conscience de l’homme qui en ferait un objet, l’Ouvert serait exigence de lutte contre la posture de l’en-face au monde et des écrans de la représentation. Nous croyons voir dans l’attention au visuel, au brouillage des éléments qui déjoue leur codification, et les nouvelles formes que les films des cinéastes comme Godard, Sokourov et Tarr proposent, certaines expressions des plus hardies qui troublent le regard spectacle et font œuvre de résistance à l’abandon du rêve de répondre par nos créations à notre époque, étouffante puisqu’expliquée en termes de crise excédant notre emprise. Joindre ces hétérogènes ne passe pas par l’analogie mais par l’invention d’un territoire de rapprochements, traversé par des forces portant cet appel. S’y ajoute l’expérience pratique d’un film à partir de la pensée de Geneviève Clancy qui traverse également la partie théorique de ce travail. Fondée sur la question de la présence dont l'inspiration est en partie rilkéenne, cette pensée met en scène tous les possibles quand de telles radicalités deviennent notre impliciteIt is not obvious to put cinema in echo with certain aspects of Rilke’s poetry, especially with the Open in the Duino Elegies, at the heart of his search on the founding terms of the poet's necessity through time. If this is tempted here, it is because it allows us to explore certain paths suggested by the renewed question on whether cinema is able to witness reality and also to act on it. Concerning mainly the immediacy of our 'being-in-the-world', the Open implies the question of one's view as a tie to the world. Unattainable by man's consciousness that would regard it as an object, the Open could be the necessity to fight against the posture of 'being-in front of' the world, and against the screens of representation. We discern in the importance attached to visuals, to the interference of elements thwarting their codification, as well as in the new forms proposed by the films of such directors as Godard, Sokourov and Tarr, some of the boldest expressions that disrupt the spectacle-view and constitute a resistance against abandoning the dream of responding through our creations to our epoch – a stifling epoch, since it is explained in terms of crisis exceeding our grasp. Connecting these heterogeneous fields does not come through analogy but through the invention of a territory of rapprochements crossed by forces bearing this call. To this is added the practical experience of directing a film based on the thought of Geneviève Clancy, which also crosses the theoretical part of this work. Based on the question of Presence – partly inspired by Rilke – this thought brings to the fore all possibles when these radicalities become the Implicit of our life
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Hu, Wei. "Saint François d’Assise au miroir de son septième centenaire : approches hagiographique, poétique et théologique (Ghelderode, Ghéon, Déodat de Basly)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL035.
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La présente recherche tente de se centrer sur le septième centenaire de la mort de saint François d’Assise (1226- 1926). Elle étudie trois auteurs ayant rendu hommage au saint : Michel de Ghelderode (1898-1962) avec les Images de la vie de saint François d’Assise, Henri Ghéon (1875-1944) avec La Vie profonde de saint François d’Assise, et Déodat de Basly (1863-1937) avec La Christiade française. À travers des approches hagiographique, poétique, et théologique, l’étude envisage de se plonger dans une large perspective de représentions littéraires du saint, afin de retracer un paysage littéraire qui se focalise sur l’époque choisieThe present research attempts to focus on the seventh centenary of the death of St. Francis of Assisi (1226- 1926). This work will study three authors who had paid homage to the saint: Michel de Ghelderode (1898- 1962) with Images de la vie de saint François d’Assise, Henri Gheon (1875-1944) with La Vie profonde de saint François d’Assise, and Déodat de Basly (1863-1937) with La Christiade française. Under hagiographic, poetic, and theological approaches, this work intends to dip into a broad perspective of literary representations of St. Francis, in order to trace a literary landscape that focuses on the chosen era
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Chu, Fang-Yi. "Kaikhosru Sorabji's Rapsodie Espagnole de Maurice Ravel, Transcription de Concert pour piano: A Comparison of the Two Versions from 1923 and 1945." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404581/.
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Kaikhosru Shapurji Sorabji (1892-1988) was an English composer-pianist of Parsi descent. Although he composed many works for piano, these compositions remain largely unknown to the public due to the composer's self-imposed 40-year ban on public performances of all his works and the immense technical difficulty of his music. This research proposes a comparative study of Sorabji's two versions of Rapsodie espagnole de Maurice Ravel-Transcription de concert pour piano (1923, 1945). These transcriptions are based on Ravel's orchestral work and are different in terms of the style of their arrangements: the 1923 version is more of a literal transcription, whereas the 1945 version has been expanded upon the former. This dissertation compares the differences between the two versions, as well as identifying how Sorabji infused his own style into the 1945 transcription. This study relies on primary sources including writings and manuscripts of Sorabji, and secondary sources such as articles on interpreting Sorabji's piano works and biographies about Sorabji.
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Fanjul, Diane. "Le pianisme ravélien : une nouvelle expérience du monde." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30039.
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Cette synthèse du pianisme ravélien vise à éclairer les œuvres de façon inédite. Sans apporter une nouvelle compréhension des œuvres par leur dimension corporelle, elle se révèlerait inutile. Mais au-delà de son intérêt purement musical, elle appelait une question fondamentale : qu’est-ce qui a rendu possibles tel geste et telle posture à l’époque de Ravel ?This synthesis of Ravelian pianism aims at considering musical works in a new way. Without bringing a new comprehension of works in their body dimension, it would appear useless. But beyond its musical interest, it required a fundamental question: what made possible such gesture and posture during Ravel’s time ?
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Goulon-Fontaliran, Emmanuèle. "La poétique des images de l'eau dans la mélodie française à la charnière des XIXe et XXe siècles : pour comprendre l'interférence des arts à la croisée des disciplines : essai d'interprétation d'"Ut pictura poesis"." Paris 4, 2008. http://www.theses.fr/2008PA040184.
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Interprétation possible de l'Ut pictura poesis d'Horace pour comprendre le phénomène de l'interférence des arts autour de la figuration aquatique, cet essai a été enrichi des apports de différentes disciplines comme la littérature, l'esthétique, la linguistique. Il vise à construire une esthétique cohérente, apte à expliquer la puissance d'incitation artistique des images aquatiques et de l'eau elle-même en tant qu'élément naturel. Au sein du genre mélodique, la création des compositeurs français converge dans la recherche d'une poétique musicale tendant vers une fusion artistique du texte, de la musique et de l'image évoquée. Les préoccupations de durée et de fuite du temps qui sont au coeur de l'époque charnière des XIXe et XXe siècles sont greffées sur les images de l'eau. Le poème s'impose comme expérience de pensée et de perception et, loin de mettre seulement la musique au service du texte, la mélodie, entre métaphore et figuralisme, révèle le poème comme musique. Trois poèmes et leurs mises en musique sont objets d'étude et de comparaison : Le Jet d'eau de Baudelaire, Soupir de Mallarmé et Il pleure dans mon coeur de Verlaine. L'ouverture des artistes à la nature de l’élément aquatique éveille en eux ce que Bachelard appelle "l'imagination de la matière". Ainsi, le personnage d'Ophélie, entre créations originales et universaux dont Shakespeare l'avait doté, devient porteur de symboles. La figure d'Ophélie imprègne des vertus de l'eau "mélancolisante" les Poèmes d'automne de Dupont. Peut-on aller jusqu'à décrire une esthétique de la fluidité ? C'est à cette question que cet essai risque une réponseThis study, a possible way of interpreting Horace's Ut picture poesis, is an attempt to understand the mutual interplay of the arts around water-related representations. It draws from the various disciplines such as literature, aesthetics, and linguistics and aims at constructing a coherent aesthetics that will highlight the power of water and aquatic imagery as artistic stimulants. Within melody as a genre, the creations of French composers converged in the quest for a musical poetics tending towards an artistic fusion of text, music and metaphors. The concern for the ephemeral and for time as duration which was at the heart of the transition period at the turn of the 20th century finds its expression through water images. The poem imposes itself as an experience of thought and perception. Melody, far from merely placing music at the service of text, reveals – beyond metaphors and figuration -- the poem itself as music. Three poems and their musical adaptations are analysed and compared in this study : Baudelaire's Le Jet d’eau, Mallarmé's Soupir and Verlaine's Il pleure dans mon coeur. The willingness of artists to embrace the aquatic element awakens in them what Bachelard called, "the imagination of matter". In that sense, the character of Ophelia, whether through original creations or through the universal features Shakespeare endowed her with, becomes centrally symbolic. The figure of Ophelia suffuses Dupont's Poèmes d'automne, with the melancholy-inducing virtues/qualities of water. Could one go as far as to talk of an aesthetics of fluidity ? This study attempts to provide an answer to this question
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Bottaro, Marica. "Il saxofono nell’orchestra italiana e francese della prima metà del secolo XX." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080023.
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La thèse se propose de vérifier la présence du saxophone dans le répertoire français et italien pour orchestre de la première moitié du XXème siècle, avec le but de confirmer la possibilité d’intégrer le saxophone à l’orchestre de façon permanente.Le choix d’étudier le répertoire pour saxophone dans l’orchestre en France et en Italie des premières décennies du XXème siècle a été fait car cet instrument, créé par Adolphe Sax, facteur d’instrument d’origine belge, a sa première diffusion sur le territoire français pendant la seconde moitié du XIXème siècle, avant de « s’expatrier » dans d’autres pays. C’est à la France donc de vanter les premières compositions pour le saxophone, et c’est au XXème siècle que cette production augmente considérablement. La France, avec son goût pour la couleur du timbre des instruments, influence l’Italie d’une façon particulière, pays où cet instrument est déjà présent au milieu du XIXème siècle, aussi grâce aux appréciations de Gioachino Rossini (qui à l’époque est à Paris), qui poussent le Lycée Musical de Bologna à acheter les produits de la maison Sax. La thèse est subdivisée en trois parties : la première, d’empreinte théorique, dédiée à la présence du saxophone dans les traités d’instrumentation et d’orchestration français et italiens, ainsi que d’autres pays des XIXe et XXe siècle ; la seconde, de caractère illustratif, dans laquelle on analyse les partitions de trois compositeurs français (Ravel, Honegger et Ibert) ; la troisième, toujours de nature illustratif, dédiée à l’étude des compositions de deux auteurs italiens (Marinuzzi et Zandonai)The thesis’ purpose is to examine the presence of the saxophone in the French and Italian repertoire for orchestra in the first half of the 20th century, and aims at confirming its possible, permanent inclusion in the orchestra. The decision of investigating the repertory of the saxophone in the orchestra in France and Italy in the first decades of the 20th century was made because this instrument, created by the inventor of plenty of other musical instruments, Adolphe Sax (born in Belgium), spreads out for the first time in France during the second half of the 19th century and then ‘expatriates’ to other countries. It is France that can boast the first compositions for this instrument and it is in the 20th century that its production grows excessively. France, with its taste for the color of the instruments’ timbre, influences especially Italy, where the instrument is already present in the first half of the 19th century, thanks to Gioachino Rossini’s appreciations (who was in Paris at that time), pushing the Liceo Musicale in Bologna to buy the maison Sax’s products. My thesis is divided into three parts: the first, with a theoretical purpose, is dedicated to the presence of the saxophone in instrumentation and orchestration treatises published in France, Italy and other countries in the 19th and in the 20th century. In the second part, of explicative kind, the scores of three French composers (Ravel, Honegger and Ibert) are analyzed. Finally, the third section, of explicative kind as well, is dedicated to the study of some compositions by two Italian authors (Marinuzzi and Zandonai)
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Wang, Ching-Ya, and 王靖雅. "The Relationship between music and literature in “Gaspard de la Nuit” by Maurice Ravel (1875-1937)/Ching-Ya Wang Graduate Recital." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/qkw687.
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碩士東吳大學
音樂學系
100
The inspiration for “Gaspard de la Nuit”(1908) was a small book of poems by the same title given to Ravel(1875-1937). The book was written by a early 19th century French poet Aloysius Bertrand (1807-1841). From that small volume of prose poems, Ravel chose three, “Ondine”, “Le Gibet”, and “Scarbo”. The piano suite “Gaspard de la Nuit” is a masterpiece of musical styles the best embodiment in Ravel piano music. Connecting music, includes both pre-idea of Ravel music, but also indicates that the latter part of his creative direction. Ravel uses the rich musical language personality to describe three different image and mood in poem “Gaspard de la Nuit” by Bertrand. On the other hands, Ravel makes a lot of new explorations and attempts in the the piano performance techniques by making use of many distinctive and abstruse technique and means.This enriches and promotes the multiplicity development of piano performance technique in 20th century. “Gaspard de la Nuit”. The research includes three parts. The first part presents Ravel’s music career and literary background, and discuss how Ravel’s music is related to literature, and survey all his literature related music works. The second part would analyze the composition in detailed, containing its structure, tonal, motives, harmonic analysis, tempo and musical terms. The third part discusses the connection between music and literature in “Gaspard de la Nuit”. Program: J. S. Bach(1685-1750): Italienisches Konzert in F Major, BWV971 L. v. Beethoven(1770-1827): 32 Variations in C minor, WoO 80 M. Ravel(1875-1937): “Gaspard de la Nuit” Ⅰ Ondine Ⅱ Le Gibet Ⅲ Scarbo N. Kapustin (1937- ): Variations, Op. 41
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Kilpatrick, Emily Alison. "The language of enchantment : childhood and fairytale in the music of Maurice Ravel." 2008. http://hdl.handle.net/2440/50720.
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No human condition is invested with more diverse and complex perceptions, ideals and emotions than childhood. Although it has long been accorded a particular significance in the context of his life and work, Maurice Ravel’s conception of childhood, together with the musical language through which it found expression, has never been the subject of a detailed, extended study. This thesis, therefore, explores the roles and realisations of childhood in Ravel’s music, arguing that they were inextricably linked with the language, traditions and idioms of the literary fairytale – an hypothesis Ravel himself supported when he wrote that his intention in his fairytale-based Ma mère l'Oye was to evoke ‘the poetry of childhood’. Through a study of these intertwined themes, the thesis develops new analytical and interpretative approaches to three major works: the piano duet suite Ma mère l’Oye (1910), the Trois chansons for mixed choir (1914-1915), and the opera L’Enfant et les sortilèges (1919-1925). These works span a fifteen-year period that saw a decisive evolution in Ravel’s compositional style, and was crucially impacted by the great cataclysm of the First World War. Ravel deliberately aligned his music with the traditions of the fairytale through the creation and expressive manipulation of musical and dramatic structure, language, gesture and perspective. One may trace the voice and presence of the storyteller in Ma mère l’Oye, a work dedicated to two children for whom Ravel was a favourite companion and teller of fairytales. L’Enfant et les sortilèges presents a detailed portrait of its eponymous Child, set within a fairytale in which traditional elements combine with a complexity of dramatic, musical and psychological construction that invokes the zeitgeist of the 1920s. The shadows of real events intrude more disturbingly upon the Trois chansons, whose distorted fairytale narratives represent a direct and personal response to the War. In its balance of musical interpretation and explication, supported by a clearly defined historical and philosophical context, the study yields new insights into a central facet of Ravel’s musical identity.http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1348982
Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008
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Hooper, Myrtle Jane. "The silence at the interface : culture and narrative in selected twentieth-century Southern African novels in English." Thesis, 1992. http://hdl.handle.net/10413/8569.
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The primary intention of this study is to establish the theoretical
significance of silence within the sphere of the twentieth-century
Southern African novel in English. Clearly a feature of recent writing,
silence is less overtly thematised in earlier work. Since relatively
little critical and theoretical attention has been paid to silence as a
positive phenomenon, however, modes of reading it are sought within the
broader sphere of the social sciences, and specifically its tradition of
social constructionism. Care is taken to address the pressures of the
local context, identified in terms of the postcolonial paradigm as
relating to language and to culture. A deliberate theoretical innovation
is the renunciation of the trope of penetration in favour of the notion
of an interface between intact language-culture systems, given an
understanding of culture as existing between subjects in relations of
power. Fictional narrative which addresses cross-culturality is thus
read as a process of cultural translation, and the volitional deployment
of silence as an act of resistance to its power. The significance of
language is registered in the use of speech-act theory, in the
insistence on meaning as generated in spatially and temporally situated
conversation, and in the exploration of the influence of pronominal
relations on identity. Emerging from my investigation is a recognition
of the measure offered by silence of the autonomy of character as
subject, and a corresponding recognition of the constitutive capacity of
the reader to site the power of narration amongst the polyphonic voices
within the culture of the text. The postcolonial paradigm indicates the
need for a regional rather than a national perspective; thus the
interfaces considered in the case studies include, in Plaatje's Mhudi,
orality and literacy, tribal membership and non-sectarianism, Tswana and
English; in Paton's Too Late the Phalarope the private domain and
apartheid as public hegemonic discourse, narration as possession, and
the tragic as structuring textual relations; and in Head's Maru the
constitution of a postcolonial identity that resists and transcends the
discursive hostility of racism, and the dislocation, displacement and
alienation of exilic refuge from apartheid.Thesis (Ph.D.)-University of Natal, Durban, 1992.