Academic literature on the topic 'Maurice Ravel (1875-1937)'
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Journal articles on the topic "Maurice Ravel (1875-1937)"
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Cybulska, Eva M. "Boléro unravelled: a case of musical perseveration." Psychiatric Bulletin 21, no. 9 (September 1997): 576–77. http://dx.doi.org/10.1192/pb.21.9.576.
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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”.
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Cavallera, Guido M., Simonettta Giudici, and Luca Tommasi. "Shadows and darkness in the brain of a genius: Aspects of the neuropsychological literature about the final illness of Maurice Ravel (1875–1937)." Medical Science Monitor 18, no. 10 (2012): MH1—MH8. http://dx.doi.org/10.12659/msm.883470.
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Benedetti, Danieli Verônica Longo. "Maurice Ravel e a Guerra." Música em Perspectiva 4, no. 2 (June 5, 2012). http://dx.doi.org/10.5380/mp.v4i2.24820.
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O presente texto, segmento de pesquisa de doutorado realizada no Dep. De Música da ECA/USP, com o apoio da FAPESP, pretende fazer uma reflexão sobre a correspondência do compositor francês Maurice Ravel (1875-1937), voltando-se mais especificamente ao período da Primeira Guerra Mundial (1914-1918). Fundamentado em trabalhos referenciais e no importante acervo da correspondência do compositor, de posse da Bibliothèque Nationale de France – BNF, o presente texto pretende questionar a que ponto a idéia fixa pela defesa da pátria tomou conta da vida do compositor, influenciando sua produção musical do período em questão.
Dissertations / Theses on the topic "Maurice Ravel (1875-1937)"
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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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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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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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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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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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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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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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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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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.
Books on the topic "Maurice Ravel (1875-1937)"
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Ravel, Maurice. A Ravel reader: Correspondence, articles, interviews. New York: Columbia University Press, 1990.
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Ravel, Maurice. A Ravel reader: Correspondence, articles, interviews. Mineola, New York: Dover Publications, 2003.
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Arbie, Orenstein, ed. A Ravel reader: Correspondence, articles, interviews. New York, NY: Columbia University Press, 1989.
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The ballets of Maurice Ravel: Creation and interpretation. Aldershot, Hants, England: Ashgate, 2006.
Find full textBook chapters on the topic "Maurice Ravel (1875-1937)"
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Luban-Plozza, Boris, Mario Delli Ponti, and Hans H. Dickhaut. "Maurice Ravel (1875–1937) und die «Amusie»." In Musik und Psyche, 241–49. Basel: Birkhäuser Basel, 1988. http://dx.doi.org/10.1007/978-3-0348-5824-3_26.
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