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The Role of Harmony and Timbre in Maurice Ravel's Cycle Gaspard De
Miljana Tomić The role of harmony and timbre in Maurice Ravel’s cycle Gaspard de la Nuit in relation to form A thesis submitted to Music Theory Department at Norwegian Academy of Music in partial fulfilment of the requirements of the degree of Master’s in Applied Music Theory Spring 2020 Copyright © 2020 Miljana Tomić All rights reserved ii I dedicate this thesis to all my former, current, and future students. iii Gaspard has been a devil in coming, but that is only logical since it was he who is the author of the poems. My ambition is to say with notes what a poet expresses with words. Maurice Ravel iv Table of contents I Introduction ............................................................................................................ 1 1.1 Preface ........................................................................................................................... 1 1.2 Presentation of the research questions ..................................................................... 1 1.3 Context, relevance, and background for the project .............................................. 2 1.4 The State of the Art ..................................................................................................... 4 1.5 Methodology ................................................................................................................ 8 1.6 Thesis objectives ........................................................................................................ 10 1.7 Thesis outline ............................................................................................................ -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
Paris, 1918-45
un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza tions. -
A Study of Ravel's Le Tombeau De Couperin
SYNTHESIS OF TRADITION AND INNOVATION: A STUDY OF RAVEL’S LE TOMBEAU DE COUPERIN BY CHIH-YI CHEN Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University MAY, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music ______________________________________________ Luba-Edlina Dubinsky, Research Director and Chair ____________________________________________ Jean-Louis Haguenauer ____________________________________________ Karen Shaw ii ACKNOWLEDGEMENTS I would like to express my tremendous gratitude to several individuals without whose support I would not have been able to complete this essay and conclude my long pursuit of the Doctor of Music degree. Firstly, I would like to thank my committee chair, Professor Luba Edlina-Dubinsky, for her musical inspirations, artistry, and devotion in teaching. Her passion for music and her belief in me are what motivated me to begin this journey. I would like to thank my committee members, Professor Jean-Louis Haguenauer and Dr. Karen Shaw, for their continuous supervision and never-ending encouragement that helped me along the way. I also would like to thank Professor Evelyne Brancart, who was on my committee in the earlier part of my study, for her unceasing support and wisdom. I have learned so much from each one of you. Additionally, I would like to thank Professor Mimi Zweig and the entire Indiana University String Academy, for their unconditional friendship and love. They have become my family and home away from home, and without them I would not have been where I am today. -
Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006
Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eight-acre gated final phase is priced community, at the from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. BSRicJMBi EM ;\{? - S'S The path to recovery... a -McLean Hospital ', j Vt- ^Ttie nation's top psychiatric hospital. 1 V US NeWS & °r/d Re >0rt N£ * SE^ " W f see «*££% llffltlltl #•&'"$**, «B. N^P*^* The Pavijiorfat McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service BeJmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate R\RTNERSm of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. From cardiology and oncology to sports medicine and gastroenterology, you'll always find care you can count on at BIDMC. -
LAVINIA MEIJER HARP DIVERTISSEMENTS SALZEDO | CAPLET | IBERT 28908Laviniabooklet 10-09-2008 11:05 Pagina 2
28908Laviniabooklet 10-09-2008 11:05 Pagina 1 CHANNEL CLASSICS CCS SA 28908 LAVINIA MEIJER HARP DIVERTISSEMENTS SALZEDO | CAPLET | IBERT 28908Laviniabooklet 10-09-2008 11:05 Pagina 2 As a little girl of eight, I was already captivated by the magical sounds of the harp, so pure and rich. Once I discovered the instrument’s wealth of possibilities during my first lessons and my years at the conservatory, I quickly set myself a goal: I wanted to promote the harp as a solo instrument, wherever and however I could. I wanted to do this not only through the performance of well-known pieces, but also by encouraging contemporary composers to produce new harp compositions. For my first Channel Classics CD, I have chosen a combination of three 20th-century French masters. The Parisian firm of Érard, in particular, created technical innovations to the harp which considerably broadened the instrument’s (chromatic) capabilities; these innovations, followed by the first ‘minor’ masterpieces by Debussy and Ravel, soon made Paris the epicentre of a veritable harp explosion. More and more well-trained harpists appeared, and so did composers who became interested in the harp. Even though André Caplet did not compose much for the harp, the ‘Deux Divertissements’ are now an indispensable part of the repertoire. They are one of the harpist’s ‘musts’. And I cannot imagine why Jacques Ibert’s ‘Six Pièces’, those surprisingly colourful miniatures – are so rarely performed in their entirety. French-American Carlos Salzedo occupies a special place in the world of the harp. Famous both as a performer and teacher, he was immensely influential. -
Salzedo's Harp: the Evolution of the Modern Pedal Harp from the Paris Conservatory Culture to Contemporary American Musical Society
Eastern Michigan University DigitalCommons@EMU Senior Honors Theses Honors College 2016 Salzedo's Harp: The volutE ion of the Modern Pedal Harp from the Paris Conservatory Culture to Contemporary American Musical Society Celisa C. Gutierrez Follow this and additional works at: http://commons.emich.edu/honors Recommended Citation Gutierrez, Celisa C., "Salzedo's Harp: The vE olution of the Modern Pedal Harp from the Paris Conservatory Culture to Contemporary American Musical Society" (2016). Senior Honors Theses. 491. http://commons.emich.edu/honors/491 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses by an authorized administrator of DigitalCommons@EMU. For more information, please contact lib- [email protected]. Salzedo's Harp: The volutE ion of the Modern Pedal Harp from the Paris Conservatory Culture to Contemporary American Musical Society Abstract Carlos Salzedo is one of the most important harpists of the twentieth century. Through innovative compositions, advocacy for modern music, and virtuosic performances, he modernized the pedal harp and brought it to a prominent position in contemporary music. Degree Type Open Access Senior Honors Thesis Department Music and Dance First Advisor Professor Ruth Myers-Brown Second Advisor Dr. David Pierce Keywords pedal harp, modernism, composer, French music, music This open access senior honors thesis is available at DigitalCommons@EMU: http://commons.emich.edu/honors/491 SALZEDO'S HARP: THE EVOLUTION OF THE MODERN PEDAL HARP FROM THE PARIS CONSERVATORY CULTURE TO CONTEMPORARY AMERICAN MUSICAL SOCIETY By Celisa C. -
Le Tombeau De Couperin I
27 Season 2016-2017 Thursday, November 10, at 8:00 The Philadelphia Orchestra Friday, November 11, at 2:00 Saturday, November 12, Yannick Nézet-Séguin Conductor at 8:00 Benjamin Beilman Violin Westminster Symphonic Choir Joe Miller Director Ravel Le Tombeau de Couperin I. Prélude II. Forlane III. Menuet IV. Rigaudon ProkofievViolin Concerto No. 1 in D major, Op. 19 I. Andantino—Andante assai II. Scherzo: Vivacissimo III. Moderato Intermission Ravel Daphnis and Chloé (complete ballet) This program runs approximately 1 hour, 55 minutes. LiveNote™, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. The November 10 concert is sponsored by Kay and Harry Halloran. The November 12 concert is sponsored by Mr. and Mrs. Peter Shaw. The Philadelphia Orchestra acknowledges the presence of the Hermann Family at the November 11 concert, with gratitude for their donation, made in memory of Myrl Hermann, of a C.G. Testore violin (ca. 1700). Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. 29 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The Orchestra’s award- orchestras in the world, to discover new and winning Collaborative renowned for its distinctive inventive ways to nurture Learning programs engage sound, desired for its its relationship with its over 50,000 students, keen ability to capture the loyal patrons at its home families, and community hearts and imaginations of in the Kimmel Center, members through programs audiences, and admired for and also with those who such as PlayINs, side-by- a legacy of imagination and enjoy the Orchestra’s area sides, PopUP concerts, innovation on and off the performances at the Mann free Neighborhood concert stage. -
Proquest Dissertations
The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb Item Type text; Dissertation-Reproduction (electronic) Authors Lin, Shuennchin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 08:04:22 Link to Item http://hdl.handle.net/10150/288715 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fice, whfle others may be from any type of computer primer. The qaality^ of this rqirodnctioii is dependent upon the quality of the copy sabmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and hnproper alignmem can adverse^ affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., nu^s, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing fi'om left to right m equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
May, 1952 TABLE of CONTENTS
111 AJ( 1 ~ toa TlE PIANO STYI2 OF AAURICE RAVEL THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS by Jack Lundy Roberts, B. I, Fort Worth, Texas May, 1952 TABLE OF CONTENTS LIST OFLLUSTRTIONS. Chapter I. THE DEVELOPMENT OF PIANO STYLE ... II. RAVEL'S MUSICAL STYLE .. # . , 7 Melody Harmony Rhythm III INFLUENCES ON RAVEL'S EIANO WORKS . 67 APPENDIX . .* . *. * .83 BTBLIO'RAWp . * *.. * . *85 iii LIST OF ILLUSTRATIONS Figure Page 1. Jeux d'Eau, mm. 1-3 . .0 15 2. Le Paon (Histoires Naturelles), mm. la-3 .r . -* - -* . 16 3. Le Paon (Histoires Naturelles), 3 a. « . a. 17 4. Ondine (Gaspard de a Nuit), m. 1 . .... 18 5. Ondine (Gaspard de la Nuit), m. 90 . 19 6. Sonatine, first movement, nm. 1-3 . 21 7. Sonatine, second movement, 22: 8. Sonatine, third movement, m m . 3 7 -3 8 . ,- . 23 9. Sainte, umi. 23-25 . * * . .. 25 10. Concerto in G, second movement, 25 11. _Asi~e (Shehdrazade ), mm. 6-7 ... 26 12. Menuet (Le Tombeau de Coupe rin), 27 13. Asie (Sh6hlrazade), mm. 18-22 . .. 28 14. Alborada del Gracioso (Miroirs), mm. 43%. * . 8 28 15. Concerto for the Left Hand, mii 2T-b3 . *. 7-. * * * .* . ., . 29 16. Nahandove (Chansons Madecasses), 1.Snat ,-5 . * . .o .t * * * . 30 17. Sonat ine, first movement, mm. 1-3 . 31 iv Figure Page 18. Laideronnette, Imperatrice des l~~e),i.......... Pagodtes (jMa TV . 31 19. Saint, mm. 4-6 « . , . ,. 32 20. Ondine (caspard de la Nuit), in. 67 .. .4 33 21. -
Performances from 1974 to 2020
Performances from 1974 to 2020 2019-20 December 1 & 2, 2018 Michael Slon, Conductor September 28 & 29, 2019 Family Holiday Concerts Benjamin Rous, Conductor MOZART Symphony No. 32 February 16 & 17, 2019 ROUSTOM Ramal Benjamin Rous, Conductor BRAHMS Piano Concerto No. 2 in B-flat Major RAVEL Pavane pour une infante défunte RAVEL Piano Concerto in G Major November 16 & 17, 2019 MOYA Siempre Lunes, Siempre Marzo Benjamin Rous & Michael Slon, Conductors KODALY Variations on a HunGarian FolksonG MONTGOMERY Caught by the Wind ‘The Peacock’ RICHARD STRAUSS Horn Concerto No. 1 in E-flat Major March 23 & 24, 2019 MENDELSSOHN Psalm 42 Benjamin Rous, Conductor BRUCKNER Te Deum in C Major BARTOK Violin Concerto No. 2 MENDELSSOHN Symphony No. 4 in A Major December 6 & 7, 2019 Michael Slon, Conductor April 27 & 28, 2019 Family Holiday Concerts Benjamin Rous, Conductor WAGNER Prelude from Parsifal February 15 & 16, 2020 SCHUMANN Piano Concerto in A minor Benjamin Rous, Conductor SHATIN PipinG the Earth BUTTERWORTH A Shropshire Lad RESPIGHI Pines of Rome BRITTEN Nocturne GRACE WILLIAMS Elegy for String Orchestra June 1, 2019 VAUGHAN WILLIAMS On Wenlock Edge Benjamin Rous, Conductor ARNOLD Tam o’Shanter Overture Pops at the Paramount 2018-19 2017-18 September 29 & 30, 2018 September 23 & 24, 2017 Benjamin Rous, Conductor Benjamin Rous, Conductor BOWEN Concerto in C minor for Viola WALKER Lyric for StrinGs and Orchestra ADAMS Short Ride in a Fast Machine MUSGRAVE SonG of the Enchanter MOZART Clarinet Concerto in A Major SIBELIUS Symphony No. 2 in D Major BEETHOVEN Symphony No. 7 in A Major November 17 & 18, 2018 October 6, 2017 Damon Gupton, Conductor Michael Slon, Conductor ROSSINI Overture to Semiramide UVA Bicentennial Celebration BARBER Violin Concerto WALKER Lyric for StrinGs TCHAIKOVSKY Symphony No. -
Teaching Harp in America: Selected Print and Video Materials, an Annotated Bibliography Tula Ruggiero
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Teaching Harp in America: Selected Print and Video Materials, an Annotated Bibliography Tula Ruggiero Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC TEACHING HARP IN AMERICA: SELECTED PRINT AND VIDEO MATERIALS, AN ANNOTATED BIBLIOGRAPHY By TULA RUGGIERO A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded Fall Semester, 2014 Tula Ruggiero defended this treatise on October 9, 2014 The members of the supervisory committee were: Mary Roman Professor Directing Treatise Alice-Ann Darrow University Representative Corinne Stillwell Committee Member Bruce Holzman Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated with love to my son, John Eli Thompson. iii ACKNOWLEDGEMENTS I would like to express my gratitude to: My major professor and advisor, Prof. Mary Roman, for her careful attention to detail and the many hours spent editing this treatise. My committee members, Dr. Alice-Ann Darrow, Prof. Corinne Stillwell, and Prof. Bruce Holzman, for their time and effort invested in me throughout my doctoral studies. My former teacher, Elizabeth Blakeslee, for sharing with me her invaluable knowledge of harp pedagogy. My dear friend, Joanna Frankel, for my first harp lessons, her encouragement, and sense of humor. My oldest friend, Rebecca Haines Durren, for her unflagging emotional support.