Abstract Ravel was an important composer between the late nineteenth century and early twentieth century, and played an influential role in the history of piano music. His innovative composing style and techniques were not only reflected his distinctive personal traits but also intimately related to the contemporary art of his time. Ravel¡¦s piano work, ¡©Le Tombeau de Couperin¡ª, which was written between 1914 and 1917, includes six pieces:¡©Prelude¡ª,¡©Fuge¡ª,¡©Forlane¡ª,¡©Rigaudon¡ª,¡©Menuet¡ªand¡©Toccata¡ª. The thesis is divided into five sections. The first section presents Ravel¡¦s life and career. The second section is about Ravel¡¦s compositional styles. The third section is about the compositional background of ¡©Le Tombeau de Couperin¡ªand neoclassical qualities. The fourth section is to explore the musical structures of ¡©Le Tombeau de Couperin,¡ªespecially in the formal structure, harmony and melody. The fifth section is the analysis of ¡©Le Tombeau de Couperin¡ªwhich emphasizes the author¡¦s performing practices and interpretations. When playing this composition, besides the quality of timbre, articulation, dynamics, and speed of playing, the player should express more in interpretation in music by understanding its compositional background and compositional method.

Thesis (Ph. D.)--University of Minnesota, 1973. / Includes bibliographical references (leaves 819-838).

There are two major purposes in selecting Couperin's programmatic clavecin pieces for study; to prove their importance in the evolution of programmatic music and to prove the value of their study by the modern pianist. Due to the enormous number of Couperin's programmatic pieces, a detailed analysis of each piece will not be attempted in this paper. Instead, a general survey will be made.

Louis Couperin (c. 1626-1661) was an outstanding member of the seventeenth-century clavecin school and an important link in the Couperin dynasty. His works for the harpsichord, or clavecin, have been neglected. This is due primarily to the fact that there are relatively few of his works, in comparison with those of his nephew, Franois Couperin Le Grand, who greatly overshadows him. Louis wrote no treatise on how his works are to be played, and there are few accounts of him, or his works, that are written in English. There is no biography of Louis Couperin. A more detailed study should be made of his music and its place in the French clavecin literature. Before examiinig the music itself, however, it is necessary to trace the origins and development of the clavecin school and its style.

Orientador: Edmundo Pacheco Hora / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T17:22:13Z (GMT). No. of bitstreams: 1 Pavan_BeatrizCarneiro_D.pdf: 10044075 bytes, checksum: 5d5a48f2f07aaa9db8e8cfcb24373bfc (MD5) Previous issue date: 2015 / Resumo: Este trabalho mostra como características vindas do discurso oratório francês do século XVIII encontram equivalência na obra para cravo de François Couperin, contida nos Quatre Livres de Pièces de Clavecin. Consolidando a ideia de que a busca por conformidade entre língua falada e música esteve presente durante o período musical barroco, entende-se que características comuns a estas duas formas de expressão encontram similitudes. Desta maneira, para embasar esta tese foram estudadas fontes do século XVIII que versam sobre língua francesa e suas características oratórias com a intenção de mostrar aspectos relevantes do discurso oratório francês dos anos Setecentos que pudessem ser comparados à escrita musical de Couperin. Como base teórica foi utilizada a obra The Harmonic Orator (2001) de Patrícia Ranum, que trata do fraseado e retórica em Árias Barrocas francesas. A partir de pesquisa histórica da Europa ocidental, centrada na França e da atuação da família Couperin na Igreja Saint-Gervais e no Palácio de Versailles, verificaram-se aspectos relevantes formadores do estilo de composição e interpretação cravísticos. Assim, se reafirma a necessidade, vinda da prática de interpretação da música em instrumentos originais ou cópias, de se estudar as maneiras interpretativas para atender às características específicas de cada época e nação. Confirmando a estreita relação entre língua falada e expressão musical, tornou-se apropriado pesquisar as variações linguísticas que resultaram em várias formas de composição e interpretação. Confirma-se portanto, que a música para cravo de Couperin exige do instrumentista conhecimento linguístico para adequada execução do discurso musical e qualquer atitude por parte de um intérprete que pretenda transmitir o pensamento ou emoção, com certa fidelidade, requer conhecimento das fontes do período, no intúito de se tornar claro o pensamento do compositor / Abstract: This paper shows how characteristics from the XVII century French oratory speech find their equivalence in François Couperin¿s work, contained in Quatre Livres de Pièces de Clavecin. Consolidating the idea that the search for conformity between the spoken language and music has been present during the baroque music period, it is understood that common characteristics to these two forms of expression find similarities in each other. This way, to make the base of this thesis, XVIII century sources about French language and its oratorical features were studied to show relevant aspects of the French oratorical speech of this century that could be compared to Couperin musical writing. As a theoretical base it was used "The Harmonic Orator" (2001) by Patricia Ranum, a work about the phrasing and rhetoric in French Baroque Arias. From historical researches of Western Europe centered in France and performance of Couperin family in the Saint-Gervais¿ Church and the Palace of Versailles, there were verified relevant aspects that formed harpsichordist composition and interpretation style. Thus, need reaffirmed, from the interpretation practice of music on original instruments or copies, to study the interpretative ways to meet the specific features of every age and nation. Confirming the close relation between spoken and musical expression, it became appropriate to research the linguistic variations that resulted in many forms of composition and interpretation. It is confirmed so, that Couperin¿s harpsichord music requires from the performer linguistic knowledge for proper execution of the musical discourse and any action by an interpreter wishing to transmit thought or emotion, with some fidelity, requires knowledge of the sources of the period, in order to clarify the thinking of the composer / Doutorado / Praticas Interpretativas / Doutora em Música

Anachronistic appropriation of earlier music or musical styles creates an inherent conflict of temporalities. Ravel's compositions based on historical dance forms present a particularly rich medium for investigating these kinds of historical tensions. Whether the minuet in Minuet antique (1895), the waltz in La valse (1919-20) and Valses nobles et sentimentales (1911), or the forlane or rigaudon in their respective movements of Le tombeau de Couperin (1914-17), these forms bring with them associations regarding historical place, and ties between musical norms and expression of temporality. The temporalities expressed in these works are not straightforward linear dramas but rather tension-laden and multifaceted. This paper selects three of these works -- Valses nobles et sentimentales, the forlane from Le tombeau de Couperin, and La valse -- to show how a complex sense of time is expressed by Ravel in different ways. While these three pieces differ greatly in execution, they are similar in impulse: each of the three takes different approaches to intertextual and intratextual problematicization of temporality. In analyzing these three works, the first framework is one of intertextuality -- to what extent does the work connect itself to a specific work, composer, and style, and what structural and aesthetic expectations are brought into play via these connections. Each of the three works treats this question in differing ways -- the "Forlane" of Le tombeau de Couperin explicitly appropriates the music of Couperin, La valse interacts not as much with a specific work or even composer but with the genre of the waltz as a whole, and Valses nobles et sentimentales creates an intentional rift between the waltzes of Ravel and those of Schubert. But while differing in the degree of influence or quotation, each of these draws in expressive and structural prototypes and creates tensions of temporality that are worked through in the context of each piece -- dialects between past and present, conflicts in both structure and meaning. Through entering into dialogical relationships with the works, forms, and genres of the past, these three works gain potentials for expression. / text

L’ornement fait partie intégrante de la musique pour clavecin aux XVIIe et XVIIIe siècles. Ce doctorat a pour objet l’étude des ornements dans les pièces pour clavecin seul, de la première édition connue de cette école : Chambonnières en 1670, au premier livre de François Couperin de 1713. Cette dernière date correspond à un tournant historique, celui de la fin du Grand Siècle et un tournant musical dans l’écriture des pièces de clavecin en France. Le corpus est composé au total de douze compositeurs (Chambonnières, Lebègue, Jacquet de La Guerre, d’Anglebert, Marchand, Dieupart, Clérambault, Dandrieu, Le Roux, Rameau, Siret, Couperin) qui ont pu corriger, dans le cadre de l’édition, le travail de la publication et donc celui de l’ornement, contrairement aux pièces des manuscrits. La problématique de cette recherche soulève la question de l’interprétation de l’ornement : Quelle place tient l’ornement dans la société et la musique de clavecin en France ? Y a-t-il une réalité sonore de l’ornement dans les pièces pour clavecin ? Peut-elle et doit-elle être la même aujourd’hui qu’il y a plus de trois cents ans ? Comment a évolué le son du répertoire pour clavecin au travers de la compréhension des ornements ? L’analyse quantitative, stylistique et esthétique des ornements (agréments, ornements écrits et diminutions) dans les éditions, rééditions et dans les enregistrements sonores du microsillon au disque compact, accompagnée de l’analyse des écrits du XVIIe au XXIe siècle sur la perception des ornements au clavecin ainsi qu’un dialogue avec les acteurs de la pratique d’aujourd’hui permettent de comprendre l’évolution de l’utilisation de cet élément indissociable du clavecin baroque. / Ornaments were an integral part of harpsichord music in the 17th and 18th centuries. The aim of this doctoral thesis is to study the use of ornaments in solo harpsichord pieces, from the first known printed edition of the music of this school: Chambonnières in 1670 to the first book by François Couperin in 1713. The latter date represents a turning point in history, with the end of the reign of Louis XIV, and also a musical turning point in the writing of harpsichord pieces in France. The corpus studied is made up of twelve composers (Chambonnières, Lebègue, Jacquet de la Guerre, d’Anglebert, Marchand, Dieupart, Clérambault, Dandrieu, Le Roux, Rameau, Siret and Couperin) who succeeded in correcting printed publications of music, including ornaments, unlike what had been possible with manuscripts. This research focuses mainly on the interpretation of musical ornamentation. What was the importance of ornaments in society and in French harpsichord music? What was the reality of how ornaments were heard in harpsichord pieces? Can and should this reality be the same today as it was more than three hundred years ago? How has the sound of the harpsichord repertoire evolved through our understanding of ornaments? The evolution of this crucial element of Baroque harpsichord music will be explored using quantitative, stylistic and aesthetic analysis of ornaments (agréments, written ornaments and diminutions) in original editions, re-editions, and recordings from the phonograph to the compact disc ; accompanied by an examination of writings from the 17th to the 21th centuries about the perception of harpsichord ornamentation, and testimony from musicians working with this instrument today.

Thesis (D.M.A.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves 154-157).

Sammanfattning Detta är en beskrivning av hur man kan transkribera musik och på så vis åstadkomma intressanta nya stämmor. Som exempel har jag arrangerat tre satser ur Maurice Ravels verk Le Tombeau de Couperin för fagottkvartett. / <p>Arkiverad ljudfil finns:</p><p>Ravel: Le Tombeau de Couperin - Il Menuet.</p><p></p>

Treatise (D.M.A.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI.