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In 19th century, the western music was propelled by the romanticism. Composers leaned toward the seeking of self-consciousness, and left away from the constraints of the traditional music form. Therefore, the ¡§character variation¡¨ became the most distinguished method of variations in this period. In the Symphonic Etudes, Schumann put the idea of variations into his etudes. Based on one subject, he developed it by using the technique of character variation to make each variation not only shows virtuoso practicing, but also keeps it full of creativity and imagination, in which showed his unique composing style. On the other hand, in order to show the ¡§symphony¡¨ character, lots of counterpoint textures were applied in op. 13, along with the application of massive chords in order to create the colorful gradation effect just like an orchestra. Therefore, in Symphonic Etudes op. 13, no matter you are looking at it from its harmonic texture of subject, switch of tonality, and the tone color change, one can see that Schumann used his unique composition writing and the mature techniques of variation. Therefore op. 13 is not only filled with Schumann¡¦s personal music language, but also the artistic value of the romantic etude. This thesis is divided into three chapters in addition to the preface and the conclusion. Chapter one is to focus on the background of op. 13, in which the combination of ¡§Variation¡¨, and ¡§Etude¡¨ is explained in detail. Chapter two is to thoroughly investigate the composition method in op. 13, in which divided into four sections for analysis, including rhythm, harmony, melody texture, and orchestral effects. The final chapter is to make a summary based on the variation characters, and the special piano techniques.

Thèse de doctorat : Psychologie : Metz : 1997. / 1997METZ006L. 255 ref.

abstract: This research paper focuses on selected recordings of the Etudes of Claude Debussy. It provides a comparative study of these recordings. There are some dissertations on the topic of Debussy’s Etudes. Most of them are about performance-related aspects such as fingerings, pedaling, or technical guidelines. Some of the dissertations examine compositional analyses, discussing harmony, texture, rhythmic structure, motivic development, etc. There also is a dissertation that makes a comparative study of the etude genre in Chopin and Debussy. Since there is no research yet on the recordings of Debussy’s Etudes, this may be a meaningful contribution to research. Debussy’s Douze Études are technically difficult to play, but the technical problems are always subordinated to musical beauty and variety in this work. This research is concerned with the sound of the music as achieved by a variety of performers. Nine representative pianists from various schools and traditions are chosen: Michel Béroff, Aldo Ciccolini, Walter Cosand, Walter Gieseking, Werner Haas, Yvonne Loriod, Jean-Yves Thibaudet, Mitsuko Uchida and Yevgeny Yontov. In this project, the focus is on listening to the selected recordings, making comparisons and summarizing certain performance-related aspects of them. Each etude is discussed individually in order to make a comprehensive study of different aspects of the selected recordings. In the last chapter of this paper, conclusions are drawn about the different performance features of the pianists examined according to previous analyses. This research seeks to encourage performances of Debussy’s Etudes, to aid pianists in obtaining interpretative ideas from the different recordings and finally to benefit their own performances. / Dissertation/Thesis / Doctoral Dissertation Music 2018

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The study and contemplation of the natural world was a significant impetus for the stylistic development of Maurice Ohana's (1913-1992) music. More than any other source, it was the sounds, textures, and patterns of the natural world that served as his compositional model, inspiring a unique approach to form and sound. Using the metaphor of a coral reef, Ohana sought to imbue his compositions with a process of development that organically generated musical form. His mature musical style is defined by an organic development of traits inherent within the motivic beginning of a work to produce unique musical structures that are intrinsically connected with their musical substance. Ohana's final work for piano solo, the Études d'interprétation (1983/6), demonstrate the process of organic development. Complementing Claude Debussy's (1862-1918) Études, Ohana's interval etudes 'Secondes,' 'Quintes,' 'Septiemes,' and 'Neuvièmes' illustrate the stylistic variety generated by his unique, sound-driven approach to form. The following analyses address the thematic development of each work, connecting melodic, harmonic, and textural material to the opening, and developmentally central, `germ' each composition begins with. By examining the comprehensive process of organic development within Ohana's four interval etudes it may be possible to gain a greater understanding of his unique musical language

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Th. : Droit : Aix-Marseille : 1939.