Detta är en studie som handlar om att förbereda sig inför en trumpetprovspelning till en symfoniorkester och en dokumentation av den processen samt en undersökning huruvida man kan få till ett rikare trumpetspel med erfarenhet och kunskap vad beträffar trumpetteknik, orkestertradition, repertoarkännedom och djupare förståelse kring musiken. Jag kommer att analysera två inspelningar jag gör med trumpetutdrag ur den symfoniska orkesterrepertoaren för att sedan komma fram till en avslutande tredje inspelning. / <p>Tidigare efternamn: Svensson</p>

This thesis proposes to determine the construction of the two string quartets and to reveal through the study of the quartets the similarities and contrasts of the creative musical characteristics of Debussy and Ravel.

This study has three purposes: first, to point out the stylistic elements of music that are present in the piano works of Debussy and Ravel; second, to determine how the composers have used these elements; and third, to discover the effects that have been achieved through individual uses of the elements.

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

La présente thèse vise à expliquer l’action et les prises de position de Vincent d’Indy par l’analyse de ses idées esthétiques telles qu’elles s’expriment dans ses écrits tant privés (journal intime, correspondance) que publics. Parmi ceux-ci, sans négliger le Cours de composition musicale et ses autres livres (César Franck, Beethoven…), elle privilégie les nombreux textes signés par le compositeur au cours de sa longue carrière : articles, conférences, lettres ouvertes, préfaces… La première partie présente la carrière de d’Indy conférencier et écrivain, sa formation intellectuelle ainsi que les principaux procédés rhétoriques et argumentatifs qu’il met en œuvre. La seconde partie tente dans un premier temps une synthèse de sa pensée sur l’art, la création et l’interprétation musicales, ce qui conduit, dans un second temps, à l’analyse de ses prises de position dans certains des grands débats de son époque (pédagogie et critique musicale, musicologie, musiques d’église et religieuse). La troisième et dernière partie étudie la position de d’Indy vis-à-vis de quatre compositeurs sur lesquels il s’est exprimé et dont il a été l’interprète (Claudio Monteverdi, Joseph Haydn, Felix Mendelssohn, Maurice Ravel) ; elle s’interroge aussi sur l’influence que ces musiciens ont pu avoir sur sa propre création. Le volume d’annexes comprend une chronologie de la vie de d’Indy, les listes chronologique et par genres de ses écrits publics, ainsi qu’une sélection des textes les plus importants. / The present thesis seeks to explain Vincent d’Indy’s activities and opinions by the analysis of his esthetical ideas, as they appear in his private writings (diary, correspondence) as well as the public ones. Amongst the latter, including in particular the Cours de composition musicale and his other books (César Franck, Beethoven…), this analysis singles out the many texts written by the composer during his long career: articles, lectures, open letters, prefaces… The first part presents d’Indy’s career as a speaker and a writer, his intellectual background, his figures of speech and reasoning. The second part tries in first place to synthesize his thoughts on art and musical creation and interpretation, and then moves on to the analysis of his opinions about some of the great debates of his time (pedagogy of music, music critic, musicology, church music and sacred music). The third and last part considers d’Indy’s views on four composers he studied and of which he has interpreted the works (Claudio Monteverdi, Joseph Haydn, Felix Mendelssohn, Maurice Ravel); it also tries to find out the extent of the influence/impact these musicians could have had on his own musical creation. The annexes contain a chronology of d’Indy’s life, the lists of his writings, chronological and by types, and a selection of his most important texts.

The purpose of this study is to acquaint the reader with certain scales, not merely as they are used to provide the theoretical "building stones" of all music, but as they have been used as actual scale passages in the piano music of two twentieth century composers. This is a study of the use of various scales in the piano music of Debussy and Ravel. A list of the piano music of these composers which was available for the present investigation is given in the Bibliography. A careful analysis of the music has been necessary in order to determine: First, the types of scales the composer uses; second, the interpretation of the scale in its context; third, the ways in which some scale passages are employed to help project musical thought in the composition; and fourth, the frequency of occurrence of types of scale passages.

I detta examensarbete analyseras Alborada del gracioso ur Miroirs av den franske kompositören och pianisten Maurice Ravel, främst ur ett motiviskt och strukturellt perspektiv. Analysen innefattar även reflektioner kring några av författarens interpretationsmässiga val och lösningar på vissa tekniska problem. Syftet med studien är att undersöka om och hur en analys av verket påverkar interpretationen av detsamma. Studiens resultat påvisar att analysen kan leda till en förändring av interpretationen, på grund av att den ger en djupare förståelse av verket och ger möjlighet till mer välmotiverade val i interpretationen.

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>

In this study, I do a research on my own ways and the influences that helped me to prepare Ravel’s Piano Concerto in G interpretation and performance. Is it an intuition, inspiration from a recording or something I have learned in a master- class. I went through Ravels’ piano music to see the development of the interpretation that blossomed into the Concerto. I looked at the preparation process that I did on my own, then together with the second pianist and at the end with the conductor. I have described my feelings after the performance as well as looked into different recordings of famous artists. The various influences are hard to measure since the artistic process is always under a constant change and development but looking closer to the sources of inspiration made me realize that everything I have experienced in connection to Ravel’s music has influenced my understanding and interpretation of the Concerto, most of all the master-classes with J.Hlinka, P.Roberts and M.Sturfält.

This dissertation analyzes the first movements of three chamber works -- the Piano trio (1914), the Duo for violin and cello (1920-22), and the Sonata for violin and piano (1923-27) -- and situates their harmonic procedures in relation to important developments within Parisian musical culture. Chapter 1 explores Ravel's early harmonic style, in particular, how he blends nontonal harmonic procedures and tonality within the framework of the sonata as seen in the first movements of his String quartet and Sonatine. Chapter 2 analyzes the Piano trio, which culminates the early phase of Ravel's career with a sophisticated amalgamation of pre-war musical trends, such as extended harmonies and formal inventiveness, with an early wartime emphasis on reduced textures and melodic primacy. In the post-war years, Ravel was forced to adjust to a new role, in which he was no longer at the forefront of musical developments, but rather the follower of a group of young, avant-garde composers. His two post-war compositions, the Duo for violin and cello and the Violin sonata, articulate the struggles he faced with composition in the 1920s. Criticized for having an out-moded aesthetic, he modified his compositional style by incorporating and adapting new harmonic techniques. Drawing on Peter Kaminsky's theory of monotonality and dual pitch organization, chapter 3 examines Ravel's harmonic language in the Duo through linear analysis. Ravel's attempt to incorporate contemporary harmonic procedures however was not sufficient to compete with the more progressive works of Les Six or Stravinsky's burgeoning neoclassicism. As a result, Ravel re-evaluated his craft by rethinking his engagements with the musical avant-garde. The analysis of the Violin sonata in chapter 4 reveals that harmonically, deeper levels of dissonance require pitch prioritization intimately bound to formal function. Unlike the Duo, Ravel presents a more innovative formal design in the Violin sonata, where boundaries are blurred and formal functions are juxtaposed. Chapter 5 concludes with a comparative analysis of the first movements of Ravel's Piano trio, Duo and Violin sonata and their evolving harmonic practices. / text