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

HOREJŠOVÁ, Martina: George Gershwin: Concerto in F for piano and orchestra [Diploma thesis]. Charles University in Prague. Faculty of Arts. Institute of Musicology. Supervisor: prof. PhDr. Jarmila Gabrielová, CSc. Prague 2016. The main theme of the diploma thesis is a musical analysis of Concerto in F - the only Gershwin's piano concert from 1925. This diploma thesis also contains information about composer's life, contemporary historical context with relation to American cultural, social and political climate. As well text includes contemporary musical production, which influenced Gershwin's compositional technique. There will also be a comparison between George Gershwin and two other composers (Sergei Rachmaninoff and Maurice Ravel) who also created concert for piano and orchestra in the early 20th century.

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[ES] En esta tesis, tomando como medio la obra para piano solo Gaspard de la nuit de Maurice Ravel, se elabora una investigación de metodología autoetnográfica a modo de ejercicio de concienciación del aprendizaje de la obra. El objetivo es tener un conocimiento más profundo de los estímulos musicales durante el estudio de Gaspard de la nuit. Para cumplir con dicho objetivo, en primer lugar, se presentan informaciones sobre Ravel, su vida y su producción musical hasta el año de composición de la obra en cuestión, documentación concreta sobre Gaspard de la nuit, su interpretación y el análisis de las tres obras. En segundo lugar, se efectúa un cuaderno de campo compuesto por las clases magistrales sobre la obra recibidas por grandes profesores a nivel nacional e internacional y por apuntes propios de las sesiones de estudio. Las enseñanzas expuestas en ambos documentos se analizan, se relacionan, se comparan, se establece una evolución o analogía de la terminología empleada, y, en caso necesario, se explica su significado y si ha tenido especial influencia o no en la práctica pianística. Posteriormente se acude a la estadística para obtener datos cuantitativos de la recurrencia de unas temáticas musicales sobre otras para concluir entre otras deducciones que se hace escasa referencia a la memorización, la diferencia entre el peso que se le da a ciertas temáticas dependiendo del estadio de aprendizaje de Gaspard de la nuit y la dinámica concreta de estudio empleada mientras se trabaja la obra objeto de estudio. / [CA] En aquesta tesi, prenent com a mitjà l'obra per a piano sol Gaspard de la nuit de Maurice Ravel, s'elabora una recerca de metodologia autoetnogràfica a manera d'exercici de conscienciació de l'aprenentatge de l'obra. L'objectiu és tenir un coneixement més profund dels estímuls musicals durant l'estudi de Gaspard de la nuit. Per a complir amb aquest objectiu, en primer lloc es presenten informacions sobre Ravel, la seva vida i la seva producció musical fins a l'any de composició de l'obra en qüestió, documentació concreta sobre Gaspard de la nuit, la seva interpretació i l'anàlisi de les tres obres. En segon lloc, s'efectua un quadern de camp compost per les classes magistrals sobre l'obra rebudes per grans professors a nivell nacional i internacional i per anotacions pròpies de les sessions d'estudi. Els ensenyaments exposats en tots dos documents s'analitzen, es relacionen, es comparen, s'estableix una evolució o analogia de la terminologia emprada, i, en cas necessari, s'explica el seu significat i si ha tingut especial influència o no en la pràctica pianística. Posteriorment s'acudeix a l'estadística per a obtenir dades quantitatives de la recurrència d'unes temàtiques musicals sobre altres per a concloure entre altres deduccions que es fa escassa referència a la memorització, la diferència entre el pes que se li dona a unes certes temàtiques depenent de l'estadi d'aprenentatge de Gaspard de la nuit i la dinàmica concreta d'estudi emprada mentre es treballa l'obra objecte d'estudi. / [EN] In this thesis, taking Maurice Ravel's solo piano work Gaspard de la nuit as a medium, an autoethnographic methodology research is elaborated as an exercise of awareness of the learning of the work. The aim is to gain a deeper understanding of the musical stimuli during the study of Gaspard de la nuit. To achieve this goal, first of all, information about Ravel, his life and his musical production up to the year of composition of the work in question, specific documentation on Gaspard de la nuit, its interpretation and the analysis of the three works are presented. Secondly, a field notebook is made up of the master classes on the work given by great national and international professors, as well as notes taken during the study sessions. The teachings presented in both documents are analysed, related, compared, an evolution or analogy of the terminology used is established, and, if necessary, their meaning and whether they have had a special influence on piano practice is explained. Subsequently, statistics are used to obtain quantitative data on the recurrence of certain musical themes over others in order to conclude, among other deductions, that little reference is made to memorization, the difference between the weight given to certain themes depending on Gaspard de la nuit's stage of learning and the specific dynamics of study employed while working on the work under study. / García Verdú, FJ. (2023). Investigación autoetnográfica de la práctica pianística a través de la obra para piano solo Gaspard de la nuit de Maurice Ravel [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/193297

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Master of Music / School of Music, Theatre, and Dance / Reginald L. Pittman / This Master’s Report is an examination of four vocal song cycles for the baritone voice. Song cycles researched, interpreted, and performed include An die ferne Geliebte (1816) by Ludwig van Beethoven, Sei Romanze (1838) by Giuseppe Verdi, Don Quichotte à Dulcinée (1932-1933) by Maurice Ravel, and Let Us Garlands Bring (1938-1942) by Gerald Finzi. In this report you will find information on the history of vocal song cycles, biographical information about composers and poets/lyricists, compositional analysis, historical breakdowns of the musical periods, musical and poetic interpretations, original texts and English translations, pedagogical and performance practice insights, and never before published transpositions of “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” and “Nell’orror di note oscura” from Giuseppe Verdi’s Sei Romanze (1838). Songs in this report are: “Auf dem Hügel sitz ich spähend,” “Wo die Berge so blau,” “Leichte Segler in den Höhen,” “Diese Wolken in den Höhen,” “Es kehret der Maien, es blühet die Au,” and “Nimm sie hin den diese Lieder” from An die ferne Geliebte by Ludwig an Beethoven. “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” “In solitaria stanza,” and “Nell’orror di note oscura” from Sei Romanze by Giuseppe Verdi. “Chanson romanesque,” “Chanson épique,” and “Chanson à boire” from Don Quichotte à Dulcinée by Maurice Ravel. “Come away, come away, death,” “Who is Silvia?,” “Fear no more the heat o’ the sun,” “O Mistress Mine,” and “It was a lover and his lass” from Let Us Garlands Bring by Gerald Finzi. The graduate recital was presented in partial fulfillment of the requirements for the Master of Music degree in vocal performance on April 9th, 2017 in All Faiths Chapel on the campus of Kansas State University. The recital featured the talents of baritone Matthew D. Cyphert and pianist Mitchell S. Jerko.

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