Maurice Ravel (1875-1937) composed two sonatas for violin and piano, first one in 1897 and the later one during the period between 1923 and 1927. The first sonata wasn¡¦t discovered until 1975. The second one is more popular nowadays. In addition to the introduction and the conclusion, this thesis is divided into three chapters. The first chapter provides general information of these two sonatas. It emphasizes on the deep thoughts had given during Revel¡¦s composing, and records of the leading performers and performances of the two sonatas for violin and piano. In chapter two, the author analyzes and compares the structures and the writing methods for each movement from both sonatas. In addition, the author integrates correlations and the breakthrough points in each movement from both sonatas. Last chapter explores the violin techniques of these two works. Musical and technical suggestions are provided on the execution and interpretation. These two sonatas are the only ones written for violin and piano among all the strings chamber music works by Maurice Ravel. They are also the first and the last strings chamber music works Ravel composed. Each of the sonatas represents different music era of Ravel. The similarities and differences of writing style and violin technique used by Ravel in these two sonatas are presented in this thesis. The diversity of Ravel's sonatas for violin and piano certainly enriches the repertoire of performing violinists.

Maurice Ravel (1875-1937), is the most important composer of Impressionism after Claude Debussy (1862-1918) in twenty century. Ravel¡¦s works can be found in many areas, such as orchestra music, operas, art song, chamber music, piano works and ballets. Miroirs, one of Ravel¡¦s outstanding piano works, was his early work full with Impressionistic style. This work includes five pieces: Noctuelles, Oiseaux tristes, Une barque Sur l¡¦Océan, Alborada del gracioso, La vallée des cloches. This study contains three main sections: The first section is focus on the historical background which includes the relationship between Ravel and the French Impressionism, the usage of the Neoclassicism qualities and foreign musical elements. The second section is about the compositional background of Miroirs and the analyzing of the compositional technique and elements. The musical form, scale, mode, harmony, melody, meter and rhythm of Miroirs. The third section is primarily a discussion on the diversified tone changing of Ravel¡¦s work, and the usage of the pedal in Miriors. This investigation of Miroirs is undertaken to obtain a deeper understanding of Ravel¡¦s unique compositional technique and musical style, in order to interpret Miriors in the pertinent way.

Diss.--Wien--Univ. für Musik und darstellende Kunst, 2000. / Bibliogr. p. 357-380. Index.

Diss.--Frankfurt am Main, 1991. / Bibliogr. p. 373-380.

Tesi--Musicologie--Bologna, 1996. / Nombreuses notes bibliogr. en français. Bibliogr. p. I-XIII.

Zugl. Diss. Techn. Univ. Berlin, 2005.

Except for a group of three songs, the two piano concertos were the last things Ravel wrote. They have been said to be the culmination of Ravel's style; and, since they were written simultaneously, much attention has been drawn to a comparison of the two, particularly with emphasis on their divergent features. It is the purpose of this paper to show the interesting circumstances under which these concertos came to exist, to acknowledge the differences recognized by authors and critics, and to point out some important ways in which these concertos are similar to each other.

Mozart composed his D Major Sonata, K. 311 in 1777 when he was twenty-one years old. He seemed to have hit his stride as a composer of keyboard sonatas, assimilating into this piece artistically fulfilling juxtapositions of brilliant virtuosity and subdued lyricism, humor and heartfelt expression. The first movement begins in a spirited manner, then gives way to a lyrical second theme. As the movement draws to a close in pure joy, the contrast of the pleasant and soothing second movement is all the more striking���Mozart���s niche as an opera composer proves evident by the beautiful singing melodic line. The third movement rounds out the sonata, providing yet another contrast in mood; a humorous character is implied by sudden changes in dynamics, stops and starts, and musical surprises. Mozart incorporates aspects of symphonic composition with a concerto-like lead in before the return of the theme. <br>Composer Nancy Galbraith provided her own program notes for her Piano Sonata No. 1. ���Piano Sonata No. 1��� begins with an animated Fugue, a restless internal dialog that twists and turns to triumphant resolve. The nearly motionless Religioso lingers in still, prayerful meditation, slowly arcs to an anguished ���miserere���, then comes to rest in an emotionally spent, yet peaceful surrender. Allegro begins and ends in jubilant song and dance surrounding a serene, dreamy landscape. <br>The syncopated Fugue subject of movement I is treated in a traditional manner in the opening and is transformed into a more lyrical statement in the development. The movement closes with a dramatic statement of the subject in octaves in the low register. Movement II begins with a simple chant-like melody, which gradually becomes more intense and is finally stated with large cluster chords. The movement ends peacefully as it began. The sonata closes with a perpetual motion movement III, which makes use of minimalistic techniques. <br>���Jeux d���eau��� by Maurice Ravel translates to ���fountains,��� or ���water games.��� Ravel composed the piece when he was a student of Gabriel Faur��, to whom the piece is dedicated. Ravel explained his piece in the following way: ���Jeux d���eau, appearing in 1901, is at the origin of the pianistic novelties which one would notice in my work. This piece, inspired by the noise of the water and by the musical sounds which make one hear the sprays, the cascades, the brooks, is based on two motives in the manner of a sonata��� without, however, subjecting itself to the classical tonal plan.��� Ravel included an inscription on the top of his manuscript of a quote by Henri de R��gnier from his Cit�� des eaux: ���Dieu fluvial riant de l���eau qui le chatouille������ which translates to ���River god laughing as the water tickles him������ <br>The pianist must create the illusion of waterfalls, water sprays, calm puddles, and exciting water movement. From scintillating, pianissimo arpeggios to brilliant fortissimo glissandos, Ravel utilizes the entire keyboard to evoke a myriad of water images. Rachmaninoff was only 23 when he composed his B Minor Moment musical, Op. 16, No. 3 in 1896, but even so early in his life, he had established his compositional voice. He composed his G Minor Etude-tableau, Op. 33, No. 7 in 1911, and premiered the set later that year. The Moment musical possesses a dark mood, in the character of a funeral march. He coined the title, ���picture etudes,��� (etudes-tableaux) although the concept was not original; he most likely drew inspiration from the Transcendental Etudes of Liszt and the Symphonic Etudes of Schumann. Each etude suggests a picture, an extramusical idea, in addition to a pianistic problem it presents in the tradition of the etude. He said of his inspiration, ���in the process of creating music, I am greatly aided by the books or poems I have read as well as by superb paintings. I often try to express a definite idea or event in my work without referring to the direct source of the inspiration.��� Rachmaninoff did not share with his performers the imagery the pieces were meant to conjure. He stated, ���I do not believe in the artist disclosing too much of his images. Let them paint for themselves what it most suggests.��� <br>Bach���s original partita in E Major for solo violin serves as a staple in the violin repertoire, so it seems logical that Rachmaninoff heard the piece performed by his touring recital partner, violinist Fritz Kreisler. Rachmaninoff created transcriptions not only to increase his own concert repertoire, but also to serve as a preliminary exercise to foster creativity for other compositional projects. Some of his transcriptions are faithful to the original score, some contain considerable embellishments, and others use the original score as merely a guide. In this piece, Rachmaninoff chose three of the movements of <br>Bach���s partita and crafted them beautifully for piano, remaining faithful to Bach���s original intent while weaving in his own counterpoint, melodic lines, and rich, colorful harmonies. He captures the pure essence of Bach while adding just the right amount of his own compositional voice: ���Rach-ing���out. / Mary Pappert School of Music; / Music Performance / MM; / Recital;

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.

Diss.--Philosophie--Chicago (Ill.)--Faculty of the division of the humanities, 2004. / Bibliogr. p. 319-328.