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Thesis (Ph. D.)--University of Washington. / Bibliography: l. [270]-272.

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 104-107). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--Northwestern University, 1963. / Includes abstract and vita. "64-1517" on added title page. Includes bibliographical references (leaves 202-205).

Most Korean students study very little French music during their pre-college years. A survey of ten Korean piano professors as well as an investigation into the annual set repertoire from universities, music high schools, middle schools and national competitions in Korea show that French repertoire appears very seldom on the list of required repertoire. Therefore, it is easy for Korean students to neglect French piano music. By the time students reach undergraduate or graduate school and are required to play the music of Debussy and Ravel for the first time, they find themselves at a serious disadvantage. The purpose of this paper is to provide a pedagogical guide for Korean teachers who wish to offer their beginning, middle school and high school students a good foundation in the style of French piano music. This syllabus will introduce a series of French piano pieces, from Couperin and Rameau as well as Chaminade and Fauré to the easier pieces of Debussy and Ravel, which will lead to the ultimate goal of interpreting aspects of French tone, style, technique, and cultural context involved in the eventual successful performance of the more advanced pieces of Debussy and Ravel, which are the bedrock of French piano music. One of the most significant advantages of this syllabus is that it does not skip any steps in the repertoire.

This monograph analyzes recordings of three orchestral excerpts for the oboe made between 1910 – 2016 and studies trends in interpretation, showing how performance practice is continually evolving as musical tastes change. The chosen excerpts span several style periods from the early nineteenth century to the twentieth century. The first excerpt, the cadenza from the Allegro con brio movement of the Fifth Symphony by Beethoven, has been under-studied by oboists and musicologists and yet it plays a pivotal role in the first movement of this iconic piece. The second excerpt, the Adagio solo from the second movement of Brahms’s Violin Concerto, has much room for individual interpretation and soloistic freedom on the part of the both the oboe and violin soloists. Finally, recordings of the technically-challenging twentieth-century excerpt, the “Prélude” solo from le tombeau de Couperin by Ravel, show how standards of musical perfection have been raised overtime as a result of the recording industry. Preference is given to recordings from countries with strong traditions in oboe performance, such as the United States, England, Germany, and France. To give a clear picture of performance trends, I study approximately ten recordings per decade. A large-data recording study such as this has never been attempted of orchestral excerpts for the oboe. Findings common to all three excerpts over time include: a decline in small-group, rhetorical phrasing; a decline in national schools; tempos becoming slower in the mid-twentieth century and faster towards the end of the twentieth century; and strongest similarities in playing styles of oboists with a shared pedagogical lineage. / Music Performance

The purpose of this thesis is to discuss the piano style of Maurice Ravel, including his musical style and influences of other composers on his piano works.

Cette synthèse du pianisme ravélien vise à éclairer les œuvres de façon inédite. Sans apporter une nouvelle compréhension des œuvres par leur dimension corporelle, elle se révèlerait inutile. Mais au-delà de son intérêt purement musical, elle appelait une question fondamentale : qu’est-ce qui a rendu possibles tel geste et telle posture à l’époque de Ravel ? / This synthesis of Ravelian pianism aims at considering musical works in a new way. Without bringing a new comprehension of works in their body dimension, it would appear useless. But beyond its musical interest, it required a fundamental question: what made possible such gesture and posture during Ravel’s time ?

Esta dissertação apresenta doze transcrições, realizadas pelo próprio autor, de obras selecionadas de Maurice Ravel e Claude Debussy. A realização das transcrições teve como referencial teórico a análise de duas das mais importantes transcrições da história do violão: - Siete Canciones Populares Españolas - original de Manuel de Falla para piano e voz, transcritas para violão e voz por Miguel Llobet - Venetian Gondola Song - original de Felix Mendelssohn para piano (livro I das Canções sem palavras, op. 19), transcrita por Francisco Tárrega O livro Guidelines for Style Analysis, de Jan LARUE foi o referencial teórico para as análises musicais. Os comentários analíticos se restringem à sua relação com os processos de transcrição. A arte da transcrição está diretamente associada ao violão e seu desenvolvimento. Uma perspectiva da história da transcrição para violão a partir do final do século XIX é apresentada e discutida. Soma-se a esta discussão a figura de Franz Liszt, um dos principais transcritores (para piano) da história da música. As transcrições são analisadas a fim de se abordar a problemática que cada uma envolve. A \"fidelidade musical\" é o principal foco deste trabalho, ou seja, a realização dos elementos musicais e ideia estética da obra original em seu novo meio: o violão. Para isso é necessário realizar uma transcrição idiomática, e os processos utilizados para esta busca são também apresentados e discutidos. / This dissertation presents twelve transcriptions, made by the own author, of selected works by Maurice Ravel and Claude Debussy. The realization of the transcriptions had as a theorical referential the analysis of two of the most important transcriptions of the history of the guitar: - Siete Canciones Populares Españolas - original work by Manuel de Falla for piano and voice, transcribed for guitar and voice by Miguel Llobet - Venetian Gondola Song - original work by Felix Mendelssohn for piano (book I from the Songs without words, op. 19), transcribed by Francisco Tárrega The book Guidelines for Style Analysis, by Jan LARUE was the theorical reference for the musical analysis. The analytical comments are confined to their relationship with the processes of transcription. The art of transcription is directely associated to the guitar and its development. A perspective of the history of transcription for the guitar starting at the middle of the XIX century is presented and discussed. Adds to this discussion the figure of Franz Liszt, one of the most important transcribers (for the piano) in the history of music. The transcriptions are analysed in order to address the problem that each one involves. The \"musical fidelity\" is the main focus of this work, namely the realization of musical elements and aesthetic idea of the original work on its new instrument: the guitar. To achieve this is necessary to work on an idiomatic transcription, and the processes used on this quest are also presented and discussed.

Esta dissertação apresenta doze transcrições, realizadas pelo próprio autor, de obras selecionadas de Maurice Ravel e Claude Debussy. A realização das transcrições teve como referencial teórico a análise de duas das mais importantes transcrições da história do violão: - Siete Canciones Populares Españolas - original de Manuel de Falla para piano e voz, transcritas para violão e voz por Miguel Llobet - Venetian Gondola Song - original de Felix Mendelssohn para piano (livro I das Canções sem palavras, op. 19), transcrita por Francisco Tárrega O livro Guidelines for Style Analysis, de Jan LARUE foi o referencial teórico para as análises musicais. Os comentários analíticos se restringem à sua relação com os processos de transcrição. A arte da transcrição está diretamente associada ao violão e seu desenvolvimento. Uma perspectiva da história da transcrição para violão a partir do final do século XIX é apresentada e discutida. Soma-se a esta discussão a figura de Franz Liszt, um dos principais transcritores (para piano) da história da música. As transcrições são analisadas a fim de se abordar a problemática que cada uma envolve. A \"fidelidade musical\" é o principal foco deste trabalho, ou seja, a realização dos elementos musicais e ideia estética da obra original em seu novo meio: o violão. Para isso é necessário realizar uma transcrição idiomática, e os processos utilizados para esta busca são também apresentados e discutidos. / This dissertation presents twelve transcriptions, made by the own author, of selected works by Maurice Ravel and Claude Debussy. The realization of the transcriptions had as a theorical referential the analysis of two of the most important transcriptions of the history of the guitar: - Siete Canciones Populares Españolas - original work by Manuel de Falla for piano and voice, transcribed for guitar and voice by Miguel Llobet - Venetian Gondola Song - original work by Felix Mendelssohn for piano (book I from the Songs without words, op. 19), transcribed by Francisco Tárrega The book Guidelines for Style Analysis, by Jan LARUE was the theorical reference for the musical analysis. The analytical comments are confined to their relationship with the processes of transcription. The art of transcription is directely associated to the guitar and its development. A perspective of the history of transcription for the guitar starting at the middle of the XIX century is presented and discussed. Adds to this discussion the figure of Franz Liszt, one of the most important transcribers (for the piano) in the history of music. The transcriptions are analysed in order to address the problem that each one involves. The \"musical fidelity\" is the main focus of this work, namely the realization of musical elements and aesthetic idea of the original work on its new instrument: the guitar. To achieve this is necessary to work on an idiomatic transcription, and the processes used on this quest are also presented and discussed.