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Figure essentielle de la Génération de 1927, Gerardo Diego (Santander, 1896 - Madrid, 1987), une des voix les plus singulières de la poésie espagnole du XXe siècle, est aussi musicien. Familiarisé depuis son enfance à la pratique du piano, il cultive tout au long de sa vie une exceptionnelle passion musicale, maintient des rapports étroits avec d’importants compositeurs et interprètes, et consacre à l’art des sons une partie essentielle de ses poèmes, articles, essais, chroniques, notes, conférences et collaborations radiophoniques. Ce travail de recherche a pour objet l’étude de ses écrits poétiques et en prose sur Fauré, Debussy, Ravel, Falla et Esplá, les cinq compositeurs les plus représentatifs de la “musique de son temps”, au sens à la fois chronologique et esthétique de l’expression. Une fois la personnalité musicale du poète étudiée, l’auteur s’interroge depuis les perspectives croisées de la musicologie, l’esthétique et l’analyse littéraire sur le contenu et la valeur de cette partie encore inexplorée de son œuvre, et dévoile les interférences musicales contenues au sein d’un discours poétique peuplé par les sons. / Gerardo Diego (Santander, 1896 - Madrid, 1987), an essential figure of the Generation of 1927 and one of the most original voices of Spanish poetry in the 20th Century, was also a musician. Brought up on the piano, this poet had an exceptional musical passion his entire life and kept close relationships with important composers and performers. He also dedicated to music a very significant part of his poems, articles, essays, chronicles, notes, conferences and radio collaborations. This investigation focuses particularly on his writings about Fauré, Debussy, Ravel, Falla and Esplá, the five most representative composers of the so-called “music of his time”, both in chronologic and aesthetic sense. After carefully studying the musical personality of Diego, the author analyses from musicological, aesthetic and poetical perspectives this unexplored part of his work and brings to light the musical influences hidden behind the different levels of his poetic writings.

Orchestral excerpt books have become a staple in instrumental study for those pursuing a career in the orchestra. Many of these books, especially those for clarinet, are catered towards the popular and prolific clarinet solos found in principal clarinet parts. However, there is a lack of quality resources geared towards those pursuing second clarinet positions. Former materials might be outdated or are filled with inconsistencies or mistakes. The purpose of this document is to provide a resource and guide for select second clarinet orchestral excerpts. In this guide, certain aspects of playing second clarinet will be discussed as a whole and as it pertains to selected excerpts. The excerpts included in this document are: Bartók Concerto for Orchestra, Mendelssohn The Hebrides and Scherzo from A Midsummer Night's Dream, Ravel Daphis et Chloé and Rapsodie Espagnole, and Tchaikovsky Symphony No. 5.

Kaikhosru Shapurji Sorabji (1892-1988) was an English composer-pianist of Parsi descent. Although he composed many works for piano, these compositions remain largely unknown to the public due to the composer's self-imposed 40-year ban on public performances of all his works and the immense technical difficulty of his music. This research proposes a comparative study of Sorabji's two versions of Rapsodie espagnole de Maurice Ravel-Transcription de concert pour piano (1923, 1945). These transcriptions are based on Ravel's orchestral work and are different in terms of the style of their arrangements: the 1923 version is more of a literal transcription, whereas the 1945 version has been expanded upon the former. This dissertation compares the differences between the two versions, as well as identifying how Sorabji infused his own style into the 1945 transcription. This study relies on primary sources including writings and manuscripts of Sorabji, and secondary sources such as articles on interpreting Sorabji's piano works and biographies about Sorabji.

This dissertation comparatively examines musical nostalgia, particularly nostalgia for childhood, in video games and post-Romantic classical music. An introductory chapter lays out several key concepts drawn from video games—loops, gameworlds, and role-play—and suggests the correspondences these have in Romantic music and thought. The central chapters offer case studies of pieces by Robert Schumann, Brahms, Debussy, and Ravel, each along with a corresponding concept drawn from video games. Each chapter articulates ways that works by these composers provide analogies for practices in contemporary role-playing and adventure video games and, conversely, suggests that features drawn from those games might illuminate how these pieces create musical meaning out of dwelling on the past or imagining distant places. The central chapters draw video games and classical music more closely together over their course. In an analysis of Schumann’s Kinderszenen, I suggest that Schumann’s music could be conceived as offering the player a form of role-play, allowing its players and listeners to play as an imagined child and gain access to otherwise inaccessible space. Brahms’s works often dwell in the past (and are often analyzed as such), especially when that past is metaphorically conceived as childhood or the classical tradition. I suggest that we might hear Brahms’s music as preoccupied with the “unrevisitable location,” a feature of video games in which certain spaces are visitable only a fixed number of times and therefore charged with melancholy and loss. Debussy’s Children’s Corner extends role-play to an extreme degree, while at the same time suggesting distant, unreachable vistas. In particular, I borrow Jay David Bolter and Richard Grusin’s ideas on mediation and Christopher Goetz’s notion of “nostalgic travel” to suggest ways that Debussy’s music incorporates impossible distance into its sound and structure. Video games and classical music converge as much as possible in an analysis of Ravel’s Ma mère l’Oye, which I read alongside Nintendo’s open-world game The Legend of Zelda: Breath of the Wild. I suggest that Ravel’s music offers space for its players to explore similar to this video game. In particular, we might hear the music as allowing linear narrative to give way to a freer, open-ended exploration, suggesting the opening of a world. Finally, a concluding chapter examines nostalgia in video games themselves, specifically Undertale, Final Fantasy VII, and Final Fantasy VII Remake, while revisiting elements of the Romantic musical past as they have accrued in the dissertation so far. The argument in this final chapter is that of the dissertation as a whole: that the same desires for fantasy and adventure animate both traditions, and that the two provide meaningful contexts for each other, in ways that studies of the two have until now overlooked.

It is interesting to note that several of Ravel's compositions for the piano were successful only after he had orchestrated them. Ravel, a pianist, had a natural gift for orchestration, and when writing for the piano he seems to have projected his thoughts to the orchestra; thus some of his works are more successful' for the orchestra than for the piano. Since he orchestrated several of his own piano compositions, these present an excellent opportunity for a study of his orchestrations.

La polytonalité relève d’une démarche compositionnelle dont la définition d’ensemble s’avère extrêmement simple : il y a polytonalité quand deux ou plusieurs tonalités sont entendues simultanément. Mais cette apparente simplicité soulève paradoxalement une masse considérable de problèmes théoriques et analytiques, car cette forme d’écriture musicale, l’une des plus fluctuantes de l’harmonie contemporaine, ne permet précisément pas « d’entendre » deux tonalités simultanément de manière systématique. Cette thèse tente de dissiper un certain nombre de brouillards qui flottent depuis toujours autour de la polytonalité, d’un point de vue théorique et analytique tout d’abord, en proposant de refonder la théorie polytonale et en mettant en place une méthode analytique spécifique à cette forme d’écriture. D’un point de vue historique, cette thèse tente de dresser la filiation authentique de la polytonalité et de comprendre quelles sont les facteurs ayant entraînés son expansion et son déclin. Le sujet étant très vaste, de nombreuses études existent, offrant des perspectives très diverses sur ce phénomène complexe, mais peut-être qu’aucune n’avait jamais réellement tenté d’embrasser le sujet dans son intégralité. / Polytonality depends of a compositional approach which the definition of turns out extremely simple: there is polytonality when two or several keys are simultaneously heard. This visible simplicity creates paradoxically a considerable mass of theoretical and analytical problems, because this musical writing, one of the most fluctuating of the contemporary harmony, does not exactly allow "to hear" two keys simultaneously in a systematic way. This thesis tries to dissipate fogs which float for a long time around polytonality: from a theoretical and analytical point of view first of all, by suggesting re-establishing polytonal theory and by setting up a specific analytical method. From a historic point of view, this thesis tries to find the authentic origins of polytonality and to understand what are factors having pulled its expansion and its decline. Numerous studies about polytonality exist, offering very different perspectives on this complex phenomenon, but maybe no one had tried to embrace the subject in its entirety.

Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-07-05Bitstream added on 2014-06-13T19:35:37Z : No. of bitstreams: 1 motta_dar_me_ia.pdf: 1605635 bytes, checksum: 0851c0715a487a5f1282bf986a48b432 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esse trabalho tem como foco a versão de “Quadros de uma Exposição” de Modest Musorgsky feita para violão solo por Kazuhito Yamashita. Através de uma contextualização histórica e estética, insere essa obra no cânone do repertório para violão e estuda os impactos causados pela gravação desta e por sua performance. Comparando-a com o original para piano e com a orquestração feita por Maurice Ravel, analisa as técnicas violonísticas empregadas de maneira incomum. Discute as formas de escrita para o violão, seus efeitos e possibilidades de execução / This work is about the guitar version of Modest Musorgsky’s “Pictures at an Exhibition” made by Kazuhito Yamashita. By an esthetic and historical context, analyses the insertion of this piece in the classical guitar repertoire and studies the impacts by the recording and performance of it. Making a comparison with the original piano piece and with the orchestration made by Maurice Ravel, makes an analysis about the guitar techniques used in an unusual way. Debates the guitar writing, his effects and the performance possibilities

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 26, 2010 Thesis advisor: Dr. W. Thomas McKenney. Includes bibliographical references.