The art of fugue, BWV 1080 / Johann Sebastian Bach -- String quartet no.64 in D major, op.76, no.5 / Franz Josef Haydn -- String quartet no. 10 in E flat major, op.51 "Slavonic" / Antonin Dvorak -- Pannonia boundless / Aleksandra Vrebalov. / text

Sonata for violin and piano in G major, K.301 / Wolfgang Amadeus Mozart -- Sonata for violin and piano in G minor, L.140 / Claude Debussy -- Trio for violin, horn and piano in E flat major, op40 / Johannes Brahms. / text

Five pieces for 2 violins & piano / Dmitri Shostakovich -- Suite for 2 violins & piano in G minor, op.71 / Moritz Moszkowski. / text

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

Lecture: The problem of the cadenza in Mozart's violin concertos -- Concerto no.4 in D major, K.218 / Wolfgang Amadeus Mozart / text

Lecture: Erich Wolfgang Korngold's violin suite from the incidental music to Much ado about nothing -- Much ado about nothing / Erich Wolfgang Korngold / text

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<p>Bilaga: 1 CD</p>

There is no abstract available for this thesis.

There is no abstract available for this thesis.