The Prelude from Suite for solo Piano Le Tombeau de Couperin by Maurice Ravel: compositional and interpretive considerations

dc.creatorLongo Benedetti, Danieli Veronica
dc.date.accessioned2013-10-30T09:47:06Z
dc.date.accessioned2018-07-04T16:04:04Z
dc.date.available2013-10-30T09:47:06Z
dc.date.available2018-07-04T16:04:04Z
dc.date.created2013-10-30T09:47:06Z
dc.date.issued2013-08-02
dc.identifierMUSICA HODIE, GOIANIA GO, v. 12, n. 1, supl., Part 3, pp. 44-55, JUN, 2012
dc.identifier1676-3939
dc.identifierhttp://www.producao.usp.br/handle/BDPI/36672
dc.identifier.urihttp://repositorioslatinoamericanos.uchile.cl/handle/2250/1631174
dc.description.abstractThis article, part of a doctoral research conducted at the Department of Music of the ECA/USP/FAPESP aims to elucidate compositional and technical procedures in the Prelude from the suite Le Tombeau de Couperin (1914-1917) by french composer Maurice Ravel. Such procedures are traced back to French barroque composer Francois Couperin (1668-1733) harpsichord pieces, and are translated by Ravel to the modern piano. Thus, by studying the works for harpsichord by Couperin it was possible to see a kind of fusion of two languages and two instrumental techniques apart in time. This fusion of languages poses several interpretive questions.
dc.languagepor
dc.publisherUNIV FEDERAL GOIAS
dc.publisherGOIANIA GO
dc.relationMUSICA HODIE
dc.rightsCopyright UNIV FEDERAL GOIAS
dc.rightsclosedAccess
dc.subjectMAURICE RAVEL
dc.subjectPIANO
dc.subjectFRANCOIS COUPERIN
dc.subjectHARPSICHORD
dc.subjectINTERPRETATION
dc.titleThe Prelude from Suite for solo Piano Le Tombeau de Couperin by Maurice Ravel: compositional and interpretive considerations
dc.typeArtículos de revistas


Este ítem pertenece a la siguiente institución