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Title:Klavirska dela Ravela in Debussyja v povezavi z impresionističnim slikarstvom : magistrsko delo
Authors:ID Osenjak, Nina (Author)
ID Magdovski, Adriana (Mentor) More about this mentor... New window
ID Rimele, Oto (Comentor)
Files:.pdf MAG_Osenjak_Nina_2024.pdf (6,24 MB)
MD5: E4EB8E05ABDDC1A0666143D4B072D4C2
 
Language:Slovenian
Work type:Master's thesis/paper
Typology:2.09 - Master's Thesis
Organization:PEF - Faculty of Education
Abstract:Impresionizem je umetnostni slog, ki se je najprej razvil v slikarstvu in kasneje v glasbi. Razvil se je v poznem 19. stoletju v prestolnici Francije. Impresionistični slikarji so s svojim nekonvencionalnim pristopom k obravnavanju barv, ustvarjanjem v naravi ter uporabo kratkih, nejasnih potez in linij skupaj z upodabljanjem trenutnih vtisov in naravnih motivov močno vplivali na takratne skladatelje, zlasti na Debussyja ter posredno tudi na Ravela. Pod močnim vplivom simbolizma sta skladatelja zamajala temelje tradicionalne harmonije z vpeljavo novih lestvic in modalnosti, obogatila akorde s kromatičnimi odtenki, svobodno uporabljala disonance, eksotične ritme, zvočne efekte in ter razširila zvočno paleto z vključevanjem manj uveljavljenih instrumentov. V osrednjem delu zaključnega dela obravnavamo in raziskujemo vzporednice med francoskimi impresionističnimi slikarji in klavirskimi deli glasbenih impresionistov, pri čemer v ospredje postavljamo Ravela. Na podlagi literature ugotavljamo njegovo povezavo z njegovimi sodobniki, pri čemer se kaže vpliv predvsem Debussyja in ustvarjalcev kot sta Satie in Fauré. Čeprav so delili nekatere skupne estetske in slogovne značilnosti, je Ravel sčasoma oblikoval svoj prepoznaven glasbeni jezik, ki sega preko zgolj impresionističnih okvirjev. Z večjim poudarkom na klasicističnih oblikovalnih nazorih ga označujemo kot ''klasika impresionizma''. V zaključnem delu na podlagi Skrjabinove sinestezije, kjer povežemo barvo in zvok, in izbranih štirih klavirskih skladbah Ravela in Debussyja iščemo vzporednice z impresionističnimi slikarji.
Keywords:impresionizem, slikarstvo, glasba, poezija, klavir, Claude Debussy, Maurice Ravel, sinestezija
Place of publishing:Maribor
Place of performance:Maribor
Publisher:[N. Osenjak]
Year of publishing:2024
Number of pages:1 spletni vir (1 datoteka PDF (XI, 157 str.))
PID:20.500.12556/DKUM-88297 New window
UDC:78:75(043.2)
COBISS.SI-ID:195503107 New window
Publication date in DKUM:15.05.2024
Views:437
Downloads:93
Metadata:XML DC-XML DC-RDF
Categories:PEF
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Licences

License:CC BY-NC-ND 4.0, Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
Link:http://creativecommons.org/licenses/by-nc-nd/4.0/
Description:The most restrictive Creative Commons license. This only allows people to download and share the work for no commercial gain and for no other purposes.
Licensing start date:13.04.2024

Secondary language

Language:English
Title:Piano Pieces by Ravel and Debussy in Relation to Impressionist Painting
Abstract:Impressionism is an art style that first developed in painting and later in music. It developed in the late 19th century in the capital of France. Impressionist painters, with their unconventional approach to dealing with colours, creating in nature, and using short, vague strokes and lines, along with depicting current impressions and natural motifs, strongly influenced composers of the time, especially Debussy and, indirectly, also Ravel. Under the strong influence of symbolism, they have shaken the foundations of traditional harmony by introducing new scales and modality, enriched chords with chromatic shades, freely used dissonances, exotic rhythms, sound effects, and expanded the sound palette by including less established instruments. In the main part of the master’s thesis, we discuss and explore the parallels between French Impressionist painters and piano works by musical impressionists, focusing on Ravel. On the basis of the literature, we find his connection with his contemporaries, where especially the influence of Debussy and composers such as Satie and Fauré can be seen. Although they shared some common aesthetic and stylistic features, Ravel eventually formed his recognizable musical language, which extends beyond mere Impressionist frames. With greater emphasis on classicist design views, we refer to it as the "classic of impressionism". In the master thesis, based on Scriabin's synaesthesia, where we combine colour and sound, and selected four piano compositions by Ravel and Debussy, we look for parallels with Impressionist painters.
Keywords:impressionism, painting, music, symbolism, piano, Claude Debussy, Maurice Ravel, synaesthesia


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