Dissertations / Theses on the topic 'Ravels'
To see the other types of publications on this topic, follow the link: Ravels.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Ravels.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Winnecke, Elisabeth. "Ravel und die Modelle : kulturhistorische Untersuchungen zum Gebrauch von Modellen und Beiträge zu einer Ästhetik Maurice Ravels /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb37716332n.
Full text
2
Larsson, Amanda. "Chansons madecasses : om Ravels kvartett i tre satser." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1874.
Full text
3
Schillmöller, Mathias. "Maurice Ravels Schlüsselwerk L'enfant et les sortilèges : eine ästhetisch-analytische Studie /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1999. http://catalogue.bnf.fr/ark:/12148/cb37038292x.
Full text
4
d'Ailly, Carl. "Skandiaorgeln låter igen! : att spela Maurice Ravels Boléro på Stockholms nyinstallerade biograforgel." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2051.
Full textAbstract:
Om du är intresserad av en introduktion till biograforgelhistorien och om du någonsin funderat över hur man egentligen går tillväga om man fått för sig att spela Maurice Ravels stycke Boléro på en gammal Wurlitzerorgel från 1925 har du hittat rätt. Framför dig ligger ett arbete av en kyrkomusikstudent som tycker att det är fascinerande att utforska nya klanger och som av en tillfällighet råkade snubbla in i ett väldigt speciellt instrument. Skandiaorgeln är ett unikt instrument för Sverige, det är den enda klassiska biograforgeln som står i ett publikt rum i vårt land. Jag har satt mig in i biograforgeltraditionerna och jag har jämfört kyrkorganistens och biograforganistens spelstilar. För att undersöka och presentera Skandiaorgeln har jag valt att arbeta med stycket Boléro från 1928 som fungerar som en ouvertyr till instrumentets klangvärld.
5
Nordqvist, Eliot. "Ondine : En Analys Av Första Satsen Ur Maurice Ravels Pianosvit Gaspard de la nuit." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4036.
Full textAbstract:
Maurice Ravel (1875-1937) skrev pianosviten Gaspard de la nuit 1908 som är baserat på tre dikter av Aloysius Bertrands diktsamling Gaspard de la nuit (1842). I denna uppsats undersöks hur Ondines genomgående melodi är uppdelad och hur ackompanjemanget varierar sig samt satsens struktur i sin helhet. Efter att ha spelat verket i några år, analyserat urtext-noterna med musikteoretiska metoder, läst litteratur samt diskuterat vidare om ämnet har melodin visat sig vara uppdelad i fem delar ackompanjerad med mestadels ett ackompanjemangmönster (vilket har främst fyra variationer som turas om genom satsen) samt inslag av primärt fyra andra i mindre utsträckning och satsen vara en ABA form eller snarare lik en sonatform. Denna analys ger en djupare förståelse kring Ondines musikaliska struktur både i ett macro och mikroskopiskt perspektiv. Däremot får man inte glömma att ta detta med en nypa salt då de teoretiska samt analytiska aspekterna har en tendens att stå i vägen för ett organiskt musikaliskt musicerande. Därför bör man behålla sin tidigare förståelse och kombinera den med en mognare för att uppnå en övertygande interpretation som leder åhörare till den värld som kompositören blåst till liv.
6
Hurd, James Alexander. "From a Peacock to Apocope: An Examination of Maurice Ravels Text Setting in the Histoires naturelles, LHeure espagnole and Other Pre-WWI Vocal Works." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1258478854.
Full text
7
Mandolesi, Dana. "Subcultures, the Media and the Law: The Creation and Mystification of the Rave Scene." ScholarWorks@UNO, 2004. http://louisdl.louislibraries.org/u?/NOD,87.
Full textAbstract:
Thesis (M.A.)--University of New Orleans, 2004.Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Sociology."--Thesis t.p. Vita. Includes bibliographical references.
8
Romero, Rico Jazmin Jocelin. "Motivaciones de los ravers en el rave ATMOSPHERE VIII." Tesis de Licenciatura, Universidad Autónoma del Estado de México, 2014. http://hdl.handle.net/20.500.11799/65039.
Full textAbstract:
Tesis para la obtención del título de licenciada en turismoLos eventos especiales se han expandido rápidamente atendiendo necesidades que otro tipo de eventos no pueden. Una de esas necesidades en los individuos es buscar alternativas diferentes a las que están acostumbrados, que los ayude a salir de su vida cotidiana. El gran crecimiento de estos eventos se debe a que brindan diferentes experiencias a los asistentes, creando experiencias únicas de vida. Los eventos también se caracterizan por proveer un espacio para las interacciones personales, donde se da inevitablemente un proceso de intercambio cultural. Los raves cumplen con ciertas características para considerarlos eventos especiales como: ofrecer un espacio para salir de lo cotidiano, la liberación, la danza, y la libertad de expresión. Esto da como resultado que cada año muchos jóvenes realicen desplazamientos para asistir a estos eventos. A pesar de los trabajos de investigación que se han realizado en torno a los raves como eventos especiales, aún hay muchas incógnitas para entender estos sucesos y sus múltiples manifestaciones. En México aún no se han realizado estudios suficientes para comprender estos eventos especiales. Uno de los vacíos dentro del conocimiento en torno a estos eventos son las principales motivaciones que tienen los ravers para asistir a estos eventos. Conocer dichas motivaciones permitirá conocer el gran crecimiento y popularidad que ha ido ganando a lo largo del tiempo estos eventos en México.
9
Ellis, Diana Lea. "A Performer's Analysis of Maurice Ravel's Chansons madécasses: A Lecture Recital, Together with Three Recitals of Selected Works of B. Britten, R. Schumann, S. Barber, T. Pasatieri, F. Poulenc, G. Verdi, T. Arne, and Others." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4522/.
Full textAbstract:
In his song cycle, Chansons madécasses (1926), a chamber work for voice, piano, flute, and cello, Maurice Ravel combines twentieth-century musical experimentation and exoticism with the late nineteenth-century style characteristics present in the vocal elements and instrumentation. Because early twentieth-century music appears to be closely connected to modern concerns, performers may tend to dismiss the style and technique of the early twentieth century as simply "old-fashioned" rather than examine and consider those elements as resources and valuable tools for interpreting and presenting authentic performances. The focus of this research includes a discussion of the historical, social, and textual implications of the music and poetry; a formal musical analysis of the work, including comparisons of an early twentieth-century, mid-century, and late twentieth-century recordings with regard to the use of vibrato and portamento in the voice, cello, and flute; and an examination of Chansons madécasses for elements of authentic Malagasy music and poetry. The paper also suggests methodologies for performance practice which reflect the results of these analyses. The beginnings of the rejection of traditional form - harmonic, rhythmic, and melodic structures - found in the early part of the century began to free composers and performers to explore musical presentations that gain their power not only from startling and unexpected elements of exoticism and interpretation but also from their romantic roots, which spurred the desire for a raw, even melodramatic, emotionalism. Ravel, without sacrificing the integrity of his native language, is able to blend his text with his accompaniment in a way that uses both the poem and the music to advance the "plot" and emotion of the narration, producing what might be described as a near perfect union of form and theme, structure and idea.
10
Cory, Emily Faun. "The Rooftop Raven Project: An Exploratory, Qualitative Study of Puzzle Solving Ability in Wild and Captive Ravens." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/612873.
Full textAbstract:
The family Corivdae, which includes crows and ravens, contains arguably some of the most intelligent species the animal kingdom has to offer. Separated from primates by at least 252 million years of evolution, birds bear striking physiological differences from mammals, while displaying similar intellectual abilities. This apparent convergent evolution of intelligence sheds light on what could possibly be a universal phenomenon. While many excellent studies show the abilities of corvids, the majority of them test only captive subjects. This study tested the capabilities of both captive and wild ravens, from three different species. The first portion of the study tested which of the four solutions offered wild ravens would choose when solving a Multi-Access Box. The second portion of the study tested the performance of wild and captive ravens when solving a Multi-Latch Box. The nine raven subjects were split into four different levels of enculturation based on their known histories. Two wild common ravens (Corvus corax) on the campus of the University of Arizona were level 1, four wild common ravens in the parking lot of a United States Forest Service parking lot were level 2, two captive and trained Chihuahuan ravens (Corvus cryptoleucus) from the Raptor Free Flight program at the Arizona-Sonora Desert Museum comprised level 3, and one captive and trained white-necked raven (Corvus albicollis) made level 4. It is possible to run trials with completely wild and free birds. It was found that ravens prefer direct methods of obtaining food, such as opening doors and pulling strings, instead of tool use. It was also found that while the relationship between enculturation level and success solving a puzzle was not linear, captive birds were the best solvers. The data given here suggest that captivity, training and enrichment history, and enculturation should all be considered when performing cognitive studies with animals.
11
Grant, Jennifer D. "Capshaw Ravens." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1590.
Full textAbstract:
This paper will examine the production of the thesis film, Capshaw Ravens. I will analyze the production process from development to post-production, and determine if I achieved my goal of creating a short film with concept, character, and conflict.
12
Peebles, Luke W. "Winter Ecology of Common Ravens in Southern Wyoming and the Effects of Raven Removal on Greater Sage-Grouse Populations." DigitalCommons@USU, 2015. https://digitalcommons.usu.edu/etd/4617.
Full textAbstract:
My research focused on common raven (Corvus corax; hereafter raven) winter ecology and removal, and how raven removal aids Greater sage-grouse (Centrocerus urophasiansu; hereafter sage-grouse) populations. Raven winter ecology in the western US has not been described in detail. I researched raven use of landfills for foraging and raven use of anthropogenic structures for roosting, as well as dispersal of ravens in the spring. In all 22% of radio-marked ravens (n=73) used landfills during the day, and 68%(n=73) roosted at anthropogenic roost sites during the evening. Correlations between landfill and roost counts of ravens were stronger (0.4>r<0.7) when the distance between these sites was <15 km, and smaller (r<0.3) when this distance >20 km. In the spring, ravens dispersed, on average, 38 km from landfills where they were caught.
Large congregations of ravens at a few sites in winter may present opportunities to initiate raven population reduction methods to alleviate later problems. I analyzed raven survival and behaviour when USDA/APHIS Wildlife Services (WS) removed ravens using DRC-1339 during winter months. The number of ravens killed annually was 7-34% of the local population. Ravens did not avoid landfills, yet they switched roosts more frequently after an application of the toxicant.
Raven removal improves sage-grouse nest success; however, data were not available to examine how raven removal improves sage-grouse abundance. I analyzed changes in raven density with regard to WS removal, and then related these changes with changes in sage-grouse lek counts the following year. Raven densities decreased by 50% from 2008-2014 where WS conducted removal programs. Sage-grouse lek counts improved in area where WS lowered raven abundance, in comparison to areas farther away, during the latter half of the study (2013-2015), when WS removal efforts intensified. Thereafter, a 10% decline in raven abundance was associated with a 2% increase in sage-grouse lek counts. Overall, ravens in souther Wyoming used anthropogenic resources during the winter, and removal of ravens at these locations, combined with removal in the spring, minimally impacted raven populations annually and was associated with increases in sage-grouse abundance.
13
Fernandes, Nelson. "Trippin' the body electric : towards a discourse on a tecnological body-subculture : the case of rave." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33892.
Full textAbstract:
This thesis is an analysis as to whether or not Subcultural Theory may be utilized to understand how self-identification is configured within a subculture such as rave. Typically, subcultural membership requires various performative rites that express and maintain a group sensibility and identity. Rave, however, is a subculture that involves a relationship to space and technology that changes the nature of group affiliation within the subculture. This thesis focuses on how a body immersed in subcultural practices, and organized around varying technologies, must look toward an analysis of individual and subjective adaptations of those technologies. In essence, rave allows for identification that is shaped and altered by the participant, but only at each moment of interaction with the technologies of the club. Highly individualistic, dynamic, and technology-driven, the rave subculture offers the potential to examine the body as the site for identification, and escape, within an abstracting technological world.
14
Tobin, Shannon. ""Aspects of Ravel's piano trio" /." St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16407.pdf.
Full text
15
Helbing, Volker. "Choreographie und Distanz : Studien zur Ravel-Analyse /." Hildesheim : G. Olms, 2008. http://catalogue.bnf.fr/ark:/12148/cb41425898p.
Full text
16
Abreu, Carolina de Camargo. ""Raves - encontros e disputas"." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-29052006-204338/.
Full textAbstract:
Desde meados da década de 90 tornou-se prática de muitos jovens paulistas festejar ao ar livre, em áreas afastadas do centro urbano, por mais de 14 horas, ao som de música eletrônica e sob efeito de psicoativos, especialmente um novo, denominado de "ecstasy". Essas festas, chamadas de "raves", são realizadas em espaços especialmente escolhidos e preparados para a construção e o fortalecimento de uma rede de sociabilidade particular, nos quais se exercitam encontros, trocas, lealdades e conflitos. Rede que não se esgota no próprio evento, mas se alastra e orienta fluxos de pessoas e grupos pela cidade de São Paulo. Observando as raves brasileiras, principalmente as paulistas, é objetivo dessa dissertação anotar como contextos empíricos sujeitaram as definições de rave a reavaliações. Embora a perpectiva histórica de quase dez anos de raves no Brasil aponte para uma multiplicação de formatos de festas, o modo peculiar de festejar subsiste como um tema, uma referência e uma performance.Since the mid 90's, it became popular among some young groups that live in or around São Paulo city to celebrate parties on open air in remote areas, far away from downtown, for more than 14 hours in a row, to the sound of electronic music and under the effect of drugs - mainly one called ecstasy. Those parties, also known as Raves, are held in especific places prepared for the construction and fortification of a network of a particular sociability, under which engagement, interchanges, loyalties and disputes are exercised. This network doesn't constrain iself only to such event, but spreads out and determines flows of people and groups throughout the São Paulo. The aim of this work is to examine the Brazilian Raves, especially the ones held in the state of São Paulo. The aim of this grasp the functional revaluations of meaning observed in the field work. Althougt the historical perpective of almost ten years of Raves in Brazil suggest for a increase in raves formats, the peculiar raving way still endures as a theme,a reference and a performance
17
Moreira, Nathalia Araújo. "Temporalidade nômade : raves psicodélicas." reponame:Repositório Institucional da UnB, 2015. http://dx.doi.org/10.26512/2015.02.T.19419.
Full textAbstract:
Dissertação (mestrado)—Universidade de Brasília, Programa de Pós-Graduação em História, 2014.Submitted by Guimaraes Jacqueline (jacqueline.guimaraes@bce.unb.br) on 2015-10-26T12:24:02Z No. of bitstreams: 1 2015_NathaliaAraujoMoreira.pdf: 4923099 bytes, checksum: 3b5911c71394d3ca0e1718b08a10c34a (MD5)
Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-02-02T15:08:57Z (GMT) No. of bitstreams: 1 2015_NathaliaAraujoMoreira.pdf: 4923099 bytes, checksum: 3b5911c71394d3ca0e1718b08a10c34a (MD5)
Made available in DSpace on 2016-02-02T15:08:57Z (GMT). No. of bitstreams: 1 2015_NathaliaAraujoMoreira.pdf: 4923099 bytes, checksum: 3b5911c71394d3ca0e1718b08a10c34a (MD5)
As chamadas raves psicodélicas são festas embaladas por música eletrônica psicodélica realizadas ao ar livre, normalmente em locais de natureza exuberante, proporcionando experiências sensoriais diversas aos participantes por meio do uso de psicoativos e de emoções partilhadas coletivamente. Se desenvolveram e se propagaram de maneira acelerada a partir da última década do século XX. Sua trajetória histórica nômade lhe conferiu caráter de tribo global, desenvolvendo discursos e práticas identificados em diversas partes do mundo. Nesses lugares, uma atmosfera singular, criteriosamente articulada, parece limitar o tempo, criando assim uma duração coletiva particular. Tal temporalidade se constrói por meio da conexão entre o modo de festejar rave e o fluxo de informações/acúmulo de experiências que caracterizam a pós-modernidade. Por meio dessa modalidade específica de espaço/tempo desenvolvem-se micropolíticas, performances rituais, manifestações contraculturais, mixagens diversas: da música, do visual, das substâncias, das narrativas. Articulações que se apresentam como vestígios para o fazer historiográfico, ao passo em que denunciam uma relação renovada do ser humano com seu tempo e a urgência do presente.
The so called psychedelic raves are parties driven by psychedelic electronic music held outdoors, usually in lush nature sites, providing different sensory experiences to the participants through the use of psychoactive drugs and emotions shared collectively. They developed and spread at an accelerated pace since the last decade of the twentieth century. Its nomadic historical background gave it the features of a global tribe, developing speeches and practices that can be identified in many parts of the world. In those locations a singular atmosphere, carefully articulated, appears to limit the time, thus creating a particular collective duration of it. This temporality is built by the connection between the way of celebrating a rave and the information flow/accumulation of experiences that characterize the post modernity. Through this specific manifestation of space/time are developed types of micro politics, ritual performances, counter-demonstrations, and various kinds of mixes: musical and/or visual ones, of substances, and of narratives. They are articulations that present themselves as vestiges to the historiography work, while denouncing a renewed relationship between humans and their time, and the urgency of the present.
18
Desbiens, Isabelle. "Ravel lecteur de Mallarmé /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2001. http://theses.uqac.ca.
Full text
19
PEREIRA, LAIS FONTENELLE. "FASHION WORN BY CLUBBERS AND RAVERS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4747@1.
Full textAbstract:
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORA moda entrou na moda na contemporaneidade. Ela saiu dos armários e vitrines e veio parar no papel, ou melhor neste papel. O presente trabalho consiste em um estudo da moda dos Clubbers e Ravers como uma forma de expressão e comunicação na cultura atual, em que o verbo foi substituído por imagens e as palavras por roupas e acessórios. A primeira parte apresenta um histórico, desde o nascimento da moda até os dias de hoje, enfocando a moda como uma produção cultural que envolve aspectos sociais, políticos, econômicos e até ideológicos. A segunda parte trata do trabalho de campo, isto é das 11 entrevistas realizadas com sujeitos entre 17 e 34 anos, residentes no Rio de Janeiro e São Paulo e que se vestem com a moda Clubber ou Raver. O objetivo deste trabalho era portanto de tentar entender a moda como fenômeno situado no limite entre o público e o privado além de descrever como se dá a socialização de sujeitos vivendo numa cultura dominada por sensações e habitada por imagens.
Fashion is fashionable in present days. Fashion left the wardrobes and showcases and landed on paper, or better still on this paper. The present paper consists of a study on the fashion worn by Clubbers and Ravers as a means of expression and communication of the current culture, where the verb has been replaced by images and the words by clothes and accessories. The first part is a historical study, since the birth of fashion up to the present time, highlighting fashion as a cultural production entailing social, political, economical and ideological aspects. The second part deals with field work: 11 interviews were undertaken wtih people ranging from 17 to 34 years old, residents of Rio de Janeiro and São Paulo, who wear Clubber and Raver fashion. The objective of this paper is therefore, to try to understand fashion as a phenomena on the boundary between public and private, besides describing how people socialise in a culture dominated by sensations and inhabited by images.
20
Vlasáková, Hana. "Klavírní koncert G dur Maurice Ravela." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177879.
Full textAbstract:
Abstract
This thesis deals with Maurice Ravel's Concerto for piano and Orchestra in G major. At first, it makes readers acquainted with important matters in author?s life and then it presents a genesis of the work and its first reception. Overview of the main inspiration sources, which are reflected in Concerto in G major follows. On basis of the analysis of harmony, musical form, piano stylization and comments of the first interpreter of the work, Marguerite Long, are formulated conclusions, important for acquirement of appropriate viewpoints for the proper interpretation. These attitudes are confronted with top performances of this composition, first by Marguerite Long and than by renowned pianists from different countries (Leonard Bernstein, Boris Krajný and Hélène Grimaud). Supplement of this thesis is a CD, which documents a few examples of the basque music, which was one of the main inspiration sources of the Concerto in G major and contents recordings of this piece of all above-mentioned pianists.
21
Petersen, Cornelia. "Die Lieder von Maurice Ravel /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1995. http://catalogue.bnf.fr/ark:/12148/cb35738723d.
Full text
22
Rozan, Sophie Bobin-Dubigeon Christine. "Raves-parties et substances consommées." [S.l.] : [s.n.], 2004. http://theses.univ-nantes.fr/thesemed/PHrozan.pdf.
Full text
23
Deruchie, Andrew. "Ravel's Sheherazade and Fin-de-siecle orientalism." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30791.
Full textAbstract:
Sheherazade (Trois poems de Tristan Klingsor), composed in 1903, represents both Ravel's first major vocal work and his earliest major orchestral composition. Despite the work's important position in the composer's oeuvre, it has received little academic attention. No monograph, dissertation, or article on Sheherazade has yet appeared. The primary objective of this study is to make this much needed contribution to Ravel scholarship. Of the piece's salient features, the most immediately striking is its exoticism; every phrase is given an Oriental tint. Using the work of cultural critic Edward Said as a theoretical framework, I contextualize Sheherazade's exoticism by situating the piece within the broad set of interrelated cultural practices Said calls Orientalism. I show that the work is affiliated, structurally and rhetorically, with particular Orientalist texts (both musical and non-musical), textual genres, traditions, and practices. By locating the piece historically among these texts and practices, and by using them as a referential network to read it hermeneutically, I demonstrate that rich cultural, political, and, for Ravel, personal meaning can be read into Sheherazade .
24
Lane, Matthew Richard. "Speculative structures : musical meanings in Ravel's Miroirs." Thesis, Royal Holloway, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538305.
Full text
25
Clifton, Keith Edward. "Maurice Ravel's L'heure espagnole : genesis, sources, analysis /." Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659538n.
Full text
26
Neymarck, Emmanuelle. "Maurice Ravel : une poétique de l’orchestration." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040192.
Full textAbstract:
Orchestrateur de référence du XXe siècle, Maurice Ravel, avec la Rapsodie espagnole, Daphnis et Chloé, Ma Mère l’Oye, La Valse ou encore avec l’orchestration des Tableaux d’une exposition, ne cesse de nous égarer dans des domaines sonores inattendus. Des réductions pour piano aux enseignements reçus au Conservatoire de Paris, en passant par la lecture des traités d’instrumentation et d’orchestration, Maurice Ravel apprend, dompte et confère à son orchestre une couleur unique qui le place au rang des plus grands orchestrateurs de son temps. Réalisée à partir de quinze œuvres symphoniques du compositeur, une analyse approfondie des aspects de l’instrumentation et de l’orchestration ravélienne a mis en lumière les principaux traits stylistiques de cet orchestrateur. Mais définir la poétique orchestrale de Maurice Ravel ne se limite pas à dresser un inventaire des seuls éléments techniques : c’est également comprendre le rôle et l’impact de ses transcriptions pour orchestre sur son langage et son œuvre. Les orchestrations ravéliennes sont-elles en définitive une simple parure de la version pianistique ou un moyen de créer une œuvre nouvelle ?Maurice Ravel, a reference among the 20th century composers, has always led his audience into unexpected musical fields with works such as the Rapsodie espagnole, Daphnis et Chloé, Ma Mère l’Oye, La Valse or the orchestration of the Tableaux d’une exposition. While writing piano reductions, while studying at the Conservatoire de Paris and reading treatises on instrumentation and orchestration, Maurice Ravel learned, tamed and gave his orchestra a unique tint, the tint that has made him one of the greatest composer of his time. Based on the study of fifteen of his symphonic works, a thorough analysis of the aspects of Ravelian orchestration has highlighted his main stylistic features. However defining Ravel’s poetical orchestration cannot be restricted to a mere listing of technical elements; it is also trying to understand the role and impact of his orchestra transcriptions on his language and on his work. Are Ravelian orchestrations simply an ornament of the piano version or the creation of a new work?
27
Fu, Xiangyang. "A physical model of dry ravel movement." Online access for everyone, 2004. http://www.dissertations.wsu.edu/Thesis/Fall2005/xiangyang%5FFu%5F122105.pdf.
Full text
28
Přeučil, Adam. "Ocenění stavební společnosti Ravel spol. s r.o." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-113187.
Full textAbstract:
The aim of this diploma thesis is to estimate market value of the company Ravel spol. s r.o. as of April 1, 2011. To achieve this objective several analyses including financial analysis, strategic analysis and analysis of value drivers have been done. Finally, a financial plan has been set up and DCF Entity method of valuation implemented. Market entity value of the company RAVEL as of April 1, 2011 has been estimated at CZK 19,662 million.
29
McCall, Tara. "Barbie's wearing "phat" pants : rave culture, emergence to convergence." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31120.
Full textAbstract:
Since its beginnings a decade ago, the mass media, niche media, subculturalists and participants alike have fumbled around cumbersome descriptions and depictions of the essence of rave. For outsiders, rave may symbolize difference, defiance, escapism and meaningless hedonism. For insiders, rave can mean transgression, transcendence, freedom, unity and meaningful fun.All rave elements, such as the lights, lasers, stomping feet, raised arms in ecstatic bliss, the DJ and the ceaseless beats seem to synchronize in a unifying pulse. As communal as rave's facade may seem, the experience is wholly personal. Rave has been disseminated to undeveloped nations, and remote towns; as it grows in one area it decays in another and morphs into another sub-scene, dress code, venue, and soundscape. As an insider stepping outward, I peer into my memories of rave and catalogue of blissful moments in an attempt to articulate its essence and its cyclical perpetuation.
30
Ok, Yun-Ae. "A discussion of Maurice Ravel's masterpiece Le tombeau de Couperin." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/724.
Full text
31
Mercier, Bernard. "Biographie médicale de Maurice Ravel : thèse pour le doctorat en médecine /." Bobigny : [B. Mercier], 1991. http://catalogue.bnf.fr/ark:/12148/cb38930240f.
Full text
32
Ellis, Diana Lea. "A performer's analysis of Maurice Ravel's Chansons madécasses a lecture recital, together with three recitals of selected works of B. Britten, R. Schumann, S. Barber, T. Pasatieri, F. Poulenc, G. Verdi, T. Arne, and others /." connect to online resource, 2004. http://www.unt.edu/theses/open/20041/ellis%5Fdiana%5Flee/index.htm.
Full text
33
Press, Alva. "Maurice Ravel violinsonat no 2 sats två, Blues." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2097.
Full textAbstract:
I denna studie utförs en närmare analys av Maurice Ravels violinsonat no 2 med fokus på andra satsen, Blues. Det som undersöks är sammanförandet av olika genrer och huruvida Ravels Blues är en autentisk blues, samt hur jag som interpret tolkar verket. I processen av min egen tolkning av verket har jag valt att även analysera Janine Jansens och Sarah Changs interpretationer av andra satsen, för att kunna positionera min tolkning gentemot dem.
34
Ballinger, Rebecca. "Sacred songs of Dvořák, Menotti, Ravel and Wolf." Kansas State University, 2012. http://hdl.handle.net/2097/13747.
Full textAbstract:
Master of MusicDepartment of Music
Amy Rosine
This report examines the sacred works of four composers that were intended for performance in a secular environment, rather than for any portion of a liturgical service. It will discuss the theoretical, stylistic and performance considerations of each work, as well as biographical information about each composer, their compositional style, and how the work was initially developed. These works include the Biblické písně, Op. 99 of Antonín Dvořák, selections from the Möricke Lieder and Spanisches Liederbuch of Hugo Wolf, Maurice Ravel’s Deux mélodies hébraïque, “Oh, Sweet Jesus” from Gian Carlo Menotti’s’ the Saint of Bleecker Street and the quartet from his Amahl and the Night Visitors.
35
Mendes, Cristianne Macedo. "Ensaio psicanalítico da experiência psíquica em festas raves." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/15914.
Full textAbstract:
Made available in DSpace on 2016-04-28T20:40:16Z (GMT). No. of bitstreams: 1
Cristianne Macedo Mendes.pdf: 1633843 bytes, checksum: 7699203be36b0cce33640abf97d23751 (MD5)
Previous issue date: 2010-05-21This study examines the rave phenomenon, as an organization of contemporary youth culture. Became interesting to study the phenomenon in question and know more about the cultural moment in which we live, as it is specific to modernity, despite having features of the youth of yesteryear. The work also addresses the peculiarities of electronic music, the concepts of sacrifice and feasts, presents a comparison of raves with rituals of Indian tribe and an analysis of the discursive production of some ravers from psicanlíticos concepts. This study might reveal in an interesting speech production cycle is the presentation of the idealized pursuit of pleasure and freedom in the rave experience disappointment, finishing with a more realistic understanding of the same experience as subjetiva.Utilizaram is, as the main reference in this analysis, Freud's texts
O presente estudo analisa o fenômeno rave, enquanto organização cultural da juventude contemporânea. Interessante se fez estudar o fenômeno em questão e conhecer mais acerca do momento cultural em que vivemos, já que este é específico da modernidade, apesar de apresentar características da juventude de outros tempos. O trabalho aborda ainda as peculiaridades da música eletrônica, os conceitos de festas e sacrifício, apresenta uma comparação das festas raves com rituais de tribo indígena e uma análise da produção discursiva de alguns ravers a partir dos conceitos psicanlíticos. O presente estudo pôde revelar nas produções discursivas um interessante ciclo que passa da apresentação da busca idealizada de prazer e liberdade na experiência rave à decepção, concluindo com uma apreensão mais realista da mesma enquanto experiência subjetiva.Utilizaram-se, como referência principal nesta análise, textos de Freud
36
Ko, Eunbyol. "Music and Image a performer's guide to Maurice Ravel's Miroirs /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1172781745.
Full textAbstract:
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.Title from electronic thesis title page (viewed Apr.3, 2007). Includes abstract. Keywords: Ravel; Miroirs; Performer's Guide; Image; Impressionism; Symbolism; Eunbyol Ko Includes bibliographical references.
37
Fanjul, Diane. "Le pianisme ravélien : une nouvelle expérience du monde." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30039.
Full textAbstract:
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 ?
38
Perret, Carine. "Analyse du style de Maurice Ravel au regard de son époque et de ses écrits : diversité esthétique et unité expressive." Montpellier 3, 2005. http://www.theses.fr/2005MON30054.
Full textAbstract:
La place-charnière occupée par Maurice Ravel détermine en partie ses orientations stylistiques. Héritier d'une génération de compositeurs français attachés à l'esthétique romantique finissante du XIXe siècle, il s'affirme également comme un compositeur d'un présent moderne dont il épouse la diversité esthétique. C'est par une analyse comparative du langage ravélien avec celui de ses contemporains que nous pourrons le mieux apprécier l'originalité stylistique d'un compositeur parfois déroutant. Les écrits du compositeur révèlent une personnalité musicale affirmée, apte à intégrer des influences multiples sans jamais se départir de sa propre manière. Le style de Maurice Ravel se reconnaît à ses univers poétiques qui sont le reflet exact de sa personnalité. Il se reconnaît également à la précision de sa technique, part intellectuelle de la création constamment soumise par le compositeur à l'expression de sa sensibilitéThe main place occupied by Maurice Ravel partly determines his orientations stylistics. Heir out of a French composer's generation bound to the finishing romantical aesthetic of XIXe century, it also affirms himself as a modern composer of his present time with his aesthetic diversity. By a comparative analysis of the ravelian langage with that of its contemporaries, we will appreciate the stylistic originality of a composer who sometimes diverts the audience. The composer's writings reveal a strong musical personality, ready to integrate different influences without never leaving its own manner. We will find the Maurice Ravel's style on his poetical universes which are the true mirror of its personality. It is also recognized with his technical precision, leaving his intellectual creation constantly subjected to his sensitive expression
39
Bouma, Rolf. "Of ravens and lilies the moral considerability of non-human creation /." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.
Full text
40
Tarleton, Angela Brannon. "Raven's Song: an Original Musical." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500310/.
Full textAbstract:
Raven's Song is an original musical dramatizing the conflict between paganism and Christianity. The play revolves around a woman who has become disillusioned by her people and her gods. The only gods she has ever known were blood-thirsty, appeased only by the blood and entrails of human sacrifice. Therefore, Raven resists all religion. Through providential circumstances, she is married into a Christian family and is overwhelmed by their love, and the kindness of their God. In search for truth, Raven begins to question her disbelief. All men search for truth in their own way, and all, at one time, will question the existence and nature of God. The play does not presume to answer these questions, but allows each participant to decide for himself, as Raven must decide for herself.
41
Carvalho, Diogo Salmeron. "Transcrições para violão: soluções técnico-musicais para interpretação de obras selecionadas de Claude Debussy e Maurice Ravel." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-21052013-112911/.
Full textAbstract:
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.
42
Delahaye, Michel. "Ravel et Mallarmé : rencontre privilégiée d'un musicien et d'un poète." Paris 4, 1992. http://www.theses.fr/1992PA040075.
Full textAbstract:
Parmi la pleiade des musiciens novateurs de la fin du xixe et du debut du xxe s. , les satie, les debussy, les faure, les schoenberg et autres stravinsky, ravel s'affirme a la fois par son ouverture d'esprit, ses qualites de sensibilite d'homme et de createur. Ayant vecu dans l'atmosphere symboliste et neo-symboliste des annees qui precedent la guerre de 1914, vivant dans un milieu souvent raffine d'amateurs et d'esthetes eclaires ou s'exercait encore intensement l'influence de mallarme, il a subi precocement et durablement l'attraction du poete, qu'expliquent des affinites naturelles et plus encore un ideal esthetique commun de raffinement et de rigueur. Sans insister sur les ressemblances de temperament qui ne sont pas negligeables, c'est surtout la quete constante de beaute, de purete, de perfection, liee a la concision, au depouillement, qui rapproche le poete et le musicien. C'est precisement a travers sainte (1896) et surtout les trois mallarme (1913) contemporains de l'edition des poesies de mallarme a la n. R. F. Et de la crise du neo-symbolisme, qu'on peut le mieux, dans une analyse tres poussee que nous croyons originale, trouver les analogies profondes et subtiles tentre les deux artistes, leur volonte de creer un langage nouveau, leurs exigences extremes, leur distinction qui va jusqu'a la preciosite evocatrice du xviiie s. , leur hermetisme meme, leur elitisme voulu. Chantre de la "grace des choses fanees" et rares, ravel a ete au sens fort du terme l'artisan mais aussi le poete delicat d'une musique nouvelle, comme mallarme, apres baudelaire, verlaine et rimbaud, et plus qu'eux encore, avait su faire de la poesie une musiqueAmong the group of innovatory musicians in the late xixth and early xxth centuries, the saties, debussysn faures, schoenbergs and stravinskys, ravel asserted himself both by his openmindedness and his qualities of sensitivity and creativity. Having lived in the symbolist and neosymbolist atmosphere of the years leading up to the great war, and living in an often refined milieu of music-lovers and enlightened aesthetes, in which the influence of mallarme was still intensely at work, at an early stage and in lasting manner, he was drawn towards the poet, which can be explained by natural affinities and even more so by a shared aesthetic ideal of refinement and rigour. Without insisting on the similarities in temperament which are not negligible, it was above all the constant quest for beauty, purity and perfection, closely linked with concision and lack of ornamentation that brought the poet and the musician together. It is precisely through sainte (1896) and in particular his trois mallarme (1913), contemporaneous with the n. R. F. Edition of mallarme's poesies and the crisis in the neosymbolist movement that in a thorough analysis which we consider to be original can best be discovered profound and subtle analogies between the two artists, their desire to create a fresh language, their extreme strictness, their distinction which borders on a preciosity evocative of the xviiith century, their very hermeticism and their deliberate elitism. The eulogist of the "grace des choses fanees" and rare, ravel was in the strongest sense of the term the craftsman and also the delicate poet of a new music, in the same way as mallarme, after baudelaire, verlaine and rimbaud, and even more than these, had been able to make a m
43
Larsson, Arvid. "Ravel för fagott : en transkription av Le Tombeau de Couperin." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2500.
Full textAbstract:
Sammanfattning Detta är en beskrivning av hur man kan transkribera musik och på så vis åstadkomma intressanta nya stämmor. Som exempel har jag arrangerat tre satser ur Maurice Ravels verk Le Tombeau de Couperin för fagottkvartett.Arkiverad ljudfil finns:
Ravel: Le Tombeau de Couperin - Il Menuet.
44
Beyer, Richard. "Organale Satztechniken in den Werken von Claude Debussy und Maurice Ravel /." Wiesbaden : Breitkopf und Härtel, 1992. http://catalogue.bnf.fr/ark:/12148/cb35512859g.
Full text
45
Lo, Presti Carlo. "Ethnographie musicale ed orientalismo in Francia, con un'appendice su Maurice Ravel /." Bologna : Università degli studi, 1996. http://catalogue.bnf.fr/ark:/12148/cb36965606x.
Full text
46
Pingo, Ary Yuri. "Valsas nobres e sentimentais de Maurice Ravel : caminhos de um intérprete." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/61726.
Full textAbstract:
A concepção da interpretação de uma obra musical pode advir de um processo sustentado por reflexão e ímpeto, agregando razão e emoção, o qual é gerado por impulsos e diversos conhecimentos, sendo estes musicais e/ou extra-musicais, objetivos e subjetivos. Estes são criados e reunidos ao longo da vida, durante o período de formação musical e a partir de contatos com diversas artes e normalmente dinamizado ao longo da leitura de uma determinada obra, de maneira consciente e inconsciente. Aprofundam-se através da prática musical, pesquisas e também da chamada tradição oral, através da relação mestre/discípulo. Este memorial disserta sobre meu processo de leitura, estudo e performance das Valsas Nobres e Sentimentais de Maurice Ravel, realizado durante meu curso de mestrado. Procuro reconhecer e esclarecer algumas de minhas escolhas musicais e os conhecimentos que mobilizei, adquiri e transmutei ao longo deste processo, paralelamente às reflexões de meu orientador, Ney Fialkow. Para tanto, foi necessário o registro de alguns dos meus encontros de orientação, momentos de meus estudos, algumas de minhas performances e idéias que foram geradas e despertadas durante todo este percurso. O possível reconhecimento e verbalização de todos estes registros podem muitas vezes tornar-se imprecisos, ou até mesmo impossíveis. Não há aqui a pretensão de desenvolver um guia de estudo, nem tampouco uma versão final da minha interpretação, já que esta se encontra sempre em movimento e renovação. É um registro de um determinado momento e como o mesmo se deu, ora sustentado por argumentos fundamentados em pesquisas ora por um universo fantástico e etéreo.The interpretation concept of a musical piece may result from a process based on reflection and momentum, adding reason and emotion, which is generated by impulses and diverse knowledge, being this knowledge musical and / or extra-musical, objective and subjective. It is created and gathered throughout lifetime, during the period of musical training and from contacts with various types of art being normally activated while reading a particular piece of music in a consciously and unconsciously manner. This knowledge is deepened through musical practice, research, and the so called oral tradition, and through the master / disciple relationship. This memorial speaks about my process of reading, study and performance of the Noble and Sentimental Waltzes by Maurice Ravel, performed during my Master’s course. I try to recognize and clarify some of my musical choices and the knowledge I activated, acquired and transmuted along this process, in parallel with the reflections of my advisor, Ney Fialkow. Therefore, it was necessary to record some of my meetings with the advisor, moments of personal studies and some of my performances and ideas that were generated and arouse along this period of time. The possibility of recognition and verbalization of all these records can often become inaccurate or even impossible. There is not any intention here to develop a study guide, nor a final version of my interpretation, as this is always dynamic and renewable. It is a record of a particular moment and how it was carried out. At times, supported by arguments based on researches and at other times by a fantastic and ethereal universe.
47
McCutcheon, John Joseph. "This sculptor's method for channeling inspirational creativeness (a letter to Rupert Ravens)." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314290871.
Full text
48
Ko, Eunbyol. "Music and Image: A Performer’s Guide to Maurice Ravel’s Miroirs." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1172781745.
Full text
49
Ciarla, Luca. "Maurice Ravel's "Tzigane": A link between theclassical and the Hungarian-Gypsy traditions." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/279995.
Full textAbstract:
In writing Tzigane, Maurice Ravel went beyond the mere imitation of an exotic style composing a piece that closely resembles in form, technique, and even timbre the gypsy works with which he was familiar. In addition to drawing on the Hungarian-Gypsy tradition, Ravel brought his own mastery into that world. These insights suggest to me that knowledge of the Hungarian-Gypsy violin tradition can lead to a more informed and expressive performance of Tzigane.
50
Stevenson, Claire. "Ecological impacts of Australian Ravens on bush bird communities on Rottnest Island." Thesis, Stevenson, Claire (2011) Ecological impacts of Australian Ravens on bush bird communities on Rottnest Island. Honours thesis, Murdoch University, 2011. https://researchrepository.murdoch.edu.au/id/eprint/7492/.
Full textAbstract:
The Australian Raven Corvus coronoides is a predator of the eggs and nestlings of bush birds on Rottnest Island, Western Australia. Nest predation is a threatening process of island birds, and when combined with other threatening processes, such as habitat fragmentation and degradation, sustained nest predation can cause declines in bush bird communities. The terrestrial habitats on Rottnest Island have been historically fragmented through land clearing, so concern was raised by the Rottnest Island Authority regarding the impact of the Australian Raven on bush bird communities. The aims of this study were to describe the ecology of the Australian Raven on Rottnest Island, in particular the feeding ecology, and to evaluate how important bush birds are in the diet of the Australian Raven.
To determine the rate of nest predation by the Australian Raven, an artificial nest experiment was conducted over four months from August to November, over six study sites. The diet of the Australian Raven was analysed by laboratory examination of raven stomach samples. In addition, observational data collected at the study sites during the study period was used to quantify the behaviour, abundance and distribution of ravens, and compared to bush bird distribution on Rottnest Island.
During this study, ravens predated 20% of the artificial nests, indicating a high capacity for potential population impacts. Nest predation was confirmed by the presence of birds in the stomach contents of ravens from Rottnest, but plant material and invertebrates were found to be more important in the diet. The Australian Raven prefers the disturbed and urban habitat areas of Rottnest Island for feeding, roosting and breeding. Bush birds avoid these areas, and prefer remnant and revegetated areas.
The results of this study have identified the Australian Raven as a potential predator of nesting bush birds on Rottnest Island. However, restoration of island vegetation may be having a positive effect on bush bird communities that outweighs losses of eggs and nestlings to ravens. In view of these results, continued management of the raven population is recommended as a precautionary approach so that the impacts of nest predation on bush birds are limited. Meanwhile, the population dynamics of selected bush birds can be assessed to confirm that they are recovering in response to habitat restoration programs.