Unmasking Ravel: New Perspectives on the Music (Eastman by Peter Kaminsky

By Peter Kaminsky

Unmasking Ravel: New views at the song fills a special position in Ravel stories by means of combining severe interpretation and analytical concentration. From the leading of his works as much as the current, Ravel has been linked to mask and the similar notions of artifice and imposture. This has led students to understand a scarcity of intensity in his tune and, as a result, to deter research of his musical language. This quantity balances and interweaves those modes of inquiry. half 1, "Orientations and Influences," illuminates the occasionally contradictory aesthetic, biographical, and literary strands comprising Ravel's artistry and our figuring out of it. half 2, "Analytical Case Studies," engages consultant works from Ravel's significant genres utilizing various methodologies, targeting structural technique and his advanced relation to stylistic conference. half three, "Interdisciplinary Studies," integrates musical research and artwork feedback, semiotics, and psychoanalysis in growing novel methodologies. participants comprise widespread students of Ravel's and fin-de-siècle track: Elliott Antokoletz, Gurminder Bhogal, Sigrun B. Heinzelmann, Volker Helbing, Steven Huebner, Peter Kaminsky, Barbara Kelly, David Korevaar, Daphne Leong, Michael Puri, and Lauri Suurpää. Peter Kaminsky is Professor of track on the college of Connecticut, Storrs.

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Additional resources for Unmasking Ravel: New Perspectives on the Music (Eastman Studies in Music)

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9. Roland-Manuel’s (unfootnoted) Valéry citation may be found in context in Paul Valéry, “L’Âme et la danse,” in Œuvres, vol. 2, Bibliothèque de la Pléiade (Paris: Gallimard, 1960), 154. 10. Roland-Manuel, “Maurice Ravel,” 20. 11. Roland-Manuel, “Maurice Ravel ou l’esthétique de l’imposture,” 17. 12. , 18. 13.  S. Eliot, “Tradition and Individual Talent,” in Selected Essays, new ed. (New York: Harcourt Brace, 1967), 6–7. 14. Roland-Manuel, “Maurice Ravel ou l’esthétique de l’imposture,” 19. 15.

Léon-Paul Fargue, Sous la lampe (Paris: Gallimard, 1937), 22. 62. , 22. 63. , 46. 64. For biographical roots of Fargue’s aesthetics see Warren Ramsey, “‘Words of Light’ and ‘Somber Leaves’: The Poetry of Léon-Paul Fargue,” Yale French Studies 9 (1952): 112–22. 65. Léon-Paul Fargue, “Artisans d’art,” in Lanterne magique (Marseilles: Robert Laffont, 1944), 128–36. 66. M. D. Calvocoressi, “When Ravel Composed to Order,” Music and Letters 22 (1941): 59. 67. Émile Vuillermoz, Histoire de la musique (Paris: Fayard, 1949), 355.

A diatonic circle of fifths driven by suspensions follows in the third measure, so conventional a baroque progression as to suggest deprecatory pastiche. The ensuing cadence, analogous to Chabrier’s, flattens the seventh to produce a modal sound. , mm. 13–14, 19–20). A long dominant pedal point prepares the return classically enough, but Ravel writes modern parallel chords above it. The return itself plays up the hint of the subdominant implied in the first theme with a manifestly overdone run of loud left-hand octaves that aim for B minor instead of the tonic F-sharp.

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