Unmasking Ravel: New Perspectives on the Music by Peter Michael Kaminsky, Peter Kaminsky
By Peter Michael Kaminsky, Peter Kaminsky
Unmasking Ravel: New views at the tune fills a special position in Ravel experiences via combining serious interpretation and analytical concentration. From the most appropriate 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 track and, hence, 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 knowing of it. half 2, "Analytical Case Studies," engages consultant works from Ravel's significant genres utilizing numerous methodologies, targeting structural strategy and his advanced relation to stylistic conference. half three, "Interdisciplinary Studies," integrates musical research and artwork feedback, semiotics, and psychoanalysis in growing novel methodologies. members comprise popular students of Ravel's and fin-de-siècle song: 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 tune on the college of Connecticut, Storrs.
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Sample text
34. May Garrettson Evans, Music and Edgar Allan Poe—A Bibliographical Study (New York: Greenwood, 1968), 6. 35. Maurice Ravel, Lettres, écrits, entretiens, ed. Arbie Orenstein (Paris: Flammarion, 1989), 326. See Michel Duchesneau, “Maurice Ravel et Edgar Allan Poe: Une Théorie poétique appliquée,” Ostinato rigore 24 (2005): 16. My remarks on Poe largely supplement Duchesneau’s study. 36. Ravel, Lettres, écrits, entretiens, 585. 37. Paul Valéry, “Lettre sur Mallarmé,” in Œuvres, vol. 1 (Paris: Gallimard, 1957 [Pléiade edition]), 641.
See Steven Huebner, “L’heure espagnole: La Grivoiserie moderne de Ravel,” in Aspects de l’opéra français de Meyerbeer à Honegger, ed. Jean-Christophe Branger and Vincent Giroud (Lyon: Symétrie, 2009), 193–213. 27. Maurice Ravel, A Ravel Reader, ed. Arbie Orenstein (New York: Columbia University Press, 1990), 433. 28. , 450. 29. , 454. 30. Ravel, Ravel Reader, 45–46. 31. Paul Valéry, “Je disais quelquefois à Stéphane Mallarmé,” in Œuvres, vol. 1, ed. Jean Hytier (Paris: Gallimard, 1957 [Pléiade edition]), 646.
400. 51. Philippe Rodriguez, “Les Apaches de Léon-Paul Fargue. À propos des pièces annexes à l’exemplaire des Poèmes (Premier Cahier) conservé à la bibliothèque littéraire Jacques Doucet,” Ludions 8 (2002–3): 161–73. 52. Fargue, Poèmes, 118–22. 53. Fargue, Maurice Ravel, 53. 54. Michael Puri has also suggested that the fluttering moths represent the “latenight conviviality” of the Apaches group; see “Dandy, Interrupted,” 360. 55. This has already been noted by Michel Faure, “Léon-Paul Fargue, amateur et inspirateur de musique,” Ludions 8 (2002–3): 58.