Download Unmasking Ravel: New Perspectives on the Music (Eastman by Peter Kaminsky PDF
By Peter Kaminsky
Unmasking Ravel: New views at the song fills a different position in Ravel reviews through combining severe interpretation and analytical concentration. From the preferable of his works as much as the current, Ravel has been linked to mask and the comparable notions of artifice and imposture. This has led students to understand a scarcity of intensity in his song 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 knowing of it. half 2, "Analytical Case Studies," engages consultant works from Ravel's significant genres utilizing a number of methodologies, targeting structural procedure and his advanced relation to stylistic conference. half three, "Interdisciplinary Studies," integrates musical research and paintings feedback, semiotics, and psychoanalysis in growing novel methodologies. individuals comprise sought after 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 track on the collage of Connecticut, Storrs.
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From the Preface :
This publication illustrates a suite of song manuscripts which used to be made in recent times to profit the basis for modern functionality Arts. the gathering was resolute through situations instead of any means of choice. hence it exhibits the numerous instructions during which track notation is now going. The manuscripts aren't prepared in accordance with sorts of song, yet alphabetically in line with the composer's identify. No explanatory info is given.
The textual content for the ebook is the results of a procedure using I-Ching likelihood operations. those decided what number phrases concerning his paintings have been to be written through or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were specifically written for this e-book, they're preceded by way of a paragraph signal and by means of the author's identify. different comments have been selected or written by means of the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter dimension, depth, and typeface - have been all decided accidentally operations. This strategy was once for you to reduce the variation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to jot down approximately notation or some· factor suitable to it. ) A precedent for the absence of data which characterizes this ebook is the modern aquarium (no longer a gloomy hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass apartment with the entire fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this ebook. The editors are thankful to the numerous composers and song publishers who've made this presentation of mid-twentieth century track notation attainable.
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Additional info for Unmasking Ravel: New Perspectives on the Music (Eastman Studies in Music)
Sample text
From all that we know of Ravel’s tastes, it is not difficult to imagine that Les recontres de M. Bréot appealed to him enormously. Régnier’s “true-false style” reminds one of anecdotes concerning Ravel’s own pleasure in showing phony oriental bibelots to visitors to his house at Montfort-l’Amaury. 113 The sheer circumlocutory brilliance of Régnier’s characters, their narcissistic absorption with articulating their point of view in as florid and stylistically elegant a way as possible, recalls the dandified aspect of Ravel’s comportment (though not the composer’s actual spoken demeanor, which was terse), and the enjoyment of style for its own sake.
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.
To attribute classical or neoclassical qualities to Fargue’s oeuvre would be wrong-headed, but taken individually and rearticulated in a different creative alchemy, say in certain works of Ravel, his terms of reference could adapt to that environment. The same might be said of Fargue’s obvious attachment to working-class Paris, and—more to the point—a traditional (and perhaps outdated) elevated regard for the artisan. 64 Fargue’s empathy for working-class Parisians sprang from deep roots, and rhymes with Ravel’s own apparent empathy, at least as exhibited by his leftist political orientation.