| Series |
Eastman studies in music, 1071-9989 ; [66]
Eastman studies in music ; v. 66. ^A494093
|
| Contents |
Gentle irony -- Simple sound: Ravel and crescendo -- Opposed sound: Ravel and counterpoint -- Displaced sound: Ravel and registration -- Plundered sound: Ravel and the exotic -- Sound and sense: Ravel and synaesthesia -- Secrets of modernity: irony and style -- Appendix: Ravel's 1902 Prix de Rome Fugue. |
| Abstract |
What is it about Bolero, Gaspard de la nuit, and Daphnis et Chloe that makes musicians and listeners alike love them so? This book illuminates these and other works of Maurice Ravel through several of the composer's fascinations: dynamic intensification, counterpoint, orchestration, exotic influences on Western music, and an interest in multisensorial perception. Connecting all these fascinations, the author argues, is irony. This book offers an appreciation of Ravel's musical irony that is grounded in the vocabularies and criticism of the time and in two early attempts at writing up a "Ravel Aesthetic" by intimates of Ravel. The book provides a long-needed reconsideration of Ravel's modernity, his teaching, and his place in twentieth-century music and culture. |
| Bibliography note | Includes bibliographical references (pages 391-418) and index. |
| LCCN | 2009028391 |
| ISBN | 9781580461894 (hardcover : alk. paper) |
| ISBN | 1580461891 (hardcover : alk. paper) |
