This thesis investigates the historical context, examines stylistic issues, and offers a technical analysis of eleven songs for voice and orchestra by Ravel. Chapter I outlines the historical context of the French song, focusing on compositions written for voice and orchestra, as well as offering an overview of Ravel’s contribution to the genre of orchestral song. Chapter II reviews technical and stylistic aspects of French orchestral writing and principal influences on Ravel in the area of orchestration. It then discusses specific characteristics of Ravel’s orchestration style, their evolution, and their relationship to his writing for the piano.
After this general exploration of historical context and technical vocabulary, chapter III offers a detailed analysis of each of eleven songs, with direct comparisons between the piano and orchestral versions. In addition to technical analysis, this chapter investigates the historical background and contemporary critical reception of each song. Chapter III also offers an overview of the existing manuscripts and other primary sources, as well as available present-day research.
Finally, the thesis includes an appendix that contains an arrangement of Ravel’s early orchestral song cycle Shéhérazade for voice and chamber ensemble. The instrumentation of this arrangement consists of piano, string quartet, two flutes and two clarinets, and is modeled on Ravel’s Trois Poèmes de Stéphane Mallarmé.
|School:||Manhattan School of Music|
|School Location:||United States -- New York|
|Source:||DAI-A 71/12, Dissertation Abstracts International|
|Keywords:||Arrangement, Chamber ensemble, France, Manteau de fleurs, Orchestration, Ravel, Maurice, Sheherazade, Vocal|
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