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|Title:||Man or Mask? Artistic Identity and the Music of Ravel|
|Authors:||Ng, Joy Chi Ching|
|Publisher:||University of Sydney.|
Sydney Conservatorium of Music
|Abstract:||Man or Mask? Artistic Identity and the Music of Ravel Keywords: Ravel, mask, artistic identity Abstract The notion of masks has long been associated with the life and works of Maurice Ravel. His maskedness, and the mystery that is attached to it, has to a great extent informed scholarly perceptions of the composer, figuring particularly prominently in discussions of his musical identity. Indeed, as one scholar has recently observed, one can hardly speak of Ravel without also mentioning his masks: these instruments of concealment are so bound up with the artistic identity of the composer that at one level, they are a part of who he is. And yet the assumptions that form the basis of this understanding of Ravel—as one who wears a disguise and eludes all efforts to analyse him—have largely been left unchallenged. It seems that scholars have become so accustomed to the masked Ravel that they have neglected to question the preconceptions of the composer that inform this image. This thesis, therefore, aims to critique the assumptions of Ravel’s maskedness, which can be traced to the earliest academic discourse on the composer and have informed much of the literature to date, in order to reconsider the question of his musical identity. By subjecting the notion of masks to close analysis, this thesis explores its association with the composer and ultimately exposes some of the misconceptions of his musical identity that have resulted from constructions of his maskedness. Through a re-evaluation of the nature of Ravel’s masks, their prominence in the composer’s art, and their implications for his musical identity, this thesis develops a new understanding of those aspects of his aesthetics that have contributed to his reputation for artificiality, including his eclecticism, his preoccupation with technical perfection, and his apparent stance against sincerity.|
|Rights and Permissions:||The author retains copyright of this thesis. It may only be used for the purposes of research and study. It must not be used for any other purposes and may not be transmitted or shared with others without prior permission.|
|Type of Work:||Masters Thesis|
|Type of Publication:||Master of Music (Performance) M.Mus.(Performance)|
|Appears in Collections:||Sydney Digital Theses (Open Access)|
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