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• Ravel's Shéhérazade and Fin-de-Siècle Orientalism
Andrew Deruchie
Faculty ofMusic. McGill University
Montreal. Canada •
A thesis submined to the Faculty ofGraduate Studies and Research in partial fuUillment 0 f the requirements 0 f the degree 0 f N(aster 0 l'Arts
.~: Andrew Denlchie 2000 • Nationallibrary Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie services seNïces bibliographiques 395 W.linglOn Street 395. rue Wellington Ottawa ON K1 A 0N4 Ottawa ON K1 A 0N4 canada Canada
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Canadi • TABLE OF CONTENTS
Abstract
Résumé 11
Acknowledgments III
Chapter 1 Shéhérazade. Exoticism~ and Orientalism
Chapter II Dream Worlds and Desire: • Shéhérazade and Fin de Siècle Orientalism Chapter III Ravers Story: Shéhérazade and The Thol/sand and One l\ïghls 60
Appendix A Texts 87
Appendix B A Textual Problem 90
Sdècted Bibliography • • Abstract Shéhérazade (Trois poèms de Tristan Klingsor). composed in 1903. represents
both Ravel's first major vocal work and his earliest major orchestral composition.
Despite the work's important position in the composer"s oeuvre. it has received litde
academic attention. No monograph. dissertation. or article on Shéhérazade has yet
appeared. The primary objective ofthis study is to make this much needed contribution
ta Ravel scholarship. Ofthe piece's salient features. the most immediately striking is its
exoticism: every phrase is given an Oriental tint. Using the work ofcultural entic
Edward Said as a theoretical framework. 1contextualize Shéhéra::ade' s exoticism by
situating the piece within the broad set of interrelated cultural practices Said calls
Orientalism. 1show that the work is affiliated. structurally and rhetorically. with
particular Orientalist texts (both musical and non-musical). textual genres. traditions. and • practices. By locating the piece historically among these lexts and practices. and by using them as a referenti