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Crossing Borders I: the historical context for Ravel’s North American tour

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Crossing Borders I : the historical context for Ravel’s North American tour . / Gebhardt, Nicholas.

Ravel Studies. ed. / Deborah Mawer. Cambridge : University of Cambridge, 2010. p. 92-113.

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSNChapter

Harvard

Gebhardt, N 2010, Crossing Borders I: the historical context for Ravel’s North American tour . in D Mawer (ed.), Ravel Studies. University of Cambridge, Cambridge, pp. 92-113.

APA

Gebhardt, N. (2010). Crossing Borders I: the historical context for Ravel’s North American tour . In D. Mawer (Ed.), Ravel Studies (pp. 92-113). University of Cambridge.

Vancouver

Gebhardt N. Crossing Borders I: the historical context for Ravel’s North American tour . In Mawer D, editor, Ravel Studies. Cambridge: University of Cambridge. 2010. p. 92-113

Author

Gebhardt, Nicholas. / Crossing Borders I : the historical context for Ravel’s North American tour . Ravel Studies. editor / Deborah Mawer. Cambridge : University of Cambridge, 2010. pp. 92-113

Bibtex

@inbook{59447c011d404a2bbe4dd740f1c9c8e8,
title = "Crossing Borders I: the historical context for Ravel{\textquoteright}s North American tour ",
abstract = "Through a close analysis of Ravel{\textquoteright}s 1928 tour of the United States, this essay explores the social context in which the first generation of modernist composers from Europe engaged with North American popular music. Gebhardt argues that Ravel's integration of these musical styles into his own practice, particularly the syncopated dance music of ragtime and jazz, cannot be studied apart from the mass response he and other European composers received in the United States and the social conditions which made such a response possible. Central to the reception of European artists was the growing status and importance of the entertainment industry, which ensured the success of Ravel{\textquoteright}s tour, but also produced a series of counter-movements or cultural reversals amongst performers, composers and audiences. The purpose of this chapter is to examine Ravel{\textquoteright}s tour in terms of these transformations and consider its significance for clarifying the meaning of musical modernism.",
keywords = "Ravel, United States, Music Industry, Modernism, Cultural History",
author = "Nicholas Gebhardt",
year = "2010",
month = nov
language = "English",
isbn = "9780521886970",
pages = "92--113",
editor = "Deborah Mawer",
booktitle = "Ravel Studies",
publisher = "University of Cambridge",

}

RIS

TY - CHAP

T1 - Crossing Borders I

T2 - the historical context for Ravel’s North American tour

AU - Gebhardt, Nicholas

PY - 2010/11

Y1 - 2010/11

N2 - Through a close analysis of Ravel’s 1928 tour of the United States, this essay explores the social context in which the first generation of modernist composers from Europe engaged with North American popular music. Gebhardt argues that Ravel's integration of these musical styles into his own practice, particularly the syncopated dance music of ragtime and jazz, cannot be studied apart from the mass response he and other European composers received in the United States and the social conditions which made such a response possible. Central to the reception of European artists was the growing status and importance of the entertainment industry, which ensured the success of Ravel’s tour, but also produced a series of counter-movements or cultural reversals amongst performers, composers and audiences. The purpose of this chapter is to examine Ravel’s tour in terms of these transformations and consider its significance for clarifying the meaning of musical modernism.

AB - Through a close analysis of Ravel’s 1928 tour of the United States, this essay explores the social context in which the first generation of modernist composers from Europe engaged with North American popular music. Gebhardt argues that Ravel's integration of these musical styles into his own practice, particularly the syncopated dance music of ragtime and jazz, cannot be studied apart from the mass response he and other European composers received in the United States and the social conditions which made such a response possible. Central to the reception of European artists was the growing status and importance of the entertainment industry, which ensured the success of Ravel’s tour, but also produced a series of counter-movements or cultural reversals amongst performers, composers and audiences. The purpose of this chapter is to examine Ravel’s tour in terms of these transformations and consider its significance for clarifying the meaning of musical modernism.

KW - Ravel

KW - United States

KW - Music Industry

KW - Modernism

KW - Cultural History

M3 - Chapter

SN - 9780521886970

SP - 92

EP - 113

BT - Ravel Studies

A2 - Mawer, Deborah

PB - University of Cambridge

CY - Cambridge

ER -