OVERTURE “SHÉHÉRAZADE” BY MAURICE RAVEL: GENRE AND SEMANTIC PROJECTIONS
The article is devoted to the study of the genre specificity of M. Ravel’s overture de féerie “Shéhérazade” (1898) and the identification of its important semantic aspects. The non-traditional genre definition of the composition as an overture de féerie reveals the composer’s desire to actualize...
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Babeș-Bolyai University
2025-07-01
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| Series: | Studia Universitatis Babeş-Bolyai. Musica |
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| Online Access: | https://studia.reviste.ubbcluj.ro/index.php/subbmusica/article/view/9414 |
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| author | Valeriya ZHARKOVA Oleksandr ZHARKOV Ganna RIZAIEVA |
| author_facet | Valeriya ZHARKOVA Oleksandr ZHARKOV Ganna RIZAIEVA |
| author_sort | Valeriya ZHARKOVA |
| collection | DOAJ |
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The article is devoted to the study of the genre specificity of
M. Ravel’s overture de féerie “Shéhérazade” (1898) and the identification
of its important semantic aspects. The non-traditional genre definition of
the composition as an overture de féerie reveals the composer’s desire to actualize the theatrical context known to the listener (the féerie genre). The composer seems to extend the “exotic” semantic layer, given in the title by the name of the heroine of the Arabian tales “One Thousand and One Nights”, to the “stereophonic” space of the féerie, and the orchestra completely takes over all the functions of creating the physical and metaphysical dimensions of the féerie. The multidimensionality of the national theatrical genre of the féerie is “folded” in the “Shéhérazade” overture into an orchestral space that contains multilevel projections of the unfolding of extra-musical meanings. This is how the connections between the first orchestral composition and the compositions of the following years - “Waltz” (“choreographic poem”) and “Bolero” (“ballet for orchestra”) – are revealed. The unity of plastic and sound gestures, sensual and deeply hidden from thoughts fantasies will remain a distinctive characteristic of Maurice Ravel’s thinking until his last compositions.
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| format | Article |
| id | doaj-art-ac32866b5ccf4ac78443d65e179bb72c |
| institution | Kabale University |
| issn | 1844-4369 2065-9628 |
| language | English |
| publishDate | 2025-07-01 |
| publisher | Babeș-Bolyai University |
| record_format | Article |
| series | Studia Universitatis Babeş-Bolyai. Musica |
| spelling | doaj-art-ac32866b5ccf4ac78443d65e179bb72c2025-08-20T03:27:47ZengBabeș-Bolyai UniversityStudia Universitatis Babeş-Bolyai. Musica1844-43692065-96282025-07-0170Special Issue 110.24193/subbmusica.2025.spiss1.14OVERTURE “SHÉHÉRAZADE” BY MAURICE RAVEL: GENRE AND SEMANTIC PROJECTIONSValeriya ZHARKOVA0https://orcid.org/0000-0002-3706-3481Oleksandr ZHARKOV1https://orcid.org/0000-0003-0196-2933Ganna RIZAIEVA2https://orcid.org/0000-0003-2909-5253Department of History of Music, the Tchaikovsky National Music Academy of Ukraine, Kyiv, Ukraine. E-mail: zharkova_valeriya@ukr.netDepartment of Theory of music, the Tchaikovsky National Music Academy of Ukraine, Kyiv, Ukraine. E-mail: oleksandr0902@vivaldi.netMusic's History Department of the Tchaikovsky National Music Academy of Ukraine (Kyiv). E-mail: anriza777@gmail.com The article is devoted to the study of the genre specificity of M. Ravel’s overture de féerie “Shéhérazade” (1898) and the identification of its important semantic aspects. The non-traditional genre definition of the composition as an overture de féerie reveals the composer’s desire to actualize the theatrical context known to the listener (the féerie genre). The composer seems to extend the “exotic” semantic layer, given in the title by the name of the heroine of the Arabian tales “One Thousand and One Nights”, to the “stereophonic” space of the féerie, and the orchestra completely takes over all the functions of creating the physical and metaphysical dimensions of the féerie. The multidimensionality of the national theatrical genre of the féerie is “folded” in the “Shéhérazade” overture into an orchestral space that contains multilevel projections of the unfolding of extra-musical meanings. This is how the connections between the first orchestral composition and the compositions of the following years - “Waltz” (“choreographic poem”) and “Bolero” (“ballet for orchestra”) – are revealed. The unity of plastic and sound gestures, sensual and deeply hidden from thoughts fantasies will remain a distinctive characteristic of Maurice Ravel’s thinking until his last compositions. https://studia.reviste.ubbcluj.ro/index.php/subbmusica/article/view/9414Maurice RavelShéhérazadeoverture de féeriegenre innovationsemantic projectionOrientalism |
| spellingShingle | Valeriya ZHARKOVA Oleksandr ZHARKOV Ganna RIZAIEVA OVERTURE “SHÉHÉRAZADE” BY MAURICE RAVEL: GENRE AND SEMANTIC PROJECTIONS Studia Universitatis Babeş-Bolyai. Musica Maurice Ravel Shéhérazade overture de féerie genre innovation semantic projection Orientalism |
| title | OVERTURE “SHÉHÉRAZADE” BY MAURICE RAVEL: GENRE AND SEMANTIC PROJECTIONS |
| title_full | OVERTURE “SHÉHÉRAZADE” BY MAURICE RAVEL: GENRE AND SEMANTIC PROJECTIONS |
| title_fullStr | OVERTURE “SHÉHÉRAZADE” BY MAURICE RAVEL: GENRE AND SEMANTIC PROJECTIONS |
| title_full_unstemmed | OVERTURE “SHÉHÉRAZADE” BY MAURICE RAVEL: GENRE AND SEMANTIC PROJECTIONS |
| title_short | OVERTURE “SHÉHÉRAZADE” BY MAURICE RAVEL: GENRE AND SEMANTIC PROJECTIONS |
| title_sort | overture sheherazade by maurice ravel genre and semantic projections |
| topic | Maurice Ravel Shéhérazade overture de féerie genre innovation semantic projection Orientalism |
| url | https://studia.reviste.ubbcluj.ro/index.php/subbmusica/article/view/9414 |
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