Ravel, rhythm and form

Abstract

Ravel's interest in the Malay pantun poetic form, as used by Baudelaire, has previously been demonstrated by Brian Newbould in relation to one piece of music, the ‘Pantoum’ of Ravel's Piano Trio. Pantun, however, has several musical resonances, and study of Ravel's music in general reveals that various of the characteristics of pantun can be found more widely in Ravel's music, in ways that relate small-scale rhythmic devices to large-scale forms. Two piano works in particular are studied here: the suite Le Tombeau de Couperin of 1915-17 and ‘Alborada del gracioso’ from the Miroirs of 1904-5.