Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- The Operas of Maurice Ravel , pp. 243 - 260Publisher: Cambridge University PressPrint publication year: 2015
References
Primary Sources
Secondary Sources
[Anon.] ‘Premières représentations: Gaité-Lyrique [sic] – L’Heure espagnole’. Le petit journal, 20 May 1911.Google Scholar
Bellaigue, Camille. ‘Revue musicale’. Revue des deux mondes 6/4 (1 July 1911), 217–28.Google Scholar
Bertelin, Albert. ‘Thérèse […] L’Heure espagnole’. Comœdia illustré 3/18 (15 June 1911), 581–4.Google Scholar
Boschot, Adolphe. ‘La Musique: À l’Opéra – L’Heure espagnole’. L’Écho de Paris, 7 December 1921.Google Scholar
Chantavoine, Jean. ‘Chronique musicale: L’Heure espagnole’. Revue hebdomadaire 20/6 (24 June 1911), 579–80.Google Scholar
Cornet, Charles. ‘Société musicale indépendante’. Le Guide musical 56/25–6 (19/26 June 1910), 492–3.Google Scholar
de Curzon, Henri. ‘L’Heure espagnole de Maurice Ravel’. Le Guide musical 55/4 (24 January 1909), 70–1.Google Scholar
‘G.’. ‘L’Heure espagnole: comédie musicale en un acte’. La Revue musicale (Revue d’histoire et de critique) 11/11 (1 June 1911), 238–9.Google Scholar
Laloy, Louis. ‘La Musique […] L’Heure espagnole’. La grande revue 67 (10 June 1911), 627–8.Google Scholar
Lebel, Gaston. ‘L’Heure espagnole à l’Opéra’. Unidentified periodical [Bm-O, Dossier d’œuvre: L’Heure espagnole].Google Scholar
Prudhomme, Jean. ‘Mlle Geneviève Vix et L’Heure espagnole: de Carmen à Concepcion’. Comoedia, 17 May 1911.Google Scholar
Sérieyx, Auguste. ‘Chronique musicale – Opéra-Comique – L’Heure espagnole’. Unidentified periodical [BnF AdS, Recueil factice: L’Heure espagnole].Google Scholar
Souday, Paul. ‘Les Premières – Opéra-Comique – L’Heure espagnole’. Unidentified periodical, 20 May 1911 [BnF AdS, Recueil factice: L’Heure espagnole].Google Scholar
Tenroc, Charles. ‘Les Avant-premières: Thérèse et L’Heure espagnole à l’Opéra-Comique’. Comœdia, 11 May 1911.Google Scholar
Vuillemin, Louis. ‘Théâtre National de l’Opéra-Comique: L’Heure espagnole’. Comœdia, 20 May 1911.Google Scholar
Vuillermoz, Émile. ‘Les Théâtres: L’Heure espagnole – Thérèse – Le Martyre de Saint Sébastian’. S.I.M. Revue musicale 7/6 (15 June 1911), 65–70.Google Scholar
See also Zank, , Maurice Ravel: A Guide to Research, items R162–89, and Kilpatrick, The Operas of Maurice Ravel: A Compendium of Sources (www.cambridge.org/9781107118126).Google Scholar
[Anon.] ‘Mme Colette, librettiste d’un ballet de Maurice Ravel’. Unidentified periodical, 13 December 1919 [BnF AdS, Recueil factice: L’Enfant et les sortilèges].Google Scholar
Arnoux, André. ‘Avant-première: L’Enfant et les sortilèges’. Unidentified periodical [BnF Mus., Fonds Montpensier (Ravel)].Google Scholar
Auric, Georges. ‘L’Enfant et les sortilèges’. Les Nouvelles littéraires, 11 April 1925.Google Scholar
Autran, Juliette. ‘À l’Opéra-Comique: L’Enfant et les sortilèges’. Le Soir, 3 February 1926.Google Scholar
Bechert, Paul. ‘Musical notes from abroad: Vienna’. The Musical Times 70/1036 (June 1929).Google Scholar
Boucher, Maurice. ‘À propos de L’Enfant et les sortilèges’. L’Avenir, 2 February 1926.Google Scholar
Boutiller, Jean. ‘L’Enfant et les sortilèges: Fantaisie lyrique de Madame Colette et de M. Maurice Ravel’. L’Enfant (1926), 183–6.Google Scholar
Brillant, Maurice. ‘L’Enfant et les sortilèges’. Le Correspondant, 25 February 1926, 619–24.Google Scholar
Cœuroy, André. ‘Avant-première à Monte-Carlo: L’Enfant et les sortilèges de Colette et de Ravel’. Paris-Midi, 20 March 1925.Google Scholar
‘D., M.’. ‘Théâtre de l’Opéra-Comique: L’Enfant et les sortilèges’. Le Théâtre, April 1926, 7.Google Scholar
Honegger, Arthur. ‘Théâtres de musique: L’Enfant et les sortilèges’. Musique et théâtre 3 (15 April 1925), 5.Google Scholar
Malherbe, Henry. ‘Chroniques musicale: L’Enfant et les sortilèges’. Le Temps, 3 February 1926.Google Scholar
Méry, Jules. ‘Avant-première: L’Enfant et les sortilèges’. Le petit monégasque, 21 March 1925.Google Scholar
Messager, André. ‘Chronique – Les Premières – L’Enfant et les sortilèges’. Le Figaro, 4 February 1926.Google Scholar
de Pawlowski, Gaston. ‘Répétition générale à l’Opéra-Comique: L’Enfant et les sortilèges’. Le Journal, 2 February 1926.Google Scholar
Prunières, Henry. ‘L’Enfant et les sortilèges au Théâtre de Monte-Carlo’. La Revue musicale 6/6 (‘Maurice Ravel’, April 1925), 105–9.Google Scholar
Prunières, Henry. ‘L’Enfant et les sortilèges de Maurice Ravel à l’Opéra-Comique’. La Revue musicale 7/5 (March 1926), 258–60.Google Scholar
Roland-Manuel, . ‘La Semaine musicale: Théâtre de l’Opéra-Comique – L’Enfant et les sortilèges’. Le Ménestrel 88/6 (5 February 1926), 60–1.Google Scholar
Roland-Manuel, . ‘La Critique: L’Enfant et les sortilèges’. La Revue Pleyel 29 (15 February 1926), 60–1.Google Scholar
Roy, Jean. ‘Ravel et les sortilèges’. Unidentified journal (1939) [Bm-O, Dossier d’œuvre: L’Enfant et les sortilèges].Google Scholar
Steinhof, Eugène. ‘L’Enfant et les sortilèges à l’Opéra de Vienne’. L’Art vivant 105 (1 May 1929).Google Scholar
Tenroc, Ch[arles]. ‘Les Théâtres: Opéra-Comique: L’Enfant et les sortilèges’. Le Courrier musical 28/4 (15 February 1926), 101.Google Scholar
See also Zank, , Maurice Ravel: A Guide to Research, items R278 & R281–98, and Kilpatrick, The Operas of Maurice Ravel: A Compendium of Sources (www.cambridge.org/9781107118126).Google Scholar
[Anon.] ‘Premières représentations: Gaité-Lyrique [sic] – L’Heure espagnole’. Le petit journal, 20 May 1911.Google Scholar
Bellaigue, Camille. ‘Revue musicale’. Revue des deux mondes 6/4 (1 July 1911), 217–28.Google Scholar
Bertelin, Albert. ‘Thérèse […] L’Heure espagnole’. Comœdia illustré 3/18 (15 June 1911), 581–4.Google Scholar
Boschot, Adolphe. ‘La Musique: À l’Opéra – L’Heure espagnole’. L’Écho de Paris, 7 December 1921.Google Scholar
Chantavoine, Jean. ‘Chronique musicale: L’Heure espagnole’. Revue hebdomadaire 20/6 (24 June 1911), 579–80.Google Scholar
Cornet, Charles. ‘Société musicale indépendante’. Le Guide musical 56/25–6 (19/26 June 1910), 492–3.Google Scholar
de Curzon, Henri. ‘L’Heure espagnole de Maurice Ravel’. Le Guide musical 55/4 (24 January 1909), 70–1.Google Scholar
‘G.’. ‘L’Heure espagnole: comédie musicale en un acte’. La Revue musicale (Revue d’histoire et de critique) 11/11 (1 June 1911), 238–9.Google Scholar
Laloy, Louis. ‘La Musique […] L’Heure espagnole’. La grande revue 67 (10 June 1911), 627–8.Google Scholar
Lebel, Gaston. ‘L’Heure espagnole à l’Opéra’. Unidentified periodical [Bm-O, Dossier d’œuvre: L’Heure espagnole].Google Scholar
Prudhomme, Jean. ‘Mlle Geneviève Vix et L’Heure espagnole: de Carmen à Concepcion’. Comoedia, 17 May 1911.Google Scholar
Sérieyx, Auguste. ‘Chronique musicale – Opéra-Comique – L’Heure espagnole’. Unidentified periodical [BnF AdS, Recueil factice: L’Heure espagnole].Google Scholar
Souday, Paul. ‘Les Premières – Opéra-Comique – L’Heure espagnole’. Unidentified periodical, 20 May 1911 [BnF AdS, Recueil factice: L’Heure espagnole].Google Scholar
Tenroc, Charles. ‘Les Avant-premières: Thérèse et L’Heure espagnole à l’Opéra-Comique’. Comœdia, 11 May 1911.Google Scholar
Vuillemin, Louis. ‘Théâtre National de l’Opéra-Comique: L’Heure espagnole’. Comœdia, 20 May 1911.Google Scholar
Vuillermoz, Émile. ‘Les Théâtres: L’Heure espagnole – Thérèse – Le Martyre de Saint Sébastian’. S.I.M. Revue musicale 7/6 (15 June 1911), 65–70.Google Scholar
See also Zank, , Maurice Ravel: A Guide to Research, items R162–89, and Kilpatrick, The Operas of Maurice Ravel: A Compendium of Sources (www.cambridge.org/9781107118126).Google Scholar
[Anon.] ‘Mme Colette, librettiste d’un ballet de Maurice Ravel’. Unidentified periodical, 13 December 1919 [BnF AdS, Recueil factice: L’Enfant et les sortilèges].Google Scholar
Arnoux, André. ‘Avant-première: L’Enfant et les sortilèges’. Unidentified periodical [BnF Mus., Fonds Montpensier (Ravel)].Google Scholar
Auric, Georges. ‘L’Enfant et les sortilèges’. Les Nouvelles littéraires, 11 April 1925.Google Scholar
Autran, Juliette. ‘À l’Opéra-Comique: L’Enfant et les sortilèges’. Le Soir, 3 February 1926.Google Scholar
Bechert, Paul. ‘Musical notes from abroad: Vienna’. The Musical Times 70/1036 (June 1929).Google Scholar
Boucher, Maurice. ‘À propos de L’Enfant et les sortilèges’. L’Avenir, 2 February 1926.Google Scholar
Boutiller, Jean. ‘L’Enfant et les sortilèges: Fantaisie lyrique de Madame Colette et de M. Maurice Ravel’. L’Enfant (1926), 183–6.Google Scholar
Brillant, Maurice. ‘L’Enfant et les sortilèges’. Le Correspondant, 25 February 1926, 619–24.Google Scholar
Cœuroy, André. ‘Avant-première à Monte-Carlo: L’Enfant et les sortilèges de Colette et de Ravel’. Paris-Midi, 20 March 1925.Google Scholar
‘D., M.’. ‘Théâtre de l’Opéra-Comique: L’Enfant et les sortilèges’. Le Théâtre, April 1926, 7.Google Scholar
Honegger, Arthur. ‘Théâtres de musique: L’Enfant et les sortilèges’. Musique et théâtre 3 (15 April 1925), 5.Google Scholar
Malherbe, Henry. ‘Chroniques musicale: L’Enfant et les sortilèges’. Le Temps, 3 February 1926.Google Scholar
Méry, Jules. ‘Avant-première: L’Enfant et les sortilèges’. Le petit monégasque, 21 March 1925.Google Scholar
Messager, André. ‘Chronique – Les Premières – L’Enfant et les sortilèges’. Le Figaro, 4 February 1926.Google Scholar
de Pawlowski, Gaston. ‘Répétition générale à l’Opéra-Comique: L’Enfant et les sortilèges’. Le Journal, 2 February 1926.Google Scholar
Prunières, Henry. ‘L’Enfant et les sortilèges au Théâtre de Monte-Carlo’. La Revue musicale 6/6 (‘Maurice Ravel’, April 1925), 105–9.Google Scholar
Prunières, Henry. ‘L’Enfant et les sortilèges de Maurice Ravel à l’Opéra-Comique’. La Revue musicale 7/5 (March 1926), 258–60.Google Scholar
Roland-Manuel, . ‘La Semaine musicale: Théâtre de l’Opéra-Comique – L’Enfant et les sortilèges’. Le Ménestrel 88/6 (5 February 1926), 60–1.Google Scholar
Roland-Manuel, . ‘La Critique: L’Enfant et les sortilèges’. La Revue Pleyel 29 (15 February 1926), 60–1.Google Scholar
Roy, Jean. ‘Ravel et les sortilèges’. Unidentified journal (1939) [Bm-O, Dossier d’œuvre: L’Enfant et les sortilèges].Google Scholar
Steinhof, Eugène. ‘L’Enfant et les sortilèges à l’Opéra de Vienne’. L’Art vivant 105 (1 May 1929).Google Scholar
Tenroc, Ch[arles]. ‘Les Théâtres: Opéra-Comique: L’Enfant et les sortilèges’. Le Courrier musical 28/4 (15 February 1926), 101.Google Scholar
See also Zank, , Maurice Ravel: A Guide to Research, items R278 & R281–98, and Kilpatrick, The Operas of Maurice Ravel: A Compendium of Sources (www.cambridge.org/9781107118126).Google Scholar
Abbate, Carolyn. ‘Tristan in the composition of Pelléas’. 19th-Century Music 5/2 (Fall 1981), 117–41.CrossRefGoogle Scholar
Abbott, Helen. Between Baudelaire and Mallarmé: Voice, Conversation and Music. Farnham: Ashgate, 2009.Google Scholar
ADER Nordmann. Lettres et manuscrits autographes. Catalogue of sale, 17 December 2013 (Salle Drouot). Paris: ADER Nordmann.Google Scholar
Antokoletz, Elliott. Musical Symbolism in the Operas of Debussy and Bartók. New York: Oxford University Press, 2004.Google Scholar
Araiz, Oscar. ‘L’Enfant et les sortilèges: un adulte avec une tête d’enfant’. Theatre programme: L’Enfant et les sortilèges. Grand Théâtre de Genève, 1989.Google Scholar
Aubin, Tony. ‘L’Œuvre lyrique’. In Long, Marguerite, Aubin, Tony, Fargue, Léon-Paul, Hoérée, Arthur, Pioch, Georges and Jourdan-Morhange, Hélène, Maurice Ravel. Paris: Les Publications Techniques et Artistiques, 1945, 21–4.Google Scholar
Bartlet, Elizabeth C. ‘Archival sources for the Opéra-Comique and its “Registres” at the Bibliothèque de l’Opéra’. 19th-Century Music 7/2 (Autumn 1983), 119–29.CrossRefGoogle Scholar
Bellaigue, Camille. ‘Un grand musicien réaliste: Moussorgski’. Revue des deux mondes 5/2 (15 April 1901), 859–60.Google Scholar
Bellman, Jonathan (ed.). The Exotic in Western Music. Boston: Northeastern University Press, 1998.Google Scholar
Berge, André. ‘Un humoriste poète: Franc-Nohain’. Le Correspondant 96/1474 (25 February 1924), 636–56.Google Scholar
Bergeron, Katherine. Voice Lessons: French Mélodie in the Belle Époque. New York: Oxford University Press, 2010.Google Scholar
Berkman, Sylvia. ‘The images of childhood’ [review of Colette, My Mother’s House and Sido (trans. Troubridge and McLeod)]. New York Times, 29 November 1953.Google Scholar
Best, Christopher. ‘Why do choreographers and composers collaborate?’ Dance Theatre Journal 15/1 (1999), 28–31.Google Scholar
Bidou, Henry. ‘Enfants et parents’. Les Annales politiques et littéraires 42/2163 (‘L’Enfance’), 51.Google Scholar
Born, Georgina, and Hesmondhaigh, David (eds.). Western Music and its Others: Difference, Representation and Appropriation in Music. Berkeley: University of California Press, 2000.Google Scholar
Bowie, Malcolm. Mallarmé and the Art of Being Difficult. Cambridge: Cambridge University Press, 1978.Google Scholar
Burkholder, J. Peter. ‘Music of the Americas and historical narratives’. American Music 27/4 (Winter 2009), 399–423.CrossRefGoogle Scholar
Calvocoressi, Michel-Dimitri. ‘Le Mariage, par Moussorgsky’. S.I.M. Revue musicale 4/12 (15 December 1908), 1284–90.Google Scholar
Calvocoressi, Michel-Dimitri. ‘Le Vers, la prose et l’e muet’. Le Guide musical 50/44 (30 October 1904), 795–800.Google Scholar
Cathé, Philippe. ‘Claude Terrasse (1867–1923)’. Ph.D. diss., Université de Paris Sorbonne, 2001.Google Scholar
Cazamian, Louis. ‘La Psychanalyse et la critique littéraire’. Revue de littérature comparée 4 (1924), 449–75.Google Scholar
Chailley, Jacques. ‘Une première version inconnue de Daphnis et Chloé de Maurice Ravel’. In Mélanges d’histoire littéraire (XVIe–XVIIe siècle): offerts à Raymond Lebègue. Paris: Nizet, 1969, 371–5.Google Scholar
Chalupt, René. ‘La Féerie et Maurice Ravel’. La Revue musicale 19/187 (‘Hommage à Maurice Ravel’, December 1938), 128–34.Google Scholar
Chalupt, René. ‘Maurice Ravel et les prétextes littéraires de sa musique’. La Revue musicale 6/6 (‘Maurice Ravel’, April 1925), 65–74.Google Scholar
Chalupt, René, and Gerar, Marcelle. Ravel au miroir de ses lettres. Paris: Lafont, 1956.Google Scholar
Chopin, Frédéric. Selected Correspondence of Fryderyk Chopin. Coll. and ann. Sydow, Bronislaw Edward, trans. and ed. Hedley, Arthur. London: Heinemann, 1962.Google Scholar
Clark, Linda. ‘France’. In Hawes, Joseph M. and Hiner, N. Ray (eds.), Children in Historical and Comparative Perspective. Westport, Ct.: Greenwood, 1991, 277–304.Google Scholar
Clifton, Keith. ‘Maurice Ravel’s L’Heure espagnole: genesis, sources, analysis’. Ph.D. diss., Northwestern University, 1998.Google Scholar
Cohen, H. Robert. The Original Staging Manuals for Twelve Parisian Operatic Premières. New York: Stuyvesant, 1991.Google Scholar
Cohen, H. Robert, and Gigou, Marie-Odile. Cent ans de mise en scène lyrique en France. Preface by Gossett, Phillip. New York: Pendragon, 1986.Google Scholar
Cohen, H. Robert, and Gigou, Marie-Odile. ‘La Conservation de la tradition scénique sur la scène lyrique en France au XIXe siècle: les livrets de mise en scène et la Bibliothèque de l’Association de la Régie Théâtrale’. Revue de musicologie 64/2 (1978), 253–67.CrossRefGoogle Scholar
[Colette, ]. ‘Colette parle de Ravel’. Radio France interview, date unknown (coll. Claude Moreau).Google Scholar
Colette, . Lettres à Moune et au Toutounet, 1929–1954, ed. Villaret, Bernard. Paris: Des femmes, 1985.Google Scholar
Colette, . Lettres à ses pairs, ed. Pichois, Claude and Forbin, Roberte. Paris: Flammarion, 1973.Google Scholar
Colette, . My Mother’s House and Sido, trans. Troubridge, Una Vincenza and McLeod, Enid. London: Secker & Warburg, 1969.Google Scholar
Colette, . Œuvres. 4 vols., ed. Pichois, Claude. Paris: Gallimard [Bibliothèque de la Pléiade], 1984–2001.Google Scholar
Cornejo, Manuel, and Diamantopoulou, Dimitra. ‘Maurice Ravel et Pierre Lalo: une lettre oubliée de Maurice Ravel au directeur du Temps (Avril–Mai 1907)’. CMR 12 (2009), 22–43.Google Scholar
Crosland, Margaret. ‘Colette and Ravel: The Enchantress and the Illusionist’. In Eisinger, and McCarty, (eds.), Colette: The Woman, the Writer, 116–24.Google Scholar
Crubellier, Maurice. L’Enfance et la jeunesse dans la société française, 1800–1950. Paris: Colin, 1979.Google Scholar
Debussy, Claude. Correspondance (1872–1918), ed. Lesure, François and Herlin, Denis. Paris: Gallimard, 2005.Google Scholar
Debussy, Claude. Monsieur Croche et autres écrits, ed. Lesure, François. Paris: Gallimard, 1971. English edition: Debussy on Music, trans. and ed. Smith, Richard Langham. New York: Knopf, 1977.Google Scholar
Delahaye, Michel. ‘Documents Ravel dans les ventes et collections publiques et privées’. CMR 8 (2004), 93–110; CMR 12 (2009), 44–55; CMR 13 (2010), 10–28.Google Scholar
Delahaye, Michel. ‘L’Enfant et les sortilèges: Colette-Ravel-Diaghilev’. CMR 13 (2010), 31–73.Google Scholar
Delahaye, Michel. (ed.) ‘Lettres de Ravel à la famille Gaudin de Saint-Jean-de-Luz’. Part 1: ‘Du Prix de Rome à la guerre, 2/8/1901–20/9/1916’; Part 2: ‘1919–1927’. CMR 9–10 (2005–6 & 2007), 13–58 & 14–56.Google Scholar
Duchesneau, Michel. L’Avant-garde musicale et ses sociétés à Paris de 1871 à 1939. Spirmont: Mardaga, 1997.Google Scholar
Dumesnil, René. ‘Maurice Ravel poète’. La Revue musicale 19/187 (‘Hommage à Maurice Ravel’, December 1938), 124–7.Google Scholar
Dupont, Jacques. ‘Visages de l’enfance, sortilèges de Colette’. L’Avant-scène opéra 127 (January 1990), 23–6.Google Scholar
Durand, Jacques. Quelques souvenirs d’un éditeur de musique, vol. II. Paris: Durand, 1925.Google Scholar
Druilhe, Paul. ‘Les grandes créations de l’Opéra de Monte-Carlo: L’Enfant et les sortilèges de Maurice Ravel’. Annales monégasques 9 (1985), 7–26.Google Scholar
Eisinger, Erica Mendelson, and McCarty, Mari Ward (eds.). Colette: The Woman, the Writer. University Park: Pennsylvania State University Press, 1981.Google Scholar
des Essarts, F.-D. ‘Les Avant-premières: Les Transatlantiques à l’Apollo’. Comœdia, 17 May 1911.Google Scholar
de Falla, Manuel. On Music and Musicians, ed. Sopeña, Federico, trans. Urman, D. and Thomson, J. M.. London and Boston: Marion Boyars, 1979.Google Scholar
Faure, Michel. Musique et société du Second Empire aux années vingt. Paris: Flammarion, 1985.Google Scholar
Fauser, Annegret. Musical Encounters at the 1889 Paris World’s Fair. University of Rochester Press, 2005.Google Scholar
Fauser, Annegret, and Everist, Mark (eds.). Music, Theater, and Cultural Transfer: Paris, 1830–1914. Chicago and London: University of Chicago Press, 2009.CrossRefGoogle Scholar
Favat, F. André. Child and Tale: The Origins of Interest. Urbana, Ill.: National Council of Teachers of English, 1977.Google Scholar
Fillerup, Jessie. ‘Purloined poetics: The grotesque in the music of Maurice Ravel’. Ph.D. diss., University of Kansas, 2009.Google Scholar
Fillerup, Jessie. ‘Ravel and Robert-Houdin, magicians’. 19th-Century Music 37/2 (Fall 2013), 130–58.CrossRefGoogle Scholar
Fillerup, Jessie. ‘Ravel’s lost time’. Journal of the Royal Musical Association 139/1 (2014), 205–20.CrossRefGoogle Scholar
Garafola, Lynn. Diaghilev’s Ballets russes. New York and Oxford: Oxford University Press, 1989.Google Scholar
Garban, Dominique. Jacques Rouché: l’homme qui sauva l’Opéra de Paris. Paris: Somogy Éditions d’Art, 2007.Google Scholar
Garden, Mary, and Biancolli, Louis. Mary Garden’s Story. London: Michael Joseph, 1952.Google Scholar
Giuliani, Elizabeth. ‘La Musique et l’enfance’. L’Avant-scène opéra 127 (January 1990), 58–62.Google Scholar
Glover, Nicola. Psychoanalytic Æsthetics: The British School. Chapter 2: ‘Essentials of Kleinian theory’. Psychoanalysis and Psychotherapy, accessed 30 October 2013, www.psychoanalysis-and-therapy.com/human_nature/glover/chap2.html.Google Scholar
Godebska Blacque-Belair, Mimie. ‘Quelques souvenirs intimes de Ravel’. La Revue musicale 19/187 (‘Hommage à Maurice Ravel’, December 1938), 189–91.Google Scholar
Goudeket, Maurice. Close to Colette, trans. McLeod, Enid. London: Secker & Warburg, 1957.Google Scholar
de Gourmont, Rémy. Le Problème de style: questions d’art, de littérature et de grammaire. Paris: Mercure de France, 1902.Google Scholar
Grammont, Maurice. Le Vers français: ses moyens d’expression, son harmonie, 2nd edn. Paris: Champion, 1913.Google Scholar
Grayson, David. ‘Debussy on stage’. In Trezise, Simon (ed.), The Cambridge Companion to Debussy. Cambridge: Cambridge University Press, 2003, 61–83.Google Scholar
Gribenski, Michel. ‘“Chanter comme des personnes naturelles”: apocope de l’e caduc et synérèse chez Debussy et quelques-uns de ses contemporains’. Cahiers Debussy 31 (2007), 5–57.Google Scholar
Gubisch, Nina. ‘La Vie musicale à Paris entre 1887 et 1914 à travers le journal de R. Viñes’. Revue internationale de musique française 1/2 (1980), 154–248.Google Scholar
Gubisch, Nina. ‘Les Années de jeunesse d’un pianiste espagnol en France (1887–1900): journal et correspondence de Ricardo Viñes’. Unpub. thesis, Paris: Conservatoire de musique, 1971.Google Scholar
Gunsbourg, Raoul. Cent ans de souvenirs… ou presque. Monaco: Éditions du Rocher, 1959.Google Scholar
Haine, Malou. ‘Cipa Godebski et les Apaches’. Revue belge de musicologie 60 (2006), 221–66.Google Scholar
Harwood, Gregory. ‘Musical and literary satire in Maurice Ravel’s L’Enfant et les sortilèges’. Opera Journal 29/1 (1996), 2–16.Google Scholar
Henahan, Donal. ‘Met Opera’s Parade, captivating triple bill’. New York Times, 22 February 1981.Google Scholar
Heywood, Colin. Childhood in Nineteenth-Century France: Work, Health and Education among the ‘Classes Populaires’. Cambridge: Cambridge University Press, 1988.CrossRefGoogle Scholar
Hoérée, Arthur. ‘Les Mélodies et l’œuvre lyrique’. La Revue musicale 6/6 (‘Maurice Ravel’, April 1925), 46–64.Google Scholar
Hoffmann, Léon-François. Romantique Espagne: l’image de l’Espagne en France entre 1800 et 1850. Paris: Presses Universitaires de France, 1961.Google Scholar
Horne, John, and Kramer, Alan. German Atrocities, 1914: A History of Denial. New Haven and London: Yale University Press, 2001.Google Scholar
Howat, Roy. ‘Ravel and the piano’. In Mawer, (ed.), The Cambridge Companion to Ravel, 71–96.Google Scholar
Howat, Roy. The Art of French Piano Music: Debussy, Ravel, Fauré, Chabrier. London and New Haven: Yale University Press, 2009.Google Scholar
Howat, Roy, and Kilpatrick, Emily (eds.). Gabriel Fauré: Complete Songs, vol. I. London and Leipzig: Edition Peters, 2014, EP11391.Google Scholar
Huebner, Steven. French Opera at the Fin de Siècle: Wagnerism, Nationalism and Style. Oxford: Oxford University Press, 1999.Google Scholar
Huebner, Steven. ‘Laughter: In Ravel’s time’. Cambridge Opera Journal 18/3 (November 2006), 225–46.CrossRefGoogle Scholar
Huebner, Steven. ‘L’Heure espagnole: la grivoiserie moderne de Ravel’. In Branger, Jean-Christophe and Giroud, Vincent (eds.), Aspects de l’opéra français de Meyerbeer à Honegger. Lyon: Symétrie, 2009, 192–213.Google Scholar
Huebner, Steven. ‘Maurice Ravel: Private life, public works’. In Pekacz, Jolanta T. (ed.), Musical Biography: Towards New Paradigms. Aldershot: Ashgate, 2006, 69–88.Google Scholar
Huebner, Steven. ‘Ravel’s Child: Magic and moral development’. In Boynton, Susan and Kok, Roe-Min (eds.), Musical Childhoods and the Cultures of Youth. Middletown, Ct.: Wesleyan University Press, 2006, 69–88.Google Scholar
Huebner, Steven. ‘Ravel’s poetics: Literary currents, classical takes’. In Kaminsky, (ed.), Unmasking Ravel, 9–40.Google Scholar
Hurd, James. ‘From a peacock to apocope: An examination of Maurice Ravel’s text setting in the Histoires naturelles, L’Heure espagnole and other pre-WWI vocal works’. DMA diss., University of Cincinnati, 2009.Google Scholar
Hymes, Dell H. ‘Phonological aspects of style’. In Sebeok, Thomas A. (ed.), Style in Language. Cambridge, Mass.: MIT Press, 1960, 109–31.Google Scholar
Jacobshagen, Arnold. ‘Staging at the Opéra-Comique in nineteenth-century Paris: Auber’s Fra Diavolo and the “livrets de mise-en-scène”’. Cambridge Opera Journal 13/3 (November 2001), 239–60.CrossRefGoogle Scholar
Jambou, Louis (ed.). La Musique entre France et Espagne: interactions stylistiques. Paris: Presses de l’Université de Paris-Sorbonne, 2003.Google Scholar
Jankélévitch, Vladimir. Ravel. Paris: Seuil, 1956/1995. English edition, trans. Crosland, Margaret: Ravel. New York and London: John Calder, 1959.Google Scholar
Jourdan-Morhange, Hélène. ‘Ravel à Montfort l’Amaury’. In Vuillermoz, Émile, Jourdan-Morhange, Hélène, Roland-Manuel, et al., Maurice Ravel par quelques-uns de ses familiers, 163–70.Google Scholar
Jung, Carl, and Kerényi, Carl. Introduction to a Science of Mythology: The Myth of the Divine Child and the Mysteries of Eleusis, trans. Hull, R. F. C.. London: Routledge & Kegan Paul, 1970.Google Scholar
Kaminsky, Peter. ‘Of children, princesses, dreams and isomorphisms: Text–music transformation in Ravel’s vocal works’. Music Analysis 19/1 (2000), 29–68.CrossRefGoogle Scholar
Kaminsky, Peter. ‘Ravel’s late music and the problem of “polytonality”’. Music Theory Spectrum 26/2 (2004), 237–64.CrossRefGoogle Scholar
Kaminsky, Peter. ‘The Child on the couch’. In Kaminsky, (ed.), Unmasking Ravel, 306–30.Google Scholar
Kaminsky, Peter. ‘Vocal music and the lures of exoticism and irony’. In Mawer, (ed.), The Cambridge Companion to Ravel, 162–87.CrossRefGoogle Scholar
Kaminsky, Peter. (ed.), Unmasking Ravel: New Perspectives on the Music. University of Rochester Press, 2011, 306–30.Google Scholar
Kelly, Barbara. ‘History and homage’. In Mawer, (ed.), The Cambridge Companion to Ravel, 7–26.Google Scholar
Kelly, Barbara. Music and Ultra-Modernism in France: A Fragile Consensus, 1913–1939. Woodbridge: Boydell and Brewer, 2013.CrossRefGoogle Scholar
Kelly, Barbara. ‘Raoul Gunsbourg’. Grove Music Online, accessed 18 March 2011, www.oxfordmusiconline.com.Google Scholar
Kelly, Barbara. ‘Ravel after Debussy: Inheritance, influence and style’. In Kelly, and Murphy, (eds.), Berlioz and Debussy, 167–80.Google Scholar
Kelly, Barbara, and Murphy, Kerry (eds.). Berlioz and Debussy: Sources, Contexts, Legacies. Aldershot: Ashgate, 2007.Google Scholar
Kilpatrick, Emily. ‘Enchantments and illusions: Recasting the creation of L’Enfant et les sortilèges’. In Mawer, (ed.), Ravel Studies, 31–55.Google Scholar
Kilpatrick, Emily. ‘“Into the woods”: Retelling the wartime fairytales of Maurice Ravel’. Musical Times 149/1902 (Spring 2008), 57–66.CrossRefGoogle Scholar
Kilpatrick, Emily. ‘“Jangling in symmetrical sounds”: Maurice Ravel as storyteller and poet’. Journal of Music Research Online 1 (April 2009), 1–19, http://journal.mca.org.au.Google Scholar
Kilpatrick, Emily. ‘The Carbonne copy: Tracing the premiēre of L’Heure espagnole’. Revue de musicologie 95/1 (2009), 97–135.Google Scholar
Kilpatrick, Emily. ‘The language of enchantment: Childhood and fairytale in the music of Maurice Ravel’. Ph.D. diss., University of Adelaide, 2008.Google Scholar
Kilpatrick, Emily. ‘Therein lies a tale: Musical and literary structure in Ravel’s Ma mère l’Oye’. Context 34 (2009), 45–62.Google Scholar
Kisselgoff, Anna. ‘Ballet: Parade’s dances made into curtain-raiser’. New York Times, 22 February 1981.Google Scholar
Klein, Melanie. ‘Infantile anxiety-situations reflected in a work of art and in the creative impulse’. International Journal of Psychoanalysis 10 (1929), 436–43.Google Scholar
Klingsor, Tristan. ‘L’Époque Ravel’. In Vuillermoz, Émile, Jourdan-Morhange, Hélène, Roland-Manuel, et al., Maurice Ravel par quelques-uns de ses familiers, 125–40.Google Scholar
Koechlin, Charles. ‘Le Mariage, comédie musicale de Moussorgski’. La Revue musicale 4/7 (1 May 1923), 73–7.Google Scholar
Kristeva, Julia. Le Génie féminin: la vie, la folie, les mots. Vol. III, Colette. Paris: Fayard, 2002.Google Scholar
‘L., P.’ ‘L’Académie Française a décerné hier ses deux grands prix annuels’. Comœdia, 11 November 1932.Google Scholar
Lacombe, Hervé. ‘L’Espagne à l’Opéra-Comique avant Carmen: du Guitarrero de Halévy (1841) à Don César de Bazan de Massenet (1872)’. In Lesure, (ed.), Echanges musicaux franco-espagnols, 161–94.Google Scholar
Lacombe, Hervé. ‘L’Espagne à Paris au milieu de XIXe siècle (1847–1857): l’influence d’artistes espagnols sur l’imaginaire parisien et la construction d’une “hispanicité”’. Revue de musicologie 88/2 (2002), 289–431.CrossRefGoogle Scholar
Lacombe, Hervé. ‘The writing of exoticism in the libretti of the Opéra-Comique, 1825–1862’, trans. Glidden, Peter. Cambridge Opera Journal 11/2 (July 1999), 135–58.CrossRefGoogle Scholar
Langham Smith, Richard. ‘French operatic spectacle in the twentieth century’. In Smith, Richard Langham and Potter, Caroline (eds.), French Music since Berlioz. Aldershot: Ashgate, 2006, 117–59.Google Scholar
Langham Smith, Richard. ‘Ravel’s operatic spectacles: L’Heure and L’Enfant’. In Mawer, (ed.), The Cambridge Companion to Ravel, 188–210.CrossRefGoogle Scholar
Langham Smith, Richard. ‘Taming two Spanish women: Reflections on editing opera’. In Kelly, and Murphy, (eds.), Berlioz and Debussy, 83–102.Google Scholar
Langham Smith, Richard. (ed.) Carmen: A Performance Urtext. London: Edition Peters, 2013.Google Scholar
Laparra, Raoul. ‘La Musique et la danse populaires en Espagne’ [1914]. Encyclopédie de la musique et dictionnaire du Conservatoire. Paris: Delagrave, 1920, 2353–400.Google Scholar
Lassus, Marie-Pierre. ‘Ravel, l’enchanteur: structure poétique et structure musicale dans L’Enfant et les sortilèges’. Analyse musicale 26 (1992), 40–7.Google Scholar
Lavelli, Jorge. ‘Le Cauchemar de l’initiation’. Theatre programme: L’Enfant et les sortilèges. Opéra Garnier, May 1979.Google Scholar
Lesure, François (ed.). Echanges musicaux franco-espagnols, XVIIIe–XIXe siècles. Actes des Rencontres de Villecroze. Paris: Klincksieck, 2000.Google Scholar
Little, Elden Stewart. ‘Discrepancies and consistencies among autograph manuscripts and Durand editions of Maurice Ravel’s songs’. DMA diss., University of Texas at Austin, 1999.Google Scholar
Llano, Samuel. ‘España en la vitrina: Maurice Ravel, el mito de la autenticidad y el neoimperialismo español’. Journal of Spanish Cultural Studies 11/1 (June 2010), 1–15.CrossRefGoogle Scholar
Llano, Samuel. ‘Spanish traditions in a cross-cultural perspective: Raoul Laparra’s La Habanera (1908) and French critics’. Journal of the Royal Musical Association 136/1 (May 2011), 97–140.CrossRefGoogle Scholar
Llano, Samuel. Whose Spain? Negotiating ‘Spanish Music’ in Paris, 1908–1929. Foreword by Christoforidis, Michael. New York: Oxford University Press, 2013.Google Scholar
Locke, Ralph. ‘A broader view of musical exoticism’. Journal of Musicology 24/4 (Fall 2007), 477–521.CrossRefGoogle Scholar
Locke, Ralph. Musical Exoticism: Images and Reflections. Cambridge: Cambridge University Press, 2009.Google Scholar
Lüthi, Max. Once Upon a Time: On the Nature of Fairy Tales, trans. Chadeayne, Lee and Gottwald, Paul. New York: Ungar, 1970.Google Scholar
Macdonald, Hugh. ‘Carmen’. Grove Music Online (New Grove Dictionary of Opera), accessed 15 June 2013, www.oxfordmusiconline.com.Google Scholar
Macdonald, Hugh. ‘The prose libretto’. Cambridge Opera Journal 1/2 (1989), 155–66.CrossRefGoogle Scholar
de Maré, Rolf, Fokine, Michel, Tansman, Alexandre et al. Les Ballets suédois dans l’art contemporain. Paris: Trianon, 1931.Google Scholar
Marnat, Marcel. ‘Ravel en représentation’. L’Avant-scène opéra 127 (January 1990), 10–17.Google Scholar
Mason, Francis (ed.). I Remember Balanchine: Recollections of the Ballet Master by Those Who Knew Him. New York: Doubleday, 1991.Google Scholar
Mavor, Carol. ‘Introduction: The unmaking of childhood’. In Brown, Marilyn (ed.), Picturing Children: Constructions of Childhood between Rousseau and Freud. Aldershot: Ashgate, 2002, 27–41.Google Scholar
Mawer, Deborah. ‘Musical objects and machines’. In Mawer, (ed.), The Cambridge Companion to Ravel, 47–67.CrossRefGoogle Scholar
Mawer, Deborah. (ed.) The Cambridge Companion to Ravel. Cambridge: Cambridge University Press, 2000.CrossRefGoogle Scholar
Max-Harry, . ‘M. Maurice Ravel écrit à son tour un “Don Quichotte”’. Unidentified periodical [BnF AdS, Dossier Maurice Ravel], 12 January 1912.Google Scholar
McCarty, Mari Ward. ‘The theatre as literary model: Role-playing in Chéri and The Last of Chéri’. In Eisinger, and McCarty, (eds.), Colette: The Woman, the Writer, 125–34.Google Scholar
Mercier, Michel. ‘L’Enfant et les sortilèges: Analyses / Genèse / Prolongements / Autres prolongements’. Cahiers Colette 29 (‘Sido et les sortilèges’, 2007), 69–86.Google Scholar
Milner, Christine. ‘Notice’ and ‘Note sur le texte’ to L’Enfant et les sortilèges. In Colette, , Œuvres, vol. III.Google Scholar
Milnes, Rodney. ‘L’Heure espagnole and L’Enfant et les sortilèges’. Opera Magazine, accessed 5 March 2013, www.opera.co.uk/view-review.php?reviewID=130.Google Scholar
Mirambel, André. ‘L’Inspiration grecque dans l’œuvre de Ravel’. La Revue musicale 19/187 (‘Hommage à Maurice Ravel’, December 1938), 112–18.Google Scholar
Moore, Burness E., and Fine, Bernard D.. Psychoanalytic Terms and Concepts. New Haven: American Psychoanalytic Association and Yale University Press, 1990.Google Scholar
Mordier, Jean-Pierre. Les Débuts de la psychanalyse en France, 1895–1926. Paris: Maspero, 1981.CrossRefGoogle Scholar
Morrison, Simon. ‘The origins of Daphnis et Chloé (1912)’. 19th-Century Music 28/1 (Summer 2004), 50–76.CrossRefGoogle Scholar
Murphy, Kerry. ‘Carmen: Couleur locale or the real thing’. In Fauser, and Everist, (eds.), Music, Theater, and Cultural Transfer, 509–48.Google Scholar
Narbaitz, Pierre. Maurice Ravel: un orfèvre basque. Anglet (Côte basque): L’Académie internationale Maurice Ravel, 1975.Google Scholar
Newbould, Brian. ‘Ravel’s Pantoum’. Musical Times 116/1585 (March 1975), 228–31.CrossRefGoogle Scholar
Nichols, Roger. The Harlequin Years: Music in Paris 1917–1929. London: Thames and Hudson, 2002.Google Scholar
Nichols, Roger, and Smith, Richard Langham. Claude Debussy: Pelléas et Mélisande. Cambridge: Cambridge University Press, 1989.Google Scholar
Nohain, Jean. ‘Quand j’avais onze ans j’ai entendu siffler et huer L’Heure espagnole’. Unidentified periodical [BnF Mus., Fonds Montpensier (Ravel)], 10 August 1941.Google Scholar
Oldani, Robert W. ‘Musorgsky’. Grove Music Online, accessed 10 July 2011, www.oxfordmusiconline.com.Google Scholar
Orenstein, Arbie. ‘L’Enfant et les sortilèges: correspondance inédite de Ravel et Colette’. Revue de musicologie 52/2 (1966), 215–20.CrossRefGoogle Scholar
Orenstein, Arbie. Maurice Ravel: lettres, écrits, entretiens. Paris: Flammarion, 1989. English edition: A Ravel Reader: Correspondence, Articles, Interviews. New York: Columbia University Press, 1990.Google Scholar
Orenstein, Arbie. ‘Some unpublished music and letters by Maurice Ravel’. The Music Forum 3 (1973), 291–334.Google Scholar
Orenstein, Arbie. (ed.) ‘La Correspondance de Maurice Ravel à Lucien Garban’. Part 1: 1901–1918; part 2: 1919–1934. CMR 7–8 (2000 & 2004), 19–68 & 9–89.Google Scholar
Orledge, Robert. Debussy and the Theatre. Cambridge: Cambridge University Press, 1982.Google Scholar
Palmer, Christopher. ‘Debussy, Ravel and Alain-Fournier’, Music and Letters 50/2 (April 1969), 267–72.Google Scholar
Parakilas, James. ‘How Spain got a soul’. In Bellman, (ed.), The Exotic in Western Music, 137–93.Google Scholar
Pasler, Jann. ‘A sociology of the Apaches: Sacred battalion for Pelléas’. In Kelly, and Murphy, (eds.), Berlioz and Debussy, 149–66.Google Scholar
Pasler, Jann. Composing the Citizen: Music as Public Utility in Third Republic France. Berkeley: University of California Press, 2009.CrossRefGoogle Scholar
Pellissier, Georges. Traité théorique et historique de la versification française. Paris: Garnier, 1894.Google Scholar
Piasa. Lettres et manuscrits autographes, no. 286. Catalogue of sale, December 2011 (Salle Drouot). Paris: Piasa.Google Scholar
de Pourtalès, Guy. ‘Petit hommage à Ravel’. La Revue musicale 19/187 (‘Hommage à Maurice Ravel’, December 1938), 34–5.Google Scholar
Priest, Deborah. Louis Laloy (1874–1944) on Debussy, Ravel and Stravinsky. Aldershot: Ashgate, 1999.Google Scholar
Prost, Christine. ‘L’Enfant et les sortilèges: l’infidélité aux modèles’. Analyse musicale 26/6 (February 1992), 59–63.Google Scholar
Prost, Christine. ‘Maurice Ravel: L’Enfant et les sortilèges, “Cacher l’art pour l’art meme”’. Analyse musicale 21 (November 1990), 65–81.Google Scholar
Prunières, Henry. ‘Trois silhouettes de musiciens: César Franck, Saint-Saëns, Maurice Ravel’. La Revue musicale 7/11 (October 1926), 225–40.Google Scholar
Puri, Michael. Ravel the Decadent: Memory, Sublimation and Desire. New York: Oxford University Press, 2012.Google Scholar
Ravel, Maurice. Édition (la plus complète possible) des correspondances, articles et entretiens de Maurice Ravel, ed. Cornejo, Manuel. Paris: Le Passeur, in preparation for 2016.Google Scholar
Ravel, Maurice et al. ‘Sous la musique que faut-il mettre?’ Musica 101/102 (February/March 1911), 38–40 & 58–60.Google Scholar
Roberts, W. Wright. ‘Child Studies in Music’. Music & Letters 9/1–2 (January & April 1928), 9–17 & 152–60.CrossRefGoogle Scholar
Rodriguez, Philippe. ‘L’Heure espagnole: chronologie critique des sources autour des “auditions privées” entre 1907 et 1911’. CMR 15 (2012), 7–25.Google Scholar
Rodriguez, Philippe. ‘Mme Jean Cruppi: un prénom, un visage, une vie’. CMR 13 (2010), 126–48.Google Scholar
[Roland-Manuel, ]. Archives Roland-Manuel. Catalogue of sale, 24 March 2000. Paris: Thierry Bodin.Google Scholar
Roland-Manuel, . ‘Des Valses à La Valse (1911–1921)’. In Vuillermoz, Émile, Jourdan-Morhange, Hélène, Roland-Manuel, et al., Maurice Ravel par quelques-uns de ses familiers, 141–52.Google Scholar
Roland-Manuel, . Maurice Ravel et son œuvre dramatique. Paris: Les Editions Musicales de la Librairie de France, 1928.Google Scholar
Roland-Manuel, . Ravel. Paris: Nouvelle Revue Critique, 1938. English edition, trans. Jolly, Cynthia: Maurice Ravel. London: Dobson, 1947.Google Scholar
Roy, Jean (ed.). Maurice Ravel: Lettres à Roland-Manuel et à sa famille. Quimper: Calligrammes, 1986.Google Scholar
Roy, Jean (ed.). ‘Soixante-deux lettres de Maurice Ravel à Hélène et Alfredo Casella’. CMR 1 (1985), 59–111.Google Scholar
Roy, Jean (ed.). ‘Vingt-cinq lettres de Maurice Ravel à Maurice et Nelly Delage’. CMR 2 (1986), 13–40.Google Scholar
Russell, John. ‘David Hockney’s designs for Met Opera’s Parade’. New York Times, 20 February 1981.Google Scholar
Saint-André, Pascale. ‘Commentaire musical et littéraire [de L’Enfant et les sortilèges]’. L’Avant-scène opéra 127 (January 1990), 28–57.Google Scholar
Saint-Marceaux, Marguerite. Journal, 1894–1927, edited under the direction of Chimènes, Myriam, preface by Perrot, Michelle. Paris: Fayard, 2007.Google Scholar
Saint-Saëns, Camille. ‘La Question de l’E muet, au double point de vue littéraire et musical’. Le Figaro, 19 August 1904.Google Scholar
Savage, Catherine H. ‘Nostalgia in Alain-Fournier and Proust’. French Review 38/2 (1964), 167–72.Google Scholar
Schillmöller, Mathias. Maurice Ravels Schlüsselwerk L’Enfant et les sortilèges: Eine ästhetisch-analytische Studie. Frankfurt: Peter Lang, 1999.Google Scholar
Schwartz, Joseph. Cassandra’s Daughter: A History of Psychoanalysis in Europe and America. London: Allen Lane, 1999.Google Scholar
Schwarz, Manuela. Wagner-Rezeption und französische Oper des Fin de siècle. Berlin: Technische Universität, 1999.Google Scholar
Sérieyx, Auguste. ‘Salle Érard, Société Nationale’ [Histoires naturelles]. Le Courrier musical 10/3 (1 February 1907), 77–8.Google Scholar
Shakespeare, William. The Norton Shakespeare, ed. Greenblatt, Stephen, Cohen, Walter, Howard, Jean E., Maus, Katharine Eisaman, McMullan, Gordon and Gossett, Suzanne. London and New York: Norton, 1997.Google Scholar
Siegler, Robert, and Alibali, Martha. Children’s Thinking. Englewood Cliffs, NJ: Prentice Hall, 1986 (rev. 2005).Google Scholar
Souillard, Christine. ‘Commentaire littéraire et musical [de L’Heure espagnole]’. L’Avant-scène opéra 127 (January 1990), 84–113.Google Scholar
Steedman, Caroline. Strange Dislocations: Childhood and the Idea of Human Interiority, 1780–1930. Cambridge, Mass.: Harvard University Press, 1995.Google Scholar
Stoullig, Edmond. Les Annales du théâtre et de la musique 37–39. Paris: Ollendorff, 1912–14.Google Scholar
Strauss, Richard, and Rolland, Romain. Richard Strauss et Romain Rolland: Correspondance, Fragments de journal. Cahiers Romain Rolland 3. Paris: Albin Michel, 1950.Google Scholar
Suschitzky, Anya. ‘Fervaal, Parsifal, and French national identity’. 19th-Century Music 25/2–3 (November 2001), 237–65.CrossRefGoogle Scholar
Taruskin, Richard. Musorgsky: Eight Essays and an Epilogue. Princeton: Princeton University Press, 1993.CrossRefGoogle Scholar
Thibaudet, Albert. ‘Réflexions sur la littérature: psychanalyse et critique’. Nouvelle Revue française 91 (April 1921), 467–81.Google Scholar
Tisseur, Clair. Modestes observations sur l’art de versifier. Lyon: Bernoux et Cumin, 1893.Google Scholar
Tumanov, Alexander. The Life and Artistry of Maria Olenina-d’Alheim, trans. Barnes, Christopher. Edmonton: University of Alberta Press, 2000.Google Scholar
Turkle, Sherry. Psychoanalytic Politics: Freud’s French Revolution. New York: Basic Books, 1978.Google Scholar
Vuillermoz, Emile. ‘L’Œuvre de Maurice Ravel’. In Vuillermoz, Émile, Jourdan-Morhange, Hélène, Roland-Manuel, et al., Maurice Ravel par quelques-uns de ses familiers, 1–96.Google Scholar
Vuillermoz, Émile, Jourdan-Morhange, Hélène, Roland-Manuel, et al. Maurice Ravel par quelques-uns de ses familiers. Paris: Tambourinaire, 1939.Google Scholar
Walrond-Skinner, Sue. A Dictionary of Psychotherapy. London and Boston: Routledge & Kegan Paul, 1986.Google Scholar
Wright, Lesley (ed.). Dossier de presse: Carmen (1875). Heilbronn: Musik-Edition Lucie Galland, 2001.Google Scholar
Zachmann, Gayle. Frameworks for Mallarmé: The Photo and the Graphic of an Interdisciplinary Aesthetic. Albany: State University of New York Press, 2008.Google Scholar
Zank, Stephen. Irony and Sound: The Music of Maurice Ravel. Rochester: University of Rochester Press, 2009.Google Scholar