Conceptualising Sound, Inferring Structure, Making Meaning: Artistic Considerations in Ravel’s ‘La vallée des cloches’

Processes of preparing repertoire for performance in the field of artistic pianism are far from linear, often involving many epistemic modes contributing to an ever-evolving relationship between the pianist, the score and their instrument. Beyond the absorption and internalisation of the score (note-learning, memorisation, addressing technical issues), a range of contingent elements preoccupy pianists in their artistic journey of interpretation. These multifarious influences and approaches have increasingly been acknowledged in the field of Artistic Research, which has for some time sought to move beyond textualist, singular readings of works as bearers of fixed meanings and recognise the creative role of performers and the experience they bring. Through scholarly and phenomenological enquiry concerning the practice of ‘La vallée des cloches’ from Miroirs by Maurice Ravel, in this article, I attempt to represent the multi-modal complexity involved in the creative process of interpretation from my perspective as pianist and artistic researcher. I present novel engagement with scholarship in a multidisciplinary sense, demonstrating a dialogue through which scholarship and performance can interact. I reveal new insights about ‘La vallée des cloches’ through the analysis of my own diary entries logged over three practice sessions, exploring the themes of sound conceptualisation, the consideration of musical structure, and the creation of meaning.