George Russell conceptualized his Lydian Chromatic Concept of Tonal Organization as a theory of tonality. He includes an analysis of the opening of Maurice Ravel’s “Forlane” from Le Tombeau de Couperin in the fourth and final edition of his text to demonstrate what his theory—“The Concept”—offers for the analysis of Western art music. This article takes Russell’s claim seriously, discusses The Concept as a theory of tonality, and extends Russell’s analysis to the entirety of “Forlane.” I also connect Russell’s work to broader Black cultural practices and their socio-political resonances.

中文翻译：

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色调重力的冒险：乔治·拉塞尔对莫里斯·拉威尔的《弗兰》的分析

乔治·罗素将他的音调组织的吕底亚半音阶概念概念化为音调理论。他在其文本的第四版也是最后一版中对莫里斯·拉威尔的《Forlane》的开头进行了分析，以展示他的理论“概念”为西方艺术音乐的分析提供了什么。本文认真对待罗素的主张，将概念作为调性理论进行讨论，并将罗素的分析扩展到整部《弗兰》。我还将拉塞尔的作品与更广泛的黑人文化实践及其社会政治共鸣联系起来。