PARIS, Dec. 28.--Maurice Ravel, one of the best known French composers, died in a clinic here today at the age of 62. He had been operated upon on Dec. 17 for a brain ailment from which he had been suffering for some years. His compositions, notably "Scheherazade," "La Mere l'Oye," "Pavane pour une infante defunte" and "Bolero," pleased concertgoers the world over. He had been professor at the American School of Music in Fountainebleau. Wrote in Many Forms Maurice Ravel ranked as one of the outstanding composers of music of the twentieth century. He wrote in many forms, for piano, voice, opera, ballet, chamber ensembles and orchestra. Perhaps his most significant contribution was his mastery of instrumentation. It was said of him that his genius had a fantastic turn, but a critic pointed out that "form, form, form, present in the small works as in the biggest and freest ones," was always the foundation of his music. Speaking of his own aims and ideals, Mr. Ravel once said: "Of course, if I ever did a perfect piece of work I would stop composing immediately. One just tries, and when I have finished a composition I have 'tried' all I can; it's no use attempting anything more in the same direction. One must seek new ideas." Mr. Ravel deliberately fashioned his musical style and followed his self-appointed path. When he was asked about the need for a composer to write with sincerity, he replied: "I don't particularly care about this 'sincerity.' I try to make art." He illustrated his point by saying that he had worked on a violin and piano sonata for four years, three of which were spent in taking out the notes that were not necessary. Began Piano Lessons at 12 Mr. Ravel was born in Ciboure, near St. Jean-de-luz, March 7, 1875. His mother was of Basque descent, his father came of French and Swiss people. When he was 12 years old he was taken to Paris for lessons in piano and theory. Two years later his serious training began when he entered the Paris Conservatory as a piano student. In a few seasons his talent won him an honorary medal and entry to the advanced class of Charles de Beriot. Supplementing his piano work were his classes in harmony with Emile Pessard, counterpoint and fugue with Andre Gedalge and composition with Gabriel Faure. His own tastes led him to study the music of Satie, Liszt, Chabrier and many of the Russians, principally Rimsky-Korsakoff, all of whom exerted some influence upon his work. But from the first, as is revealed in his earliest known compositions, his style was a personal one. The first public hearings of his music were unfavorably reviewed by the few critics who paid attention to them. That fact, however, set up the story that Ravel was a dangerous political revolutionist--a story that spread to musical officialdom and seriously hindered the young composer's early efforts at recognition. Thus, having won the second place in the Prix de Rome in 1901, he tried unsuccessfully for the first prize in the following two years. Ruled Ineligible by Jury In 1905 the jury ruled him ineligible in the preliminary contest, designed only to eliminate obviously incompetent candidates. Since his string quartet, his "Pavane" and "Jeux d'eau" for piano had been performed and published, this verdict was patently unfair. Important critics who had little sympathy with Mr. Ravel's music protested vigorously, but as far as concerned the Prix de Rome, in vain. Recognition of Mr. Ravel's gifts, however, was not slow in coming. There was no ignoring early works like "Jeux d'eau" (1901), "Gaspard de la nuit" and the "Mother Goose" suite (1908). Of later works the "Scheherazade," "Alborada del gracioso," "Rhapsodie Espagnole" and "La Valse"--all for orchestra--were notable contributions. Other important works are the F major string quartet, Introduction and Allegro for harp, quartet, flute and clarinet; "Tzigane" for piano and violin, "Le Tombeau de Couperin" for orchestra, the comic opera "L'Heure Espagnole," and many songs. The opera was given by the Metropolitan Opera Company in the season of 1925-26, with Lawrence Tibbett in a leading role. Two years later Mr. Ravel came to America, appearing as pianist and conductor in his own works. Perhaps more than any other of his compositions, the now ubiquitous "Bolero" for orchestra spread the name of Ravel throughout the world. Its first hearings created storms of enthusiasm and dissent, but it is now firmly entrenched in the concert repertoire. Based on a single theme, its entire power resides in its masterly orchestration and cumulative effect. As a writer of ballet music, Mr. Ravel's importance was such that, when the Diaghileff Ballet Russe brought out "Daphnis et Chloe" in 1912, it was deemed by one critic a "date notable in the revival of the French ballet as well as in Ravel's career." The ballet had its American premiere in Philadelphia in 1936 with the Philadelphia Orchestra by an ensemble of sixty dancers under the direction of Catherine Littlefield. Assiduously avoiding public attention, Ravel rarely accepted prominent posts or honors. Twice he was proposed for the Legion of Honor, but he declined. Three years ago he accepted the position of director of the American Conservatory of Music at Fountainebleau, but ill health prevented him from continuing his responsibilities.