Abstract This paper describes the impressionist quality of the composer Debussy. It looks at Debussy's use of the whole-tone scale rather than the more popular use of the tonic, or atonal music. It also discusses two of his important compositions: "Pelleas et Melisande" and "Prelude to the Afternoon of a Faun".
From the Paper "Claude Debussy reveled in harmony. His works are redolent of complex and innovative harmonics and his ability to create new and innovative ways of exploring and playing with traditional Western harmonics helped allow those harmonic traditions to develop into ..."
A comparison of Claude Debussy's "Prelude a l"apres-midi d"un faune" (1894) (Prelude to the afternoon of a faun) and the impressionist poem upon which it was based, Stephane Mallarme's "L"apres-midi d"un faune."
Abstract This paper compares Claude Debussy's music "Prelude a l"apres-midi d"un faune" (1894) (Prelude to the afternoon of a faun) and the impressionist poem upon which it was based, Stephane Mallarme's "L"apres-midi d"un faune." It discusses the role impressionism played in the visual arts in the development of impression in French music at the end of the nineteenth century. A discussion of the movement away from Wagnerian and Romantic ideals is also included.
From the Paper "By the late nineteenth century, Romantic music in Europe had reached the pinnacle of its success, in terms of both mastery of the art form and popularity among the public. Epitomized by the musical accomplishments of the Germans (Wagner and Brahms) and those of the Russians (Tchaikovosky), music composed in the Romantic style was markedly sentimental and quite non-evasive in its presentation of ideas, particularly those of "true passion" (Wright, 320). It was in direct opposition to these norms of expression of true passion through sentimentality and overt symbolism that the Impressionist movement in music began. Beginning in France and drawing its ideals from the rebellions against Romantic and Classical styles in such other artistic mediums as painting and literature (particularly poetry), Impressionist music attempted to express true emotion in more subtle ways, in ways other than "sheer volume of sound and epic length" (Ibid). A principal example of this new fin-de-si"cle style can be found in Claude Debussy's Pr"lude ? l"apr"s-midi d"un faune (1894) (Prelude to the afternoon of a faun). Based loosely on St"phane Mallarm?'s 1876 poetic work, L"apr"s-midi d"un faune, the Pr"lude exemplifies the Impressionist tendency to suggest ideas rather than explicitly set them forth. Debussy, in working in close conjunction with Impressionists representing alternate artistic mediums, extracts many of the Pr?lude's compositional strategies from ideals prevalent in Impressionist art and Symbolist poetry. The resulting composition exhibits all the ideals of the Impressionist movement, and it served to bring the Impressionist movement to the general public, quickly preparing the way for the genesis of modern music."
Abstract This paper describes the musical styles and influences of three of the greatest 20th Century composers: Claude Debussy, Duke Ellington and John Cage. The paper examines the innovations of each composer and cites examples of their work.
From the Paper "The works of Claude Debussy represent a transition from the late Romantic era in music to music of the 20th century. His unique musical language veered away from the style of Wagner with its heavy emotion. Instead Debussy wrote..."
Abstract The paper relates that Claude Debussy's music was often associated with the Impressionist movement in painting. The paper shows how his piece "Reverie" reflected the aesthetic currents of the time and mirrored the methods of the Impressionists. The paper describes the complexities of this piece.
From the Paper "Claude Debussy (1862-1918) was a French composer and critic whose music was often associated with the Impressionist movement in painting. He believed that the primary aim of music is to give pleasure, and Debussy was especially interested in the sensuous quality of music. He often allowed the sensuous qualities of the sound to override many of the rules of composition and harmony. In his early period, Debussy was a follower of Wagner and saw his power as the future of music, especially with reference to musical drama. He later changed his focus and was influenced by the symbolist and decadent movements in poetry, notable for their interest in sound and abstract meaning. Debussy became increasingly drawn to abstract forms in music as well ("Claude Debussy" paras. 1-6)."
Abstract The paper compares and contrasts the renowned French composer Claude Debussy's compositions for flute entitled "Syrinx" with the modern Japanese composer Ryo Noda's compositions for saxophone entitled "Improvisation I", " Improvisation II" and "Improvisation III". The paper examines the similarities and differences between these composers and their respective works in terms of style, technique and instrumentation. The paper shows how the works of both composer reflect their mutual regard for traditional influences but higher regard for innovative creativity. A large amount of source material is appended to the paper.
From the Paper "In discussing Claude Debussy's work, it is important to note the shift in music compositional style that he instigated in the late Nineteenth Century and early Twentieth with Impressionism. Syrinx, which was written in 1913 for an uncompleted Gabriel Mouray play entitled Psyche, embodies such traits and demonstrates why Debussy was considered "a great harmonic innovator of the Twentieth Century." His new compositional style featured "fresh, new tonal perspectives without abandoning tonality itself." (Moss)"
Abstract This paper reviews Claude Debussy's musical masterpiece, ?Reverie,? which was written during the late 19th century. It discusses how the tone and feel of Debussy's "Reverie" is different from that experienced by the listener upon hearing Billy Joel's ?Reverie,? part of his album, ?Fantasies and Delusions,? which was released in 2001. It shows how it is Joel's attempt at paying homage to a classical artist whose works he admired and who had influenced him early on in his training as a musician and how the song, reminiscent of Debussy's piece, has a different melody and is stronger in tone and louder than Debussy's work.
From the Paper "The music moves slowly and deliberately, and yet with a rhythm that brings to mind water flowing and bubbling in a fountain. As the song continues, the music becomes more wavelike in tone. The way the music ?while still remaining soft and tranquil ? moves back and forth in a slight crescendo only to die away again can?t help but make the listener think of waves. However, these are not the crashing waves of a beach, but rather the waves that might lap the shores of a small lake. This is not a piece that lends itself well to lyrics. Instead, it urges the listener to do what is suggested by the title and simply drift away, letting one's thoughts move off where they will like clouds blowing across the sky."
Abstract Through an analysis of the music of eight Western classical composers, this paper attempts to understand how their various environments influenced their musical output. The eight composers that this paper studies are: Johann Sebastian Bach, Joseph Haydn, Richard Wagner, Peter Iljitch Tchaikovsky, Claude Debussy, Igor Stravinsky, Bela Bartok and George Crumb. The paper chooses to focus on specific compositions to demonstrate how each artist was affected by the events of his life -- from personal situations such as a family crisis, marriage or the loss of a loved one to broader social/cultural developments in his country or the world.
Outline:
Introduction
Johann Sebastian Bach
Joseph Haydn
Richard Wagner
Peter Iljitch Tchaikovsky
Claude Debussy Igor Stravinsky
Bela Bartok
George Crumb
Conclusion
From the Paper "In Bach's Christ lag in Todesbanden (Church Cantata No. 4), written for Easter Sunday, the hymn melody and its verses are used exclusively throughout the piece. The opening measure, in the style of Buxtehude, Bach's mentor, is followed by seven verses, each having its own musical signature. In this opening measure, one can hear that the music is touched by the sorrows of death, but in the third verse, there is an outpouring of joy. This cantata was written in 1724 during a period in Bach's life that was full of musical expression. However, in 1720, his first wife, Maria Barbara died, and in 1721, Bach married Anna Magdalena Wuelken who bore him thirteen children. Thus, through the music of Cantata No. 4, Bach's sadness over the death of his first wife can be sensed; however, due to his strict religious upbringing, his joy can be sensed in the third verse which reflects his knowledge that his late wife is now with God in Heaven."
Abstract This paper discusses the history and origins of the Javanese Gamelan, its debut at the Exposition Universelle that was held in Paris in 1889, and the lasting impact the Javanese Gamelan's performance had on the music of Debussy.
From the Paper "Thus, Achille-Claude Debussy emerges as one of the most innovative of modern, Western composers. His exploration and adaptation of Oriental musical forms, those of gamelan in particular, broadened the horizons of European music and opened up opportunities for a whole a range of new methods of expression. Rather than adhering to strict rules of tonality, and harmony, composers were now free to use forms that more closely matched human emotions, and the raw power of natural forces. Debussy's adoption of Javanese and other Oriental techniques was an essential part of the whole larger movement, then current, that favored looking beyond Europe, and out into the wider world for inspiration."
Abstract In this paper the author looks at the characteristics of different time periods in music starting with Medieval music and cites examples in each category. The author then moves on to look at some prominent composers, including, (to name but a few), Purcell, Vivaldi, Shutz, Bach, Mozart and Beethoven, and shows how their works demonstrate the traits of the periods previously mentioned. The author concludes with a brief discussion of form and structure looking at various examples such as song form, themes and variations and sonatas.
From the paper:
?Franz Liszt
Liszt was a composer of the Romantic period and was among the first to arrange entire programs of solo piano music. He composed piano miniatures, solo piano music, transcription pieces, symphonic poems and symphonies. Some of his best known pieces include Mephisto Waltz, Totenanz,Leibestraum and the Hungarian Rhapsodies.?
Tags: middle ages baroque renaissance medieval plain chant troubadour music polyphonic motet opera trio counterpoint classical cadences symphony minuet rondo sonata romanticism symphonic poem concerto wagner impressionism debussy twentieth century rigadoon, con
Abstract This paper focuses on Alexander Scriabin as a pianist, compose,r and mystic. It addresses his early, middle, and late periods. As a Russian composer ,he pushed the realms of atonality further than any before him. Yet, despite his achievements, Scriabin's place in the annals of Western music is relatively minor and oft debated, mostly due to the fact that few, if any, composers ever followed in his path. The paper focuses on the transformation of his music throughout his life, as well as some of the compositional devices he employed in his works.
From the Paper "In discussing Scriabin's place in Western music, it is necessary to discuss the completely unique compositional idiom that he developed. By far the most remarkable thing about Scriabin's music is the nature of his harmonies. The dissonant tritone dominates all of his chords in the late music, and almost never receives resolution."
Abstract This paper looks at the radical changes that took place in Western art music in the early years of the 20th century focusing on the loss of tonality and how the music of various composers of the time reflected the changes. The paper includes sections on Debussy, Schoenberg, Berg, Webern, Stravinsky, and Ives.
From the Paper "Impressionist Claude Debussy was the first composer to successfully assert a French tradition free from Germanic influences in Western music. Debussy's most influential innovation was in his use of chords for tone colour rather than structure, an effect that destroyed the piece's sense of musical destiny through cadence. The overused diatonicity of the Germanic chord system was replaced with whole tone and pentatonic scales, both of which, lacking a leading note, have little sense of musical destination."
Abstract This paper discusses the effects of Poe's ground-breaking literary style on modern pop culture. Comparisons are made to several artists, musicians and composers, directors, and authors, such as Manet, Kupka, Munch, Jim Morrison, Claude Debussy, The Alan Parsons Project, Alfred Hitchcock, Tim Burton, Stephen King, Ray Bradbury, Sir Arthur Conan Doyle, and Franz Kafka, to name a few.
From the Paper ""Edgar Allan Poe never produced any biological offspring during his lifetime, but clearly his literary children are everywhere" (Magistrale 9). Poe's impressive avant-garde style provides inspiration for many people to fabricate captivating pieces. Because he writes an excess of 120 poems, sonnets, and stories in his lifetime, Poe remains a prominent figure in society. A tremendous appreciation for Poe's work motivates his so-called "children" to sample his style in a vast number of their own ways. Therefore, the great influence Edgar Allan Poe's writings have on modern culture is evident in many areas including art, music, and literature."
