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 ..."

Tags:Debussy, whole-tone, harmony, impressionism, scale

Abstract
This paper gives a comparative/contrastive analysis of the renowned French composer Claude Debussy's 'Syrinx' with the modern Japanese composer Ryo Noda's 'Improvisation I', 'Improvisation I'I, and 'Improvisation III. According to the paper, it requires examining the respective differences and similarities between these composers and their respective compositions, particularly in regard to their style and technique.

From the Paper
"Conducting a comparative/contrastive analysis of the renowned French composer Claude Debussy's Syrinx with the modern Japanese composer Ryo Noda's Improvisation I, Improvisation II, and Improvisation III requires examining the respective differences and similarities between these composers and their respective compositions, particularly in regard to their influences, style and technique."

Tags:debussy, and, noda

Abstract
In this article, the writer discusses that Claude Debussy (1862-1918) was a French composer and critic whose music was often associated with the Impressionist movement in painting. The writer discusses that Debussy believed that the primary aim of music is to give pleasure, and Debussy was especially interested in the sensuous quality of music.

From the Paper
"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 meaning."

Tags:reverie

Abstract
This paper explains that, although this music appears to be without form, "Prelude de L'apres Midi d'un Faune" ("Prelude to Afternoon of a Faun") represents Debussy's unique orchestral method that includes clouds, festivals and sirens. The paper describes the ways that the elements of repetition, new harmonic devices and weightlessness make this music stand out as both a signature and innovative piece. The paper also examines "Prelude de L'apres Midi d'un Faune" to understand the degree of innovation of Debussy's harmonic vocabulary, structure and orchestration.

From the Paper
"Repetition is one technique that make "Prelude de L'apres Midi d'un Faune" so successful. Woodwinds with a delicate foundation of muted horns introduce the primary themes in the piece. The main theme is slow and moves sinuously between 6/8 and 12/8 meters. Debussy also employs recurring themes, such as whole-tone scale runs, modulations between central keys, and tritones. It should be noted that voicings are an important aspect of this piece as well. He explores them in this piece with intensity, always allowing the main theme to move fluidly from instrument to instrument."

Tags:erotic, tone color, string tremolo, complex musical cells, voicings

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)"

Tags:flute, saxophone, Impressionism, innovation, music, style, technique, instrumentation

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)."

Tags:Impressionists, piano, composition, harmony, pedal

Abstract
This paper compares Claude Debussy's music "Prelude a lapres-midi dun faune" (1894) (Prelude to the afternoon of a faun) and the impressionist poem upon which it was based, Stephane Mallarme's "Lapres-midi dun 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-sicle style can be found in Claude Debussy's Prelude lapres-midi dun faune (1894) (Prelude to the afternoon of a faun). Based loosely on Stephane Mallarm's 1876 poetic work, Lapres-midi dun faune, the Prelude 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 Prelude'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."

Tags:classical, debussy, impressionism, mallarme, romanticism, wagner

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..."

Tags:Composers, Debussy, Ellington, Cage, musical styles

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. The paper 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."

Tags:tone, music, classic, musician

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."

Tags:javanese, orchestra, major, third, scales, kumoizyoosi, french, music, eastern, music