Search results for: Debussy%27s%20music

Authors: Giannaki Natalia

Abstract:

This study examines the songs compilation of Claude Debussy Ariettes Oublieés for voice and piano and especially the songs C’est l’extase langoureuse and Chevaux des bois of the compilation in order to present some interpretational suggestions for the singer and the piano accompanist for a more complete knowledge of the style of French singing of this period. First, the historical frame of the French song (in which this compilation is integrated) is introduced, as well as the historical frame of this work, and then, the most predominant interpretational parameters of the impressionistic French song are presented from testimonies of Claude Debussy and his contemporaries. Moreover, a brief analysis of the verses that turned into music by Debussy from the collection of poems by the famous French poet Paul Verlaine for subsequent interpretative suggestions is integrated into the research. The purpose of this work is not to elucidate the work from a harmonic or morphological point of view. Instead, this research primarily attempts to delve into performance issues through a comparison of four contemporary recordings of the work, from which it will be proved whether the principles of impressionism that were established are respected and how they affect these songs, as well as how much the personal viewpoint of each interpreter intervenes. The latter intends to fill the research gap in the interpretation of Debussy's songs and to guide the performers. To conclude, it will be discovered whether there is any recording closest to a French song’s interpretation principles and how a complete interpretation of a French song should be.

Keywords: Ariettes Oublieés, Claude Debussy, comparison, French song, impressionism, interpretation, performance practice, music performance, piano, recordings, singing, voice

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Authors: Rika Uchida

Abstract:

Claude Debussy's piano works can be divided into three categories in terms of style characteristics. The first category includes works which are strongly impressionistic, evoking a mood or an atmosphere, rather than making a direct, clear statement. These works often depict nature, and they are descriptive and sensitive in their character. Harmonic vocabulary is often complex, and the sense of tonality is often ambiguous in those works. Examples which belong to this category are ‘Clair de lune’ from Suite Bergamasque, Deux Arabesques, and ‘Reflets dans l'eau’ from Images Book 2. The second category shows little or no trace of impressionism. Works are not descriptive; rather, they are classical or absolute. Examples which belong to this category are Pour le Piano, ‘Hommage à Rameau’ and ‘Movement’ from Images Book 1 and Etudes. The third category can be called exotic. Debussy had a great interest in foreign lands such as the Far and Near East, and Spain. He employs pentatonic and quartal harmonies to describe the Orient, occasionally using the effect of the Javanese gamelan, which impressed him at the Paris Exhibition. His compositions in the Spanish style evoke the atmosphere of Spain. Though he borrowed some techniques from Spanish composers whom he knew, the tonal experimentation which occurs in these works sets them apart. Examples which belong to this category are ‘Pagodes’ and ‘la Soiree dans Grenade’ from Estampes, ‘la Puerta del Vino’ from Preludes Book 2.

Keywords: music, piano, Debussy, style

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Authors: Yu-Shun Elisa Pong

Abstract:

Music aesthetics related to phenomenology is rarely discussed and still in the ascendant while multi-dimensional discourses of philosophy were emerged to be an important trend in the 20th century. In the present study, a basic theory of phenomenology from Edmund Husserl (1859-1938) is revealed and discussed followed by the introduction of intentionality concepts, eidetic reduction, horizon, world, and inter-subjectivity issues. Further, phenomenology of music and general art was brought to attention by the introduction of Roman Ingarden’s The Work of Music and the Problems of its Identity (1933) and Mikel Dufrenne’s The Phenomenology of Aesthetic Experience (1953). Finally, Debussy’s music will be analyzed and discussed from the perspective of phenomenology. Phenomenology is not so much a methodology or analytics rather than a common belief. That is, as much as possible to describe in detail the different human experience, relative to the object of purpose. Such idea has been practiced in various guises for centuries, only till the early 20th century Phenomenology was better refined through the works of Husserl, Heidegger, Sartre, Merleau-Ponty and others. Debussy was born in an age when the Western society began to accept the multi-cultural baptism. With his unusual sensitivity to the oriental culture, Debussy has presented considerable inspiration, absorption, and echo in his music works. In fact, his relationship with nature is far from echoing the idea of Chinese ancient literati and nature. Although he is not the first composer to associate music with human and nature, the unique quality and impact of his works enable him to become a significant figure in music aesthetics. Debussy’s music tried to develop a quality analogous of nature, and more importantly, based on vivid life experience and artistic transformation to achieve the realm of pure art. Such idea that life experience comes before artwork, either clear or vague, simple or complex, was later presented abstractly in his late works is still an interesting subject worth further discussion. Debussy’s music has existed for more than or close to a century. It has received musicology researcher’s attention as much as other important works in the history of Western music. Among the pluralistic discussion about Debussy’s art and ideas, phenomenological aesthetics has enlightened new ideas and view angles to relook his great works and even gave some previous arguments legitimacy. Overall, this article provides a new insight of Debussy’s music from phenomenological exploration and it is believed phenomenology would be an important pathway in the research of the music aesthetics.

Keywords: Debussy's music, music esthetics, oriental culture, phenomenology

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