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Articles de revues sur le sujet "Debussy, Claude (1862-1918) – Appréciation"
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Tomic, Marija. « Écoutant la musique de pan : Regarding the ontological horizons of 'Pause' in Claude Debussy’s Syrinx ». Muzikologija, no 31 (2021) : 213–29. http://dx.doi.org/10.2298/muz2131213t.
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The basic thesis of this paper is that 'pause' represents the ontological center of Claude Debussy?s (1862-1918) Syrinx for solo flute (1913). The phenomenon of the musical work is interpreted through an ontological perspective, following Roman Ingarden?s reflections presented in his Ontology of the Work of Art, having also in mind the different modes in which music can exist, that can be read from Ferruccio Busoni?s Sketch of a New Esthetic of Music. Since the programmatic content of Syrinx represents the myth of Pan?s flute, we necessarily introduce Mircea Eliade's explication of the phenomenon of myth, more precisely, of the mythical time, into the theoretical discussion as well.
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Briscoe, James R., et Chloé Huvet. « Saint-Saëns, Debussy, and Superseding German Musical Taste in the United States1 ». Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, no 1-2 (25 avril 2017) : 113–19. http://dx.doi.org/10.7202/1039617ar.
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In an interview published in the October 21, 1908, issue of the Boston Transcript, Debussy had been asked to comment on American musical life. He remarked, “The distinction of a country like [the United States] is that it imbibes from all sources... it is less German bound than are the countries who hear little or no other music through chauvinism or antipathies.” This paper examines the roles of Camille Saint-Saëns (1835-1921) and Claude Debussy (1862-1918) in driving such a modernist evolution. Saint- Saëns performed with and conducted the New York Symphony in 1906, including his symphonic poem Le rouet d’Omphale and playing solo piano in his Africa, Fantaisie pour piano et orchestre. He thereafter appeared in both Chicago and San Francisco, and critics could already hear the modernist aesthetic in formation. When conductor Frederick Stock, a stalwart champion of French music, led Prélude à “L’après- midi-d’un faune” in Chicago in December 1908, the symbolist dimensions of the new music were grasped by both critics and audiences, and Paul Rosenfeld wrote: “We should look to France for the latest gospel [of the new musical advancement] […] Claude Debussy has broken through the limitation of the old, and shall we say he has found new musical dimensions?” Contemporaneously, the premiere of Pelléas et Mélisande in New York dramatically impressed the new hearing on American audiences. To be sure, anti-German feelings after 1910, brought with the Great War, promoted such a shift from the aesthetics of the Gilded Age, but the new French music had itself led the way since just after 1900. By 1923, Carl Van Vechten, in Music after the Great War, wrote, “It is not from the German countries that the musical invention of the past two decades has come. It is from France.”
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Komatović, Nikola. « “Modulate ! modulate ! modulate ! but do not change the key.” ». Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no 2 (2018) : 517–26. http://dx.doi.org/10.31724/rihjj.44.2.12.
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U povijesnim izvorima postoji anegdota o satu orguljaške improvizacije koji je 1880- tih godina mladi Claude Debussy (1862. – 1918.) pohađao kod tada već renomiranoga skladatelja i orguljaša Césara Francka (1822. – 1890.). Prema svjedočenjima, Franck je mladomu i samouvjerenomu studentu uporno ponavljao (cit.): „Moduliraj! Moduliraj! Moduliraj!ˮ, što je Debussy uporno odbijao jer se (parafr.) „osjećao najbolje upravo u polaznome tonalitetuˮ. Naravno, među pripadnicima dviju različitih generacija došlo je do izvjesnoga nesporazuma, no postavlja se pitanje je li on bio stilsko-estetske ili samo terminološke prirode? 526 Rasprave 44/2 (2018.) str. 517–526 U današnje vrijeme pojam modulacija nedvosmisleno se izjednačava s promjenom tonaliteta. Međutim, u francuskoj teorijskoj literaturi 19. stoljeća (kao i u tadašnjoj europskoj literaturi općenito) taj je termin prošao značajan razvojni put, pri čemu se (u skladu s ranijim diskusijama iz vremena prosvjetiteljstva) najprije najčešće sagledavao znatno šire, kao način tonalnoga ostvarivanja (npr. u knjigama Fétisa i de Momignyja ), prije nego što je počeo dobivati suvremene paradigmatske pretpostavke (npr. u „Udžbeniku kompozicijeˮ Antona Reicha). Međutim, čak i kad je modulacija postala sinonim za promjenu tonalnoga centra, pojedini teoretičari mlađe generacije nastavili su insistirati na tome da ona može imati i šire značenje („Traktat o harmonijiˮ Napoleona Henrija Rebera). U ovom je radu predočeno na koji se način odvijao paradigmatski razvoj pojma modulacija te kako različite suvremene kategorizacije promjene tonaliteta zapravo vuku korijene iz ranijih značenja toga pojma. Stoga se, između ostaloga, pokušalo zaključiti i je li nesporazum s početka teksta odražavao estetski ili puki teorijsko-terminološki procijep u razumijevanju između kompozitora školovanoga u prvoj polovici 19. stoljeća nasuprot njegovu kolegi nekoliko stoljeća poslije.
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Sobaskie, James William. « L'art de la flûte française ». Nineteenth-Century Music Review, 9 janvier 2023, 1–15. http://dx.doi.org/10.1017/s1479409822000489.
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Some albums entail more than meets the ear. In the Age of Ravel and In the Age of Debussy surround representative works of Maurice Ravel (1875–1937) and Claude Debussy (1862–1918) with contextualizing selections from contemporaries. Compellingly rendered by Ransom Wilson and François Dumont, these discs document six decades of innovation. They also illuminate intriguing connections as well as fascinating contrasts among familiar and unfamiliar works. And each celebrates the art of the French flute. But there's more.
Thèses sur le sujet "Debussy, Claude (1862-1918) – Appréciation"
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Veber, Zdenka. « La réception de la musique de Claude Debussy en Croatie ». Paris 4, 1985. http://www.theses.fr/1985PA040008.
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Fautereau, Vassel Émilie de. « Émergence de la figure historique de Claude Debussy dans la presse et la littérature de son temps ». Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL005.pdf.
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Pour mettre en évidence l'importance du rôle de la critique dans la constitution de la figure historique de Debussy, il pourrait suffire de remarquer que sa carrière, qui commence vers 1884 et s'achève à sa mort en 1918, se superpose précisément à la période durant laquelle la presse française connaît son âge d'or. Mais ses conceptions musicales révolutionnaires ont en outre provoqué analyses et débats en nombre, dans un contexte parfois polémique. Et la création de Pelléas et Mélisande entraîna, en 1902, ce que l'on peut appeler la controverse critique du siècle. Notre projet de recherche a consisté à réunir des articles critiques assez nombreux pour que, de la confrontation des textes, puisse émerger la représentation la plus fidèle possible de Debussy tel que son époque le percevait. Nos annexes présentent ainsi quelque 800 extraits transcrits et classés. Le discours sur Debussy évolue, mais présente des constantes ; par exemple, les critiques en appellent souvent à des catégories issues de la peinture (impressionnisme) ou de la littérature (symbolisme) pour tenter — sans réel succès — d'agréger à des mouvements connus les œuvres d'un compositeur féru d'arts picturaux et de poésie. Un autre aspect se dégage du corpus : sa remarquable richesse formelle. Invention lexicale et rhétorique, pastiche, caricature, apologues, portraits… Si le littéraire envahit le champ critique, la critique, l'œuvre et le compositeur sont intégrés dans le champ littéraire, devenant objets de fiction. Des portraits et extraits fictionnels sont venus compléter le corpus, éclairant la façon dont la littérature a pu influer sur l'inscription de la figure du compositeur dans notre mémoire collectiveTo highlight the role of critics in the constitution of the historical figure of Claude Debussy, it could suffice to note that his career, which starts around 1884 and ends at his death in 1918, precisely overlaps the golden age of the French press. Though, his revolutionary musical conceptions also generated numerous analysis and debates, in a sometimes controversial context. And the première of Pelléas et Mélisande spurred, in 1902, what we may call the critical controversy of the century. Our research project aimed to gather critical articles in sufficient numbers so that, through the confrontation of the texts, could emerge the most faithful representation of Debussy, such as his time perceived him. Our appendixes present near 800 excerpts, transcribed and sorted. The discourse on Debussy evolves, but does present some constants; for example, critics often call upon categories coming from painting (impressionism) or literature (symbolism) in order to attempt — with little actual success — to categorize among familiar movements the works of a composer, keen on pictorial arts and poetry. Another dimension emerges from the corpus: its remarkable formal richness. Lexical and rhetorical invention, pastiche, caricature, apologues, portraits… As the literary spills into the field of the critic, the works and the composer are conversely integrated in the literary field, and become fictional matter. Portraits and novel extracts have completed the corpus, shedding light on the way literature has contributed to the imprint of the figure of the composer in our collective memory
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Pascoal, Maria Lucia Senna Machado 1937. « Preludios de Debussy : reflexo e projeção ». [s.n.], 1989. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284333.
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Orientadores : Jose Antonio de Almeida Prado , Helena JankTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-13T22:14:36Z (GMT). No. of bitstreams: 1 Pascoal_MariaLuciaSennaMachado_D.pdf: 7534551 bytes, checksum: b7212ad76f9190cc72764d409cad2c9b (MD5) Previous issue date: 1989
Resumo: Existem peças musicais que se constituem em conjutos homogeneos e seu estudo pormenorizado nos leva a compreender o pensamento musical de um compositor. Um desses conjuntos de peças são os 24 Prelúdios de Claude Debussy, escritos entre 1909/1912, representativos de sua plena maturidade. Obra das mais importantes na literatura pianistica pelo maneira nova de tratar o instrumento, é também pela própria composição que nos revela como Debussy, utilizando-se de ténicas antigas, outras estranhas ao repertório europeu, cria sua linquagem original: amplia os códigos de sua epoca, inventa novos que se projetam e abrem caminhos para a música do século xx. O que este trabalho demonstra: através da análise e levantamento das técnica, faz ligações e comparações dos Prelúdios de Debussy com músicas de diversas épocas, sistemas e estilos musicais/pianisticos, considerando-os portanto, como reflexo e projeção
Abstract: Some musical works may be considered as an homogeneous whole and by studying them in detail, the composer's musical thought will be revealed. One of these pieces are DEBUSSY'S 24 PRELUDES, written between 1909- 12. Representing the culmination of his artistic maturity, they are an important work in the pianistic literature because of the new treatment that is given to the instrumento Also regarding the composition itself, Debussy makes use of ancient as well as foreign techniques, that until then did not belong to the European repertoire. In these PRELUDES the composer shows how he creates his original language, by increasing the codes of his time and inventing new ones, which outstood and have opened the way for the outcome of the twentieth century's music. That's what is demonstrated here, comparing DEBUSSY'S PRELUDES to music of different times as well as musical/pianistic systems and styles, considering them in view of alI that as REFLECTION and PROJECTION
Doutorado
Doutor em Artes
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Blount, Jodi Lambert. « Claude Debussy's Images, series two, and the influences on Debussy's compositional style ». Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008243.
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Lassauzet, Benjamin. « Claude Debussy et l'humour ». Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC034.
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Claude Debussy n’est pas habituellement un compositeur dont on associe la production musicale à l’humour. Il existe pourtant un Debussy humoriste, trop souvent oublié, qu’il est nécessaire de réhabiliter afin d’obtenir une image plus fidèle de son œuvre. Pour comprendre les raisons pour lesquelles on n’a pas, à ce jour, accordé à l’humour de Debussy la place qu’il mérite dans son style et sa production, nous dirigeons nos investigations vers les différents maillons de la relation esthétique à son œuvre, tels que les décrit Jean-Jacques Nattiez : le poïétique et l’esthésique. Il s’agit alors d’observer les facteurs risquant d’amener les différents rouages à se gripper dans la perception et la compréhension du comique musicalClaude Debussy isn’t a composer whose musical production tends to be associated to humour. However, one must consider and rehabilitate a humorist Debussy, too often forgotten, if one wants to obtain a more faithfull idea of his work. In order to understand the reasons why one has not, until this day, accorded to Debussy’s humour the role it deserved in his style and production, we will investigate the different steps of the aesthetical relation with his work, as described by Jean-Jacques Nattiez: the poïetic and the aesthesic. We shall observe the downside risk that may seize up the mechanism of comic perception and understanding in music
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Etheridge, Kay 1954 Apr 18. « Stylistic and Technical Considerations for Pedaling the Debussy Preludes, Together with Three Recitals of Selected Works of L. van Beethoven, A. Berg, J. Brahms, F. Chopin, C. Debussy, W.A. Mozart, S. Prokofieff, A. Schoenberg, F. Schubert, and R. Schumann ». Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc330821/.
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The lecture recital was given November 6, 1989. Five Preludes by Claude Debussy were preformed following a lecture on some important considerations of approaching the pedaling complexities in his solo piano works. In addition to the lecture recital, three other solo piano recitals were performed. The first solo recital consisted of works by Franz Schubert and Robert Schumann, and was performed on November 17, 1980. On March 1, 1982, the second solo recital was presented. This performance consisted of works by J. Brahms, W.A. Mozart, S. Prokofieff, and A. Schoenberg. The third solo recital was performed on November 21, 1988 and included the works of L. van Beethoven. A. Berg, F. Chopin, and C. Debussy. The four programs were recorded on tape and filed with the written version of the lecture as part of the dissertation.
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Rode, James A. « Sensory understanding if the piano preludes of Claude Debussy ». Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/341.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Music
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Pieva, Mirka Campello da. « O estudo pour les octaves de Claude Debussy : um relato sobre a organização do processo de aprendizagem motora ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/6489.
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Este trabalho relata a organização do meu processo de aprendizagem motora do Estudo Pour les Octaves de Claude Debussy. Nele, são descritos o planejamento, a implementação e a avaliação da prática através do modelo tripartido de Fitts e Posner (1979). A prática foi organizada da seguinte forma: a peça foi segmentada e foram definidos os movimentos necessários à sua execução através dos ciclos de movimento (PÓVOAS, 1999). O estudo da peça iniciou-se pelos segmentos, os quais foram gradativamente integrados. As sessões de prática foram documentadas através de relatos escritos e gravações em vídeo e algumas foram supervisionadas pela orientadora. Os dados coletados foram avaliados tanto ao longo da implementação da prática, quanto a posteriori, através de uma reflexão retrospectiva do processo.
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Astilla, Christopher. « "Between the Staves" - Adaptations of Debussy's Six épigraphes antiques and Creative Tasks of the Performer ». Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5205/.
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The Six épigraphes antiques represent a cross-section of Debussy's creative output that traces the composer's germ-seed from his original setting of the work in 1901 as incidental music to accompany the recitation of several poems, to the four-hand piano version of 1914, and its consequent reduction for solo piano. What can be gleaned by the methods of derivation from his original sketches to the final, mature works is an understanding of Debussy's use of musical metaphor and his connection to the poetry - the Chansons de Bilitis of Pierre Louÿs. Embedded literary procedures create a new musical expression of the work whereby text and music become integrated. Rather than serving as accompaniment to the poems, the Épigraphes function as the primary vessel for the conveyance of these ancient scenes. Several of Debussy's hallmark symmetrical and structural moulds, such as the whole-tone, chromatic, octatonic, and mirroring techniques reflect the omnipresent symmetry of Classical Greece. Various other artistic creations emanated from the Épigraphes, most significantly the orchestration of Ernest Ansermet in 1939. A look at the techniques used by Ansermet for the augmentation of the piano work serves to extrapolate the multifarious layers relevant in performance. In order to facilitate the four-hand version for solo piano, Debussy used a variety of reductive methods. There are, however, means by which some of the extracted material might be restored to the solo version. Like the late work of many great masters, the Épigraphes are redolent of the tendency so many artists have near the end of their days - to revert back to the purest techniques of their language. The scoring of Debussy's Épigraphes is scaled back, compared to his Préludes (often consisting of three staves of notation), and incorporates leaner textures generated from lapidary motifs which transmit the antique realms evoked by the poetry of Louÿs.
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Revol, Patrick. « Influences de la musique indonésienne sur des musiciens français de 1889 à nos jours ». Paris 8, 1998. http://www.theses.fr/1998PA081487.
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Selon une opinion communement admise, l'oeuvre de debussy a ete profondement marquee par la musique javanaise a l'exposition universelle de 1889. Si l'on regarde de plus pres, aucun ouvrage ne prend la peine d'analyser avec serieux cette supposee evidence. Ce travail a pour ambition, dans une premiere partie, d'apporter la preuve de cette influence. Dans une seconde partie nous quittons debussy afin de montrer qu'a sa suite bon nombre de compositeurs francais vont porter une attention toute particuhene a la musique de gamelan. Bien que jamais demontree, l'admiration de debussy pour java est reconnue depuis fort longtemps. En revanche, elle est rarement evoquee a propos de ravel. S'il est vrai qu'elle ne bouleverse pas de facon aussi radicale sa musique, le souffle du gamelan est cependantomnipresent dans laideronnette imperatrice des pagodes. Nous avons consacre quelques pages a l'etude de cette oeuvre et tente de montrer que de nombreux parametres musicaux relevent de techniques extra-europeennes. Si java marque les esprits de debussy et ravel, les artistes francais, a partir des annees 30, vont plutot tourner leurs regards vers bali. Cette nouvelle orientation s'explique par uncertain nombre de raisons a la fois politiques et esthetiques sur lesquelles nous avons apporte quelques eclairages. Nous abordons des oeuvres de messiaen, jolivet, varese, boulez, dutilleux, mache, eloy, aperghis. Nous n'avons nullement cherche a etablir un catalogue complet de compositeurs francais ayant de pres ou de loin un rapport avec la musique balinaise. Notre choix s'est plutot dirige vers un questionnement des materiaux employes par chacun d'eux afin de degager les elements qui relevent de techniques indonesiennes. Bien que notre approche ne soit pas de nature ethnomusicologique, nous avons juge opportun de placer en annexe certains complements d'informations notamment un chapitre sur les instruments, illustre par des photographies que nous avons realisees a java ou baliAccording to a widely-accepted idea, debussy's work was deeply influenced by javanese music at the universal exhibition of 1889. After closer study, it can be noted that no thorough analysis of that supposedly obvious statement has ever been done. In a first part this work aims at bringing the evidence of that influence. In a second part we leave debussy in order to show that, in his wake, a fair number of french composers paid a particular attention to gamelan music. Although it has never been. Demonstrated, debussy's admiration for java has been acknowledged for a long time. However this is rarely mentioned as far as ravel is concerned. Though it does not affect his music in such a drastic way, yet the gamelan influence is omnipresent in laideronnette imperatrice des pagodes. We have devoted a few pages to the study of this work and attempted to demonstrate that a lot of musical parameters pertain to extra-european techniques. If java left a mark on the minds of debussy and ravel, from the 1930's trench artists rather started looking toward bali. This new trend can be explained because of certain number of reasons - both political and esthetic - into which we have given some insight. We deal with works of messiaen, jolivet, varese, boulez, dutilleux, mache, eloy, aperghis. We have not in the least attempted to set up a complete catalogue of trench composers connected with balinese music. We have chosen to study the materials used by each of them in order to single out the elements pertaining to indonesian techniques. Althought our approach is not of an ethnomusicological nature, we have thought appropriate to include further information particularly a chapter on the instruments, illustrated by photographs that we have taken in java and bali
Livres sur le sujet "Debussy, Claude (1862-1918) – Appréciation"
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Thompson, Wendy. Claude Debussy. New York, N.Y : Viking, 1993.
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Nichols, Roger. Claude Debussy, Pelléas et Mélisande. New York, NY : Cambridge University Press, 1999.
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Nichols, Roger. Claude Debussy, Pelléas et Mélisande. Cambridge [England] : Cambridge University Press, 1989.
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Dietschy, Marcel. A portrait of Claude Debussy. Oxford : Clarendon Press, 1994.
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Nichols, Roger. Debussy remembered. Portland, Or : Amadeus Press, 1992.
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Parks, Richard S. The music of Claude Debussy. New Haven : Yale University Press, 1989.
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Brown, Matthew. Debussy's Ibéria. Oxford [England] : Oxford University Press, 2003.
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Nichols, Roger. Debussy remembered. London : Faber and Faber, 1992.
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Nichols, Roger. The life of Debussy. Cambridge : Cambridge University Press, 1998.
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Roberts, Paul. Debussy. S.l : Phaidon Press, 2006.
Trouver le texte intégralChapitres de livres sur le sujet "Debussy, Claude (1862-1918) – Appréciation"
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« Claude Debussy (1862–1918) ». Dans The Classical Music Lover's Companion to Orchestral Music, 200–213. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-019.
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« Claude Debussy (1862–1918) ». Dans Accompanied Voices, 106–7. Boydell and Brewer, 2015. http://dx.doi.org/10.1515/9781782045021-048.
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