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The music of debussy quizlet
Influence of impressionism music
Essay on debussy and his music
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Claude Debussy (1862-1918) was born in St.Germain-en-Laye, a small town near Paris and died in Paris. He was a significant French Impressionist composer who included the impressionist elements in his compositions, emphasizing on tone color, fluidity and exoticism. Not only he had written piano, choral, chamber music works and an opera Pelléas et Mélisande, he also wrote several orchestral works. The most important composition in his orchestral works was the symphonic poem (a single movement orchestral work that develops a poetic idea); Prelude a L’apres midi d’un faune (Prelude to The afternoon of a Faun, thereafter called Prelude). The sections and compositional styles used mainly in the Prelude shall be discussed in the essay. Poet Stéphane Mallarmé claimed that the piece “far exceeded his expectations” when he first heard it on the piano before its publication. Claude Debussy intended the music to suggest “the successive scenes of the Faun's desires and dreams on that hot afternoon.” Debussy finished the revision of his symphony to Stéphane Mallarmé’s poem “Afternoon of a Faun” by the end of summer, 1894. The prelude was premiered by Société Nationale on 22nd December 1894. For the first time in history, the Société opened its doors to the public as “the work had been looked forward to with keen interest.” The work was such a great success that the conductor, Gustavo Doret had to repeat the performance the next day at Salle d'Harcourt. In summer 1895, the prelude was included in the repertoires of all orchestral societies. 11 years later on December 1913, it was adopted by the Société des Concerts du Conservatoire de Paris, a much honored achievement. The instrumentation of this piece is meant for a small symphony ... ... middle of paper ... ...es of Debussy’s music can be heard in the works of many composers during the first two decades of the twentieth century . Some of the young composers were already attempting to imitate the details of his style and manner . His music has greatly influenced Igor Stravinsky, who remarked “I and the members of my generation owe most to Debussy” . There was no other important composer who can be described as entirely impressionist aside from Debussy. Works Cited Leon Vallas, Maire Brien and Grace Brien, Claude Debussy, his life and works (Dover Publications: New York, 1973) Roger Kamien, Music: An Appreciation – 10th edition (McGraw-Hill Companies, Inc: New York, 2011) Kristine Forney and Joseph Machlis, The Enjoyment of Music: an introduction to perceptive listening—11th ed., shorter version (W.W. Norton & Company, Inc.: United States of America, 2011), 290
In “How we listen to music” by Aaron Copland from McGraw-Hill What to Listen for in Music (1988), the author has organised the listening process so that it had been split into three parts: the sensuous place, the expressive plane, and the sheerly musical plane. Aaron Copland thesis is that each plane of listening has its own function and advantages and knowing about them can help us enhance our listening experience. The purpose of Copland’s essay is to educate his readers on the three main ways people listen to music, and to inspire readers to listen in a more compound way. In the authors casual analysis, Copland tries to for sees his readers’ questions and objections at many points in the essay. He includes the thoughts of his readers to
The music for Le martyrdom comes from an advanced stage in Debussy’s career. As a point of reference, Pelléas et Mélisande had already been written in TK. There is a brief spoken introduction [excerpt TK], in which the narrator entreats the audience to silence and attentiveness, followed by the Prélude to Mansion One , or Act One, The Court of Lilies. The music calls to mind Pelléas, but with an even more restrained orchestration and leaner texture, which if anything serves to heighten the sensuality of the music.
Conclusively, while being one of his earliest works, Mozart’s Minuet in F Major (K.2) is far from primitive. His use of repetition and subtle melodic and rhythmic variations keep the melody interesting enough to retain the listener’s attention. Not only this, but the harmonic surprises of the modulation and deceptive cadence keep the listener guessing in the best way possible. While at the surface this work may seem like nothing more than an AABA 32-bar dance, there is much more than that hidden throughout the work. If this is what Mozart was capable of at the mere age of six, it is unsurprising that his legacy remains to this day.
The fugue from Bach’s Prelude and Fugue in B minor is a work that was composed in Bach’s later years. Bach composed this work during his tenure at the Thomaskirche in Leipzig, Germany. This work as a whole is a great example of Bach’s mature essays, which appeared in his later Weimar years. The fugue is very different from the prelude. None of the material from the prelude is introduces in the fugue. The subject is only two measures in length; the plain subject is boring by it self. But Bach turns that two measure subject into an eighty-eight-measure fugue. I will explore two different ideas that make up the majority of the fugue, melody and developmental form. I will also talk about how I would interpret this work when preforming it.
Shostakovich’s Preludes Op 34 was a combination of both beauty and destruction. The use of derailment is Shostakovich’s style. He used non harmony notes and altered chords yet the music remains lyrical and beautiful.
Forney, Kristine, and Joseph Machlis. "The Enjoyment of Music, 11e Shorter: W. W. Norton Study Space." The Enjoyment of Music, 11e Shorter: W. W. Norton Study Space. W.W Norton Company, Inc., n.d. Web. 21 Mar. 2014.
Achille-Claude Debussy was one of the most renowned French composers who stimulated the music of the twentieth-century. Debussy’s life experiences have given an emotional and relatable truth in his work. Works such as Clair de Lune, Prélude à l’après-midi d’un faune, and La Mer are great achievements of Debussy that are the most familiar today. Debussy is worth reviewing because he uniquely structured his compositions that served as a base for musicians in the past, and will easily continue to motivate musical masterpieces for years to come.
Paul Hindemith set out to anchor a new movement towards 'unnatural' music, while Germany lacked composers of New Music, to attempt to bring structure and pedagogy to the creation of an otherwise unstructured and unteachable new musical art form. Being in exile from Germany due to his unconventional and unappreciated (by the Nazi party primarily) work, he sought refuge in the United States to pursue and be faithful to his art. He discovered that theory constants were truly undefinable, however the process of trying to find them opened his mind increasingly inwardly.1 Hindemith’s ideas permeate his musical creations and his chronology of works represent a timeline of their changes. The first of three movements, “Angelic Concert”, in his Mathis der Maler symphony preceding his opera, is an example of how his theoretical processes ultimately came together into a solidified and understandable practice.
He sent her countless letters and even went as far as to rent rooms near where she lived just to be close to her. Unfortunately, these acts of feverish affection went unrequited. However Hector Berlioz was not to be disheartened so easily and at the ripe old age of 27, he wrote what is now considered to be the most beautiful and poignant pieces of Romantic Classical to ever grace the ears of the post-Beethoven world. The symphony tells the story of a young musician, who lovelorn and heartbroken, tries to poison himself with the use of opium. However the drug only causes the young man to fall into a heavy sleep, haunted with terrifying visions. Each of the five movements details each of these horrid visions. The first movement, ‘Reveries’, explore feeling of love, tenderness and melancholy through slow moving passages and gentle string melodies. Movement two, ‘Un Bal’ is a vision of his love at an extravagant ball. In ‘Scene aux Champs’, the young man envisions he and his beloved living in tranquillity in the French countryside. However towards the end of this movement, thunderclouds approach from afar. In movement four, ‘March au Supplice’, our hero suffers a nightmare. He is being led to the scaffolds on account of murdering his dearly betrothed in a fit of rage. Fast jabbing melodies emphasise the dropping of the axe and we are given
Machlis, Joseph & Forney, Kristine. The Enjoyment of Music. New York. W.W. Norton & Co Inc: 1998
The Impressionist movement began in 1874 in Paris created by, among others, Claude Monet. The movement took place during the industrialization that started around 1850 in France. The impressionist painters liked to paint everyday life scenes like Parisian leisure time and modern life activities. They painted scenes of people, mostly the bourgeois, in cafes, theaters and concerts (Janson 706). In other words, the artists found their inspiration in daily outdoor scenes. The Impressionist movement attempted to change the painting convention created by the art academy and including modern life was one of the characteristics ...
Evans, Mark. "Claude Debussy." Listen to This. 2nd ed. N.p.: Prentice Hall PTR, 2010. 1-534. Print.
Claude Debussy, a well known French composer, is perhaps the greatest composer of the late Romantic style of music emerging around the beginning of the twentieth century. Debussy is well known for bringing the impressionist style of painting into the realm of music and he was at first flattered with the comparison. He later became frustrated with the general public referring to the whole of his music as impressionistic.
Levitin, Daniel J. “This is your Brain on music: The Science of a Human Obsession.” Print
"The Purpose of Music." EzineArticles Submission - Submit Your Best Quality Original Articles For Massive Exposure, Ezine Publishers Get 25 Free Article Reprints. Web. 23 Feb. 2010. .