Tonality, motives and interval structures in the melodies of Claude Debussy (1887-1893)
Identifieur interne : 000017 ( Hal/Curation ); précédent : 000016; suivant : 000018Tonality, motives and interval structures in the melodies of Claude Debussy (1887-1893)
Auteurs : Adrien Bruschini [France]Source :
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Abstract
In the late 1880's, Claude Debussy's musical language, influenced by Wagner, symbolism and Baudelaire's poetry, deeply transforms itself.The tonal system, still regarded as the unique horizon of expectations (Jauss) of European musical institutions, is pushed to the background in the composer's melodies by his characteristic associations with poetical themes like memories, humor, and reclusion.This thesis focuses on an analysis of these transformations and on a comparison of this new musical language with Ernest Chausson's Serres chaudes, which still shares the same poetic and musical influences.
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<front><div type="abstract" xml:lang="en">In the late 1880's, Claude Debussy's musical language, influenced by Wagner, symbolism and Baudelaire's poetry, deeply transforms itself.The tonal system, still regarded as the unique horizon of expectations (Jauss) of European musical institutions, is pushed to the background in the composer's melodies by his characteristic associations with poetical themes like memories, humor, and reclusion.This thesis focuses on an analysis of these transformations and on a comparison of this new musical language with Ernest Chausson's Serres chaudes, which still shares the same poetic and musical influences.</div>
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<abstract xml:lang="en">In the late 1880's, Claude Debussy's musical language, influenced by Wagner, symbolism and Baudelaire's poetry, deeply transforms itself.The tonal system, still regarded as the unique horizon of expectations (Jauss) of European musical institutions, is pushed to the background in the composer's melodies by his characteristic associations with poetical themes like memories, humor, and reclusion.This thesis focuses on an analysis of these transformations and on a comparison of this new musical language with Ernest Chausson's Serres chaudes, which still shares the same poetic and musical influences.</abstract>
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