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Relevant bibliographies by topics / Debussy, Claude (1862-1918) – Appréciation

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Academic literature on the topic 'Debussy, Claude (1862-1918) – Appréciation'

Author: Grafiati

Published: 7 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "Debussy, Claude (1862-1918) – Appréciation"

1

Qin, Yingting. "Debussy’s Love Affair with Impressionism in Ariettes oubliées." International Education Forum 2, no. 6 (2024): 308–15. http://dx.doi.org/10.26689/ief.v2i6.7834.

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When the audience mentions impressionist composers, many remember Claude Debussy (1862–1918) as the first icon. To this day, his vocal works remain one of the most popular choices of French music for singers. It is also frequently featured in recitals, auditions, and competitions. Critics have insisted on associating Debussy with impressionism even though he did not agree with the label. Critics claim that Debussy’s alternations of major, minor, augmented, and diminished chords in conjunction with Verlaine’s impressionistic poetry produced the same novel effect as the contrast between light an

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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 phenome

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Briscoe, James R., and 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 (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 p

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Zharkova, Valeriya. "Claude Debussy and Hazrat Inayat Khan: sound like the universe." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 139 (February 28, 2024): 22–38. https://doi.org/10.31318/2522-4190.2024.139.300957.

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Relevance of the study. The main aspects of the understanding of the essence of sound by brilliant contemporaries — Claude Debussy (1862-1918) and the Indian musician and philosopher Hazrat Inayat Khan (1882-1927) were studied. It is noted that the unconventional horizons of Claude Debussy's music surprised listeners from the very first of his works and determined the inertia of comparisons of the composer's works with the paintings of impressionist contemporaries. It is emphasized that the composer constantly refused the title of "impressionist" which established in the listeners a false inst

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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

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Sobaskie, James William. "L'art de la flûte française." Nineteenth-Century Music Review, January 9, 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.

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Meyer, Jaco. "Musical Forces as a Tool for Music Analysis: Understanding Syrinx by Claude Debussy Differently." South African Music Studies, January 8, 2025, 259–73. https://doi.org/10.4314/samus.v43i1.14.

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Claude Debussy’s solo flute composition, Syrinx, originally titled La Flûte de Pan, by Claude Debussy (1862-1918) is regarded as one of the most important solo compositions in flute literature. Numerous analyses and interpretations of this composition exist, utilising various analytical methods, including unconventional ones like Gestalt perception and spectral analysis of flute tone quality. Many analyses delve into complex explanations, often discussing hierarchies and interactions of musical tones in Syrinx. This article aims to demonstrate how existing analyses of Syrinx can be reinterpret

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Dissertations / Theses on the topic "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 c

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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 Jank<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>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<br>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 1909/191

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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’

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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

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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.<br>Bachelors<br>Arts and Sciences<br>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 víde

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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 music

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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 re

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Books on the topic "Debussy, Claude (1862-1918) – Appréciation"

1

Nichols, Roger. Claude Debussy, Pelléas et Mélisande. Cambridge University Press, 1999.

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Langham, Smith Richard, ed. Claude Debussy, Pelléas et Mélisande. Cambridge University Press, 1989.

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1922-, Ashbrook William, and Cobb Margaret G, eds. A portrait of Claude Debussy. Clarendon Press, 1994.

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Nichols, Roger. Debussy remembered. Amadeus Press, 1992.

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Simon, Trezise, ed. The Cambridge companion to Debussy. Cambridge University Press, 2003.

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Holmes, Paul. Claude Debussy. Omnibus Press, 2013.

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Claude Debussy. Viking, 1993.

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Debussy. Omnibus Press, 1989.

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Claude Debussy. Reaktion Books, 2010.

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Thompson, Wendy. Claude Debussy: Composer's World. Diane Pub Co, 1993.

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Book chapters on the topic "Debussy, Claude (1862-1918) – Appréciation"

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"Claude Debussy (1862–1918)." In Accompanied Voices. Boydell and Brewer, 2015. http://dx.doi.org/10.1515/9781782045021-048.

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"Claude Debussy (1862–1918)." In The Classical Music Lover's Companion to Orchestral Music. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-019.

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Wilson, Miranda. "Claude Debussy (1862–1918)." In Notes for Cellists. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197623770.003.0021.

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