Debussy is one of the prominent composers who brought out the 20th century contemporary music.
During the time when the base of tonality was crumbling with Wagner in its core, Debussy introduced the new era of music with the influence of orietal music, generating whole-tone scale, Pentatonic, mod...
Debussy is one of the prominent composers who brought out the 20th century contemporary music.
During the time when the base of tonality was crumbling with Wagner in its core, Debussy introduced the new era of music with the influence of orietal music, generating whole-tone scale, Pentatonic, mode, and even parallel fifth which was considered a taboo harmonically. Moreover, leading the musical measures with focus on tones, instead of following the traditional harmony-centered order of music at the time, is considered another contribution of his among many.
A representative work of Impressionism, La Mer, shares its unidimensional concept of programme music with the rest of Impressionistic works. Its distinction from Romantic music, however, lies in the differences in specific musical language: concepts observed in La Mer, such as theme, relational systematic forms, and the change of tone via orchestration, indicate the results of his variations.
In his well-known orchestras, Prélude à l’aprésmidi d’un faune, Nocturnes, and Pelléas et Mélisande, Debussy purposely uses modes and unclear phrases in order to separate his works from German influences. In La Mer, however, more progressive musical grammars circulate throughout the materials in each movement, attaining a theme. Also, arranging the same theme in various instruments allows the new formation through the modulation. Such modulation generates a compound tone via unison of various instruments, which eventually provides a new type of orchestral arrangement since that of Berlioz.
This paper aims to closely examine the works of Debussy, leading to the anal ysis of his life and art, as well as the impressionistic grammar he established. The course and characteristics of Debussy’s impressionism will be explored through the analysis of his orchestra, La Mer, by its theme, motive, harmony, and Orchestration in respective order.
Debussy is one of the prominent composers who brought out the 20th century contemporary music.
During the time when the base of tonality was crumbling with Wagner in its core, Debussy introduced the new era of music with the influence of orietal music, generating whole-tone scale, Pentatonic, mode, and even parallel fifth which was considered a taboo harmonically. Moreover, leading the musical measures with focus on tones, instead of following the traditional harmony-centered order of music at the time, is considered another contribution of his among many.
A representative work of Impressionism, La Mer, shares its unidimensional concept of programme music with the rest of Impressionistic works. Its distinction from Romantic music, however, lies in the differences in specific musical language: concepts observed in La Mer, such as theme, relational systematic forms, and the change of tone via orchestration, indicate the results of his variations.
In his well-known orchestras, Prélude à l’aprésmidi d’un faune, Nocturnes, and Pelléas et Mélisande, Debussy purposely uses modes and unclear phrases in order to separate his works from German influences. In La Mer, however, more progressive musical grammars circulate throughout the materials in each movement, attaining a theme. Also, arranging the same theme in various instruments allows the new formation through the modulation. Such modulation generates a compound tone via unison of various instruments, which eventually provides a new type of orchestral arrangement since that of Berlioz.
This paper aims to closely examine the works of Debussy, leading to the anal ysis of his life and art, as well as the impressionistic grammar he established. The course and characteristics of Debussy’s impressionism will be explored through the analysis of his orchestra, La Mer, by its theme, motive, harmony, and Orchestration in respective order.
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