This lack, especially in the voices, lends a spectral quality to the piece. Even later in the piece, when the timbres of the various voices -- the strings especially -- grow in richness and fullness, this spectral quality remains. The various timbres of the piece, though necessarily different, sound very similar to each other, due in part to the repetition of the melodic line, but mostly because of conscious manipulation of the individual timbres. There are far fewer voices in Chidori no Kyoku, and their timbres are far more distinct from each other. There are still strings and a human voice, as well as a woodwind, and these three voices are united -- though not identical -- in melody, but are entirely unique in timbre. The woodwind, flute-like instrument is soft yet very rich; different from the soft flatness at the beginning of Debussy's Nocturne and the intense fullness later in the piece. The stringed instrument of this piece, though not exactly flat, does not contain the same resonance as a violin, and is played by plucking in this piece rather than bowing. This instrument's timbre is closer to that of a banjo, though the twang is no so pronounced (and the melodies and speeds played on it are vastly different). The singer's voice in Chidori no Kyoku serves to unite the two other voices of the piece. In this way, it is similar to the singers' timbre in Debussy's Nocturnes, which contained similarities to the timbres surrounding them. The methods used in this piece to achieve that effect in the singer's timbre are very different, however. There is a flatness in some moments and a soft roundness in others; sometimes...
These timbres form a texture strikingly similar to that of Debussy's Nocturnes.
Debussy repeats this flute melody throughout the piece at different paces against a variety of chords. While the overall form of the piece is considered to ABA, it is important to note how one section of the piece blends beautifully with the next. The piece has a continuous flow and it is so subtle that listeners are not tempted at any point to beat time to any rhythms. The typical
Claude Debussy after his CentenaryfootnoteRef:1], authors Francois Lesure and Denis Stevens review the legacy of Debussy's work and his life at the one hundred years anniversary of his birth. The authors are particularly concerned with exploring misconceptions, contradictions and areas requiring further study that have arisen as a result of the recent scholarship on the French composer. [1: Lesure, Francois and Stevens, Denis. Claude Debussy after his Centenary. The Musical
Schoenberg developed a kind of experimental method of music composition that was completely relativistic: the free use of 12 tones, in which the relationships are merely one-on-one and not related to a whole (in the traditional sense), mirrored the philosophical modern worldview of the times. This method was meant by Schoenberg to follow in the Germanic tradition of greatness. However, his break from traditional methods of composition (and even
DEBUSSY'S PELLEAS & MELISANDE Music Debussy's Pelleas & Melisande Debussy's Pelleas & Melisande I found this opera to be enjoyable from the vey onset. I knew nothing of the opera and knew just a little of the story/myth from antiquity of Pelleas and Melisande. At the time of my viewing, I did have a solid background with the music of Claude Debussy, but I was excited to engage a work of Debussy's with which
And the goal of Impressionist painting is always just that -- to given an impression, rather than to suggest a coherent, linear picture of experience. Impressionists depicted emotions and subjective concepts, rather than attempted to convey a singular view. There is no 'point' to Monet's paintings of water lilies; there is merely the artist's reflection on color. The story goes nowhere in "Prelude to the afternoon of a faun,"
" This he maintained was the highest honor he could claim. " (Seroff, 1956, 113) Some of the melodies that Claude Achille Debussy created for example the C'est l'Extase' -- based on the ninths and series of common chords has continuous modulations which are embedded with a lot of changing tones and may have been symbolic of a breeze and the sounds of small voices. Like wise the use of rhythmic
Our semester plans gives you unlimited, unrestricted access to our entire library of resources —writing tools, guides, example essays, tutorials, class notes, and more.
Get Started Now