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Debussy: Prelude to the Afternoon of a Faun Debussy, from Preludes Book One: Voiles (Sails) Debussy: Prelude to the Afternoon of a Faun (excerpt) Debussy’s “Prelude to the Afternoon of a Faun” inspired by Mallarmé’s symbolist poem. I would perpetuate these nymphs So clear Their skin’s light bloom, it eddies in the air Heavy with tufts of sleep Did I love a dream? Debussy’s “Prelude to the Afternoon of a Faun” inspired by Mallarmé’s symbolist poem. I. Impressionism: The Basics A. Where? B. When? C. Who? II. Debussy’s Aesthetic Goals II. Debussy’s Aesthetic Goals A. The Goal = Immediacy B. The Obstacle = Nature of Music not immediate, unfolds in/over time III. Immediacy, Musical Realization (Pt. 1): What you don’t get A. Don’t get: Clear, articulated, periodic phrases instead fragments, short motives III. Immediacy, Musical Realization (Pt. 1) What you don’t get A. Don’t get: Clear, articulated, periodic phrases instead fragments, short motives B. Don’t get: Long-range goals or climaxes instead phrases that avoid clear peak or closure III. Immediacy, Musical Realization (Pt. 1) What you don’t get A. Don’t get: Clear, articulated, periodic phrases instead fragments, short motives B. Don’t get: Long-range goals or climaxes instead phrases that avoid clear peak or closure C. Don’t get: clear meter and often don’t get clear pulse D. Don’t get: traditional or predictable forms E. Don’t get: music that has long-range progress/process IV. Immediacy, Musical Realization (Pt. 2): What you DO get A. Debussy’s Interest in Tone Color or Timbre IV. The Musical Realization (Pt. 2): What you DO get A. Debussy’s Ear for Tone Color or Timbre •Dymanics: often in soft or very soft regions IV. The Musical Realization (Pt. 2): What you DO get A. Debussy’s Ear for Tone Color or Timbre •Dymanics: often in soft or very soft regions •Orchestration = solo instruments in unusual combinations muted brass/soft percussion/harp •Human voice used purely for color B.Debussy’s Unique Harmony •Chords chosen not for function, but beauty/effect •Chords in parallel motion IV. The Musical Realization (Pt. 2): What you DO get A. Debussy’s Ear for Tone Color or Timbre •Dymanics: often in soft or very soft regions •Orchestration = solo instruments/unusual combinations/muted brass/soft percussion •Human voice used as another color in the instrumental palette B.Debussy’s Unique Harmony •Chords chosen not for function, but beauty/effect •Chords in parallel motion •Use of whole-tone scale Whole-tone Scale IV. The Musical Realization (Pt. 2): What you DO get A. Debussy’s Ear for Tone Color or Timbre •Dymanics: often in soft or very soft regions •Orchestration •Human voice used as another color in the instrumental palette B.Debussy’s Unique Harmony •Chords chosen not for function, but beauty/effect •Chords in parallel motion •Use of whole-tone scale 1. Six (6) notes per octave 2. Symmetrical Scale 3. Lack of Leading-Tone Effect 4. Lack of strong dissonance •Pentatonic Scale Format of Exam #4: • 5 Listening IDs from listening list (composer, title, movement as appropriate) • 1 Listening question on Berlioz, Symphonie Fantastique, “Witches Sabbath,” based on Wright Listening Guide • 2 additional listening • Objective questions on reading, listening, lecture • Choice of 2-3 essay questions Debussy, from Preludes Book One: Voiles (Sails)
