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Essay / Research Paper Abstract
A 6 page research paper that offers 3 short discussion of 3 major works: Debussy's "Images for Piano," Beethoven's "Kreutzer" Sonata for Violin and Piano, and Chopin's Polonaise, opus 53. Each discussion is roughly 2 pages in length. Bibliography lists 5 sources.
Page Count:
6 pages (~225 words per page)
File: D0_khdbc.rtf
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Unformatted sample text from the term paper:
of St. Germain-en-Laye, where his parents had a china shop, Debussys "impressionistic" style rejected the traditional structure of Exposition-Development-Restatement and created an entirely new style of composition for the
piano. Debussys widely spaced chord with "their parallel successions of seconds, fourths, and fifths create a sonorous halo" of sound (Machlis 341). In 1905 and 1907, respectively, Debussy composed
two sets of "Images" for piano (Schmitz 99). The first of these is "Reflets dans leau," which reflects one of those moments in Debussys career in which his imagination
took him to unexplored territory (Schmitz 101). Within this piece, one finds a subtle interplay of diatonicism, which is contrasted against whole-toned series and short passages in pentatonism (Schmitz 101).
This occurs within a tonal medium that is enriched by a "chordal" conception that is composed of "minute contrapuntal movements of patterns superimposed, crossing each other, complementing or supplementing each
other in their delineation" (Schmitz 101). The form consists of an alternation of treatment between the two main themes as follows: A: measures 1-15; Transition, measures 16-24; B: measures 25-35;
A: measures 36-43; Transition, measures 44-48; B: measures 49-71; and the coda (Schmitz 101). The coda recalls both A and B themes in measures 72-95 (Schmitz 101). This rondo-sonata
alternation provides a canvas to the "rich ricercar" variation technique, which Debussy employs (Schmitz 102). The second "image" in this collection is "Hommage a Rameau," a tribute to Rameau.
In this slow sarabande, Debussy pays homage to Rameaus preference for classic dance forms, yet simultaneously achieving the "noble and grave tenderness" that is possible with this dance form (Schmitz
102). By exploiting the contrasts inherent in using a single voice (declamation, recitative) with single voice accompaniment by chords (aria), which is contrasted against contrapuntal sections of several independent voices,
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