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Essay / Research Paper Abstract
A 7 page research paper/essay that examines the last works of Debussy. The writer argues that Debussy was, above all else, a musical innovator. Looking specifically his sonatas for cello, flute-viola-harp & violin, the writer argues that examination of these works, focusing on his Sonata for Flute, Viola and Harp, indicates that it is necessary to know something of the “sprit and style” of these works in order to accurately reconstruct Debussy’s intention regarding performance practices (Abravanel 28). Bibliography lists 8 sources.
Page Count:
7 pages (~225 words per page)
File: D0_khdfvhs2.rtf
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Unformatted sample text from the term paper:
one critic points out, its nature and substance of its innate mystery remain a contemporary issue (Abravanel 28). Debussy was, above all else, a musical innovator. He shocked his professors
at the Paris Conservatory, which he entered at the age of eleven, with this "bizarre harmonies that defied the sacred rules" of musical composition (Machlis 338). Famous for bringing the
perspective of impressionism to music, Debussys last works, his sonatas, clearly indicate that he was continuing to innovate and set off in fresh musical directions, which is a process that
was cut short by his early death due to cancer. There were six sonatas planned, but, unfortunately, only three were completed before Debussy died in 1918, i.e., his sonatas
for cello, flute-viola-harp & violin (Claude Debussy). Examination of these works, focusing on his Sonata for Flute, Viola and Harp, indicates that it is necessary to know something of the
"sprit and style" of these works in order to accurately reconstruct Debussys intention regarding performance practices (Abravanel 28). First of all, in considering Debussy and his music, it
should be noted that Debussys genius for innovation is well established as fact. In creating his music, he rejected the restrictions of the major/minor harmonic system and as well as
the classical structure of "Exposition-Development-Restatement" (Machlis 340). There is a story that while attending a concert, Debussy whispered to his companion, "Lets go-hes beginning to develop!" (Machlis 340). Debussy felt
that the German innovation-the "Viennese sonata-symphony" was antithetical to the nature of the French spirit (Machlis 340). Therefore, he favored short, flexible forms, "mood pieces," which "evoked the favorite images
of impressionist paintings" (Machlis 340). The sonatas that Debussy composed between 1915 and 1917 mark a "sudden shift" in his style (Claude Debussy). These works, at least in part,
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