Download - Debussy: Prelude to the Afternoon of a Faun. Debussy, from Preludes Book One: Voiles (Sails)
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Debussy: Prelude to the Afternoon of a Faun
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Debussy, from Preludes Book One:Debussy, from Preludes Book One:
Voiles (Sails)
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Debussy: Prelude to the Afternoon of a Faun (excerpt)
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Debussy’s “Prelude to the Afternoon of a Faun”
inspired by Mallarmé’s symbolist poem.
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I would perpetuate these nymphsSo clear
Their skin’s light bloom, it eddies in the airHeavy with tufts of sleep
Did I love a dream?
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Debussy’s “Prelude to the Afternoon of a Faun”
inspired by Mallarmé’s symbolist poem.
![Page 9: Debussy: Prelude to the Afternoon of a Faun. Debussy, from Preludes Book One: Voiles (Sails)](https://reader038.vdocuments.net/reader038/viewer/2022102718/56649d565503460f94a347bf/html5/thumbnails/9.jpg)
I. Impressionism: The BasicsI. Impressionism: The Basics
A. Where?
B. When?
C. Who?
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II. Debussy’s Aesthetic Goals
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II. Debussy’s Aesthetic Goals
A. The Goal = Immediacy Immediacy
B. The Obstacle = Nature of Music not immediate, unfolds in/over time
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III. Immediacy, Musical Realization (Pt. 1): What you donWhat you don’’t gett get
A. Don’t get: Clear, articulated, periodic phrases instead fragments, short motives
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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
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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
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IV. Immediacy, Musical Realization (Pt. 2): What you DO get
A. Debussy’s Interest in Tone Color or Timbre
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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
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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
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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
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Whole-tone ScaleWhole-tone Scale
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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
3. Lack of Leading-Tone Effect
2. Symmetrical Scale
4. Lack of strong dissonance•Pentatonic Scale
1. Six (6) notes per octave
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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
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Debussy, from Preludes Book One:Debussy, from Preludes Book One:
Voiles (Sails)
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