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Debussy Claude - The Cambridge companion to Debussy

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Debussy Claude The Cambridge companion to Debussy

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This Companion offers new insights into Debussys character, his environment and his music, especially the roles of nature and eroticism in his music. His works are discussed through the themes of sonority, rhythm, tonality and form, with closing chapters on performance and reception at the start of the new century.
Abstract: This Companion offers new insights into Debussys character, his environment and his music, especially the roles of nature and eroticism in his music. His works are discussed through the themes of sonority, rhythm, tonality and form, with closing chapters on performance and reception at the start of the new century

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The Cambridge Companion to Debussy Often considered the falther of - photo 1
The Cambridge Companion to Debussy

Often considered the falther of twentieth-century music, Debussy was a visionary whose influence is still felt. This book offers a wide-ranging series of essays on Debussy the man, the musician and composer. It contains new insights into his character, his relationship to his Parisian environment and his musical works across all genres, with challenging views on the roles of nature and eroticism in his life and music. His music is considered through the characteristic themes of expression, sonority, rhythm, tonality and form, with closing chapters considering the performance of his music and our view of Debussy today as a major force in Western culture. This wide-ranging view of Debussy is written by a team of specialists for students and informed music lovers.

Simon Trezise is a Lecturer in Music at Trinity College, Dublin. He is the author of Debussy: La mer in the series Cambridge Music Handbooks and has written on French music and on Schoenberg.

Cambridge Companions to Music

For a list of titles published in the series, please see .

For a list of titles published in the series, please see .

For a list of titles published in the series, please see .

Composers
The Cambridge Companion to Bach Edited by John Butt
The Cambridge Companion to Bartk Edited by Amanda Bayley
The Cambridge Companion to Beethoven Edited by Glenn Stanley
The Cambridge Companion to Benjamin Britten Edited by Mervyn Cooke
The Cambridge Companion to Berg Edited by Anthony Pople
The Cambridge Companion to Berlioz Edited by Peter Bloom
The Cambridge Companion to Brahms Edited by Michael Musgrave
The Cambridge Companion to John Cage Edited by David Nicholls
The Cambridge Companion to Chopin Edited by Jim Samson
The Cambridge Companion to Debussy Edited by Simon Trezise
The Cambridge Companion to Handel Edited by Donald Burrows
The Cambridge Companion to Ravel Edited by Deborah Mawer
The Cambridge Companion to Schubert Edited by Christopher Gibbs
The Cambridge Companion to Stravinsky Edited by Jonathan Cross
Instruments
The Cambridge Companion to Brass Instruments Edited by Trevor Herbert and John Wallace
The Cambridge Companion to the Cello Edited by Robin Stowell
The Cambridge Companion to the Clarinet Edited by Colin Lawson
The Cambridge Companion to the Guitar Edited by Victor Coelho
The Cambridge Companion to the Organ Edited by Nicholas Thistlethwaite and Geoffrey Webber
The Cambridge Companion to the Piano Edited by David Rowland
The Cambridge Companion to the Recorder Edited by John Mansfield Thomson
Cambridge Companion to the Saxophone Edited by Richard Ingham
The Cambridge Companion to Singing Edited by John Potter
The Cambridge Companion to the Violin Edited by Robin Stowell
Topics
The Cambridge Companion to Blues and Gospel Music Edited by Allan Moore
The Cambridge Companion to Jazz Edited by Mervyn Cooke and David Horn
The Cambridge Companion to the Musical Edited by William Everett and Paul Laird
The Cambridge Companion to the Orcheatra Edited by Colin Lawson
The Cambridge Companion to Pop and Rock Edited by Simon Frith, Will Straw and John Street
The Cambridge Companion to Debussy
Edited by
Simon Trezise
CAMBRIDGE UNIVERSITY PRESS Cambridge New York Melbourne Madrid Cape Town - photo 2
CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo
Cambridge University Press
The Edinburgh Building, Cambridge CB2 2RU, United Kingdom
Published in the United States of America by Cambridge University Press, New York
www.cambridge.org
Information on this title: www.cambridge.org/9780521652438
Cambridge University Press 2003

This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place with out the written permission of Cambridge University Press.

First published in print format 2003
ISBN-13 978-0-511-07453-0 eBook (Adobe Reader)
ISBN-10 0-511-07453-0 eBook (Adobe Reader)
ISBN-13 978-0-521-65243-8 hardback
ISBN-10 0-521-65243-X hardback
ISBN-13 978-0-521-65478-4 paperback
ISBN-10 0-521-65478-5 paperback

Cambridge University Press has no responsibility for the persistence or accuracy of URLS for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

In memoriam Franois Lesure, 19232001

Contributors
Mark DeVoto, composer and writer, has been Professor of Music at Tufts University, Medford, Massachusetts since 1981. He edited the fourth and fifth editions of Walter Pistons Harmony ; edited Altenberg Lieder , Op. 4 for the Alban Berg Smtliche Werke ; he recently completed Debussy and the Veil of Tonality: Essays on His Music .
Dirdre Donnellon graduated in music from the University of Manchester in 1993 and completed her M.Phil. at the University of Liverpool in 1996. She recently completed a Ph.D., Debussy, Satie and the Parisian Critical Press, at the University of Liverpool.
David Grayson is Professor of Music at the University of Minnesota. He wrote The Genesis of Debussys Pellas et Mlisande, and contributed to the Cambridge Opera Handbook on Pellas , Debussy Studies and Debussy and His World . He is editing Pellas for the Picture 3 uvres compltes de Claude Debussy and is on the editorial board of Cahiers Debussy . He has also written a Cambridge Music Handbook on two Mozart piano concertos.
Barbara L. Kelly is Lecturer in Music at Keele University. She is author of the Ravel article for New Grove 2 and of a forthcoming book on Darius Milhaud. Her research is focused on late nineteenth- and early twentieth-century French music, and on issues of French national identity from 1870 to 1939.
Julie McQuinn is a Ph.D. candidate and part-time lecturer at Northwestern University. In her dissertation she examines the forces behind perceptions of gender and sexuality in Parisian society at the turn of the twentieth century and their connection to the creation and reception of a handful of highly individual operas performed at the Opra-Comique.
Roger Nichols read music at the University of Oxford and subsequently lectured at various universities before becoming a freelance writer and broadcaster in 1981. He has published widely on French music of the last 200 years, including Ravel (Dent, 1977), Ravel Remembered (Faber, 1987), Debussy Remembered and A Life of Debussy .
Robert Orledge is Professor of Music at the University of Liverpool. His research field is French music between 1850 and 1939 and his main publications are Gabriel Faur (Eulenburg, 1983), Debussy and the Theatre , Charles Koechlin: His Life and Works (Harwood, 1995), Satie the Composer (Cambridge University Press, 1992) and Satie Remembered (Faber, 1995).
Richard S. Parks is Professor of Music Theory at the University of Western Ontario in Canada. He has been exploring theoretical-analytical issues in Debussys music for thirty years and has published articles on the subject in The Journal of Music Theory, Music and Letters and Music Theory Spectrum, and a chapter in Debussy in Performance . His The Music of Claude Debussy appears in the Yale University Press series Composers of the Twentieth Century.
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