Thesis--Wisconsin. / Vita. Bibliography: leaves 117-118.

Thesis (doctoral)--University of Otago, 1997. / Includes bibliographical references.

Claude Debussy (1862-1918) was a prolific composer throughout his lifetime. His song output spans his entire compositional career and comprises over ninety songs from his first published song Nuit d’étoiles, composed in 1880 and published in 1882, to Noël des enfants qui n'ont plus de maison (1915). Among Debussy’s early period works, his most prominent contributions were mélodies with almost half of his ninety songs written in this period. Debussy was profoundly influenced by poetry, especially that of Théodore de Banville (1823-1891). Banville was an important figure in the Parnassian movement and also was a master of rhyme and a virtuoso of French verse. Debussy was influenced by Banville’s poetry and composed many songs on Banville's poems in his early period. This document highlights Debussy's life and his early poetic influences as well as provides an overview of Banville's life as a writer and his collections of verses pertaining to Debussy. The analyses of songs with Banville's text are the emphasis of this study and reveal how Debussy expertly matched music to the nuances of the texts. Such a study illuminates the interpretation and performance of these songs for singers and collaborative pianists.

No description available.

<p>Claude Debussy Cellosonat</p><p>Dimitrij Shostakowitch Cellosonat op.40</p><p>Felix Mendelssohn-Barthodly Pianotrio nr.1 D-moll op.49</p><p>Medeverkande musiker:</p><p>Emil Wegberg, Cello</p><p>Katarina Abbas, Violin</p><p>Leo Gavel, Piano</p><p>Gerog Öquist, Piano</p>

This thesis begins by describing the piano's history and development and then goes into how Claude Debussy used the piano in his music and the style in which he composed for the piano.

Akademisk avhandling--filosofie--Stockholms Universitet, 1998. / Résumé en anglais. Bibliogr. p. 324-339.

Thesis (Ph. D.)--Florida State University, 2002. / Title and description from printout of file. Includes bibliographical references.

Inaug.-Diss.--Köln. / "Lebenslauf": p. [68]. "Literatur-Verzeichnis": p. v-vi.

The relationship between music and poetry dramatically changed in France during the nineteenth century.  Music took a prominent place in artistic life, and certain figures of the era argued for its superiority over poetry.  Richard Wagner convinced many artists of the time of the need to subsume poetry into music for the sake of creating a Gesamtkunstwerk, or a total work of art.  The result of this dialogue can best be examined by studying the relationship between the composer Claude Debussy and the poet Stéphane Mallarmé.  In response to the challenge issued by Wagner, Mallarmé argued strongly for the place of poetry.  Though he argued against Wagnerism specifically, Mallarmé admired the expressive capabilities of music, which is a constant presence in his poetry.  Debussy found his greatest source of inspiration from the poets of Mallarmé's generation.  Rather than following the example of Wagner and other Romantic-era composers, Debussy saw poets as the avant-garde, and sought to capture their poetry in his music.   Both of these figures, inspired by the relationship between music and poetry, produced very forward-thinking works, and serve as transitional figures for their respective arts.  Each using techniques inspired by the other\'s art, Debussy and Mallarmé both make use of non-traditional forms, a sense of movement, and a profound use of silence in order to best express the Ideal. / Master of Arts