I denna uppsats har arrangörens roll och hur förhållandet mellan arrangemang och original ser ut diskuterats. Syftet har varit att ge förslag på hur man kan genomföra arrangemang av verk som generellt skulle kallas ”oarrangerbara”. Utgångspunkten har varit att studera möjligheterna vid arrangering av sång till instrument, närmare bestämt första satsen ur Claude Debussys sångcykel Ariettes Oubliées, där texten försvinner. Genom att dra en parallell till litterära översättningsmetoder har bl.a. begreppet ”transcreation” diskuterats, och sedan kopplats in i diskussionen om musikaliska arrangemang. Arrangemang av Franz Liszt har även studerats för att ge bredare inblick i hur tidigare arrangemang skapats. En alternativ metod användes, som innebar att röst och saxofon definierades som två olika språk, för att kunna dra en liknelse till ”transkreativ översättning”. Sångstämman modifierades till en saxofonstämma, och melodik i sångstämman reducerades för att ta bort det ”lager” som skapats när melodi var knuten till text. Från denna modifiering kunde nya musikaliska motiv bildas och utvecklas. Detta förlängde styckets form och längd som helhet, men bidrog också till att förstärka de musikaliska riktningar som fanns i originalet. Även pianostämman anpassades för att stärka sitt samband med saxofon istället för röst, vilket ledde till bl.a. dynamiska och melodiska modifikationer. Resultatet blev ett arrangemang som utöver sin direkta koppling till ett original samtidigt kunde sägas vara oberoende från detta ursprung.

The incidental music for Chansons de Bilitis is little known and rarely performed. However, the relegation of this work to the realms of obscurity is highly unjustified. Chansons de Bilitis requires an unusual combination of instruments: two flutes, two harps, and celesta in addition to a reciter. The work is a theater piece in the tradition of melodrama, with spoken text and background music in alternation. Despite the rather unique nature of the work, many of the melodic, textural, and orchestrational devices for which Debussy is noted are evident. The music is throughcomposed; each movement mirrors and emphasizes the meaning and mood of the accompanying poem. Because of the fragmentary nature of the music and its rather subordinate role in the total theater work, the primary emphasis in gaining an appreciation of the value of the work lies in an investigation of its historical background.

L’interférence et interaction Europe-Asie sur le plan culturel et artistique qui s’est épanouie durant le XIXe siècle a ouvert une nouvelle réserve de nouveaux matériaux pour la création littéraire et artistique. De cet échange chacun des deux continents a retiré pour lui-même des éléments qui lui étaient bénéfiques aux points de vue littérature, peinture, musique, architecture, et même religion... La thèse intitulée “Influence de la musique asiatique sur la composition chez Claude Debussy” est entreprise dans le but de rechercher les ingrédients exotiques exploités avec grande délicatesse et sensibilité par Debussy – homme progressiste ouvert aux courants nouveaux, symbole de l’Impressionnisme en musique et surtout grande célébrité pour ses nouvelles limites en timbres. L’analyse d’environ 140 œuvres officiellement publiées de Debussy confirme sa grande réussite dans la mise en œuvre des matériaux musicaux Asiatiques. D’autre part, la thèse se propose aussi de montrer cet autre aspect de Debussy, à savoir qu’il était la somme harmonieuse de l’esthéticisme dans l’art Japonais, de la pureté des échelles traditionnelles, et de la témérité dans l’emploi de timbres nouveaux provenant des instruments Asiatiques. / The cultural and artistic interference and interaction that flowered during the 19th century between Europe and Asia brought a new enormous storage of artistic material at the disposal of European artists. Both continents derived from it materials useful to them in terms of literature, paintings, music, architecture and even religion... The present thesis, “Influence of Asian music on Claude Debussy’s composing”, aims at spotting out exotic materials subtly and sensitively brought into play by Debussy – a progressist spirit open to new trends, symbol of Impressionism in music and, above all, top celebrity for his setting of the new limits for timbres. Analysis of 140 Debussy’s officially published works confirms his success in using Asian materials for his music. Moreover, the thesis also manage to bring into light this other aspect of Debussy, as the final and successful product from the blend between Japanese estheticism, purity of the traditional scales and boldness in the use of new timbres from Asian instruments.

This study seeks to discover the extent and manner of Debussy's use of the motive in thematic material. A total of 40 melodic examples were analyzed in order to show their relationship to a single motive, a three-note figure having a step-leap relationship. Using eighty-four series of examples, the study shows the melodies analyzed to be 85% motive-derived. The study concludes, therefore, that Images I is a remarkably economical work, using a single three-note motive as a unifying and developmental basis.

The purpose of this thesis is to discuss and give a descriptive analysis of twelve of the twenty-four preludes written by Claude Debussy. This paper also includes a brief history of preludes as well as possible influences upon Debussy and his compositions.

Composing or arranging for orchestra is a skill which is hard to learn and hard to teach. Literature on orchestration is comprehensive in terms of rules of thumb and these heuristic tools are sometimes called principles of orchestration. However, a study of the literature on orchestration revealed that these 'principles' are not theories about the outcomes and effects of specific decisions made by composers. An exception is the work of George McKay who does indeed establish principles of orchestration to some extent. Granting a few exceptions, literature on orchestration takes as point of departure recommendations about techniques of orchestration and illustrates these techniques with analyses of existing compositions for orchestra. In this study I invert the approach followed in the literature and take music analysis as a point of departure for my study. I used an existing and conventional analysis of Claude Debussy's Syrinx for solo flute from the book Sonic Design: The Nature of Sound and Music by Robert Cogan and Pozzi Escot (1976) as context for my own analysis of Syrinx in which the less familiar type of analysis – the analysis of musical gestures and musical forces – can be understood. This analysis formed the basis for my orchestral composition titled Ananke which is based upon musical gestures from Syrinx. A reinterpretation of Cogan and Escot's analysis of Debussy's Syrinx enabled me to identify the musical gestures I used as a basis for my orchestral composition. Musical gestures are understood in this dissertation in terms of the theory of musical forces by Steve Larson. The objective in composing Ananke, based upon material from Syrinx by Debussy, is to explore different ways in which the musical gestures can be orchestrated in order to amplify the three musical forces namely musical gravity, musical magnetism and musical inertia. This process of composing the orchestral composition enabled me to construe principles of orchestration concerning musical forces and the different ways in which musical forces can be amplified. I found that the approach I followed in this study can indeed be employed in order to investigate and construe principles of orchestration, taking music analysis as a point of departure. This new approach to the study of orchestration opens up new possibilities in teaching and learning orchestration, as well as in composing or arranging for orchestra. / Thesis (MMus (Composition))--North-West University, Potchefstroom Campus, 2013.

Composing or arranging for orchestra is a skill which is hard to learn and hard to teach. Literature on orchestration is comprehensive in terms of rules of thumb and these heuristic tools are sometimes called principles of orchestration. However, a study of the literature on orchestration revealed that these 'principles' are not theories about the outcomes and effects of specific decisions made by composers. An exception is the work of George McKay who does indeed establish principles of orchestration to some extent. Granting a few exceptions, literature on orchestration takes as point of departure recommendations about techniques of orchestration and illustrates these techniques with analyses of existing compositions for orchestra. In this study I invert the approach followed in the literature and take music analysis as a point of departure for my study. I used an existing and conventional analysis of Claude Debussy's Syrinx for solo flute from the book Sonic Design: The Nature of Sound and Music by Robert Cogan and Pozzi Escot (1976) as context for my own analysis of Syrinx in which the less familiar type of analysis – the analysis of musical gestures and musical forces – can be understood. This analysis formed the basis for my orchestral composition titled Ananke which is based upon musical gestures from Syrinx. A reinterpretation of Cogan and Escot's analysis of Debussy's Syrinx enabled me to identify the musical gestures I used as a basis for my orchestral composition. Musical gestures are understood in this dissertation in terms of the theory of musical forces by Steve Larson. The objective in composing Ananke, based upon material from Syrinx by Debussy, is to explore different ways in which the musical gestures can be orchestrated in order to amplify the three musical forces namely musical gravity, musical magnetism and musical inertia. This process of composing the orchestral composition enabled me to construe principles of orchestration concerning musical forces and the different ways in which musical forces can be amplified. I found that the approach I followed in this study can indeed be employed in order to investigate and construe principles of orchestration, taking music analysis as a point of departure. This new approach to the study of orchestration opens up new possibilities in teaching and learning orchestration, as well as in composing or arranging for orchestra. / Thesis (MMus (Composition))--North-West University, Potchefstroom Campus, 2013.

This thesis proposes to determine the construction of the two string quartets and to reveal through the study of the quartets the similarities and contrasts of the creative musical characteristics of Debussy and Ravel.

This work deals with the life and work of French Impressionist composer called Claude Achille Debussy and its utility in primary and secondary levels of art education. The first part focusses on the life and work of the composer and gives more details about his piano work. The second part, using the surveys and interviews of the teachers of elementary music schools, examines the use of Claude Debussy's work and Impressionism in teaching at elementary music schools and Conservatories. We can also find there the section with fully cited interviews with an elementary music school teacher who uses Claude Debussy and Impressionism works in her lessons and with a pupil who, under her direction, interpretes a compositon of Claude Debussy. There are eighty examples of the musical compositions by Claude Debussy attached and as well as the recording of an elementary music school pupil interpreting Debussy's Arabesque. KEY WORDS Claude Debussy, piano, piano composition, interpretation, utility in teaching, elementary music school, the Conservatory.

This paper discusses the historical background of the Rapsodie for Orchestra and Saxophone by Claude Debussy and includes a comparison of two piano performance editions. Chapter I includes information on Elise Hall, her work with the Boston Orchestra Club and the circumstances of her commission of Claude Debussy which yielded the Rapsodie. Chapter II discusses the Editions Durand piano reduction and the reasons for its neglect by saxophone performers. This chapter includes a study of the techniques used by Eugene Rousseau to create his arrangement of the Rapsodie for saxophone and piano. The study concludes that the arrangement by Rousseau is more attractive to saxophonists and will be performed more frequently than the Durand reduction.