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.

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.

No description available.

This graduate recital features significant piano works from the major periods in music history. The opening pieces - the Scarlatti sonatas - are technically challenging but allow the pianist to show a great deal of expression. Schumann’s Liederkreis, Op. 39 as well as the Weisgarber Sonatine are collaborative works; the first features a soprano soloist and the second is written for flute, clarinet, and piano. Ending the first half of the program is Schumann’s Concerto in A minor, op. 54, extremely challenging for both soloist and accompanist, especially during the cadenza. The second half of the recital includes another contemporary work, Sketches in Color (Volume 2) by Robert Starer; these are short, exciting pieces based on tertiary colors. The recital closes with Debussy’s Estampes, a set of works that were one of his earliest compositions for solo piano. / Mary Pappert School of Music; / Music Performance / MM; / Recital;

Claude Debussy is one of the most important composers in France in the late nineteenth century. Since Debussy¡¦s compositional style is similar to with the ¡§Impressionism¡¨ in painting which prevails at that time. As a result, Debussy¡¦s compositional style is considered as the Impressionism in music. This study provides an overall view of the Debussy¡¦s final work, ¡§Violin Sonata¡¨, which displays the hazy atmosphere of Impressionism. The showing virtuostic techniques of Debussy¡¦s violin sonata are greatly different from the works of Henry Wieniawski and Pablo de Sarasate who emphasize on showing virtuostic technique. This sonata expresses rich and imaginary feelings by particular alternation of tone color, requiring many musical terminologies that exactly indicate not only the change of the tempo but also the position of the playing so that player can achieve an ideal timbre or convey the emotion. Except the preface and conclusion, this thesis includes two parts. The first part discusses about Debussy and Impressionism, briefly introducing his life and raising examples to show some characters of Impressionism in this work. The second part describes the historical background of his violin sonata and his compositional techniques on rhythm and musical figure such as ostinato, tautaphony, polyphony. Moreover, it also respectively explores how to express the emotion and the appropriate performance techniques for dealing with the dynamics with Debussy¡¦s instructions on each chapter.

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 117-118). Available also in a digital version from Dissertation Abstracts.

Treatise (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.