Thesis (M.A.)--California State University, Sacramento, 1996. / Includes bibliographical references (p. 175-179).

<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.

Not only did Debussy find the Symbolist movement a source of inspiration for his artistic aims, he often selected his literary collaborators from them. Pelleas et Melisande, Prelude a l'Apres-midi d'un Faune, Chansons de Bilitis, Trois Pomes de Stephane Mallarme, Fetes Galantes, Ariettes Oubliees, all had Symbolist authors. Moreover, the poetic style of the Proses Lyriques, of which Debussy himself was the author, is in the Symbolist manner.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Debussy composed a piano work Pr&#x00E9;ludes Book I in 1909. By Symbolism and Impressionism in French, Debussy was induced to write twelve pieces in Pr&#x00E9;ludes Book I. His composes not only reveal variety but also involve the actuality, tales, antique and modern cultures in his creations. The thesis first investigates the relation in Debussy, Symbolism, and Impressionism. The second work is description of the composed background of Pr&#x00E9;ludes Book I. Finally, we discuss the performance interpretation in Debussy Pr&#x00E9;ludes Book I according to the statements of historians with L&#x00E9;on Vallas, Paul Roberts, E. Robert Schmitz, R. Myers, and pianists Marguertite Long, Alfred Cortot and Debussy¡¦s friends Lousia Liebich, Robert Godet. In this thesis, the historical viewpoints would be adopted to research the performance of expression for Pr&#x00E9;ludes Book I. And, we expect each player who is able to explicitly understand the expression of this piece when he or she possesses an excellent skill in the future.

Thesis (Ph. D.)--University of Washington. / Bibliography: l. [270]-272.

Thesis (M.A.)--Eastern Illinois University, 1966. / Includes bibliographical references (leaves 96-98).

Treatise (D.M.A.) Florida State University, 2008. / Advisor: Douglas Fisher, Florida State University College of Music. Title and description form dissertation home page (viewed 4-6-2009). Document formatted into pages; contains 59 pages.

Diss.--Paderborn, 1988. / Bibliogr. p. 159-171.