Claude Debussy is considered one of the most influential figures of the late 19th century and early 20th centuries. Among the various works that he wrote for the piano, Children's Corner and La Boîte à joujoux distinguish themselves as being evocative of childhood. However, compared to more substantial works like Pelléas et Mélisande or La Mer, his children's piano music has been underrated and seldom performed. Children's Corner and La Boîte à joujoux were influenced by a series of eclectic sources, including jazz, novel "views" from Russian composers, and traditional musical elements such as folk songs and Eastern music. The study examines several stylistic parallels found in these two pieces and is followed by a discussion of Debussy's use of musical quotations and allusions, important elements used by the composer to achieve what could be dubbed as a unique "children's wonderland."

Alberto Ginastera completed his ballet Panambí in 1937. The ballet was arranged as a symphonic suite, and was performed the same year at the Teatro Colon in Buenos Aires, conducted by Juan José Castro. Panambí marked the beginning of Alberto Ginastera’s long and successful career as an Argentine composer. Chapter I of this document provides a brief introduction into the history behind Alberto Ginastera’s Panambí suite, and includes a review of the research that is exclusively devoted to the suite, as well as documents that do not provide direct analyses of Panambí, but contain information that aid in a better understanding of the suite’s composition. Chapter II includes analyses of the suite that illustrate important elements that contribute to the structure and sound of the Panambí suite. These components include Ginastera’s construction of the La Noche theme found in the first movement and its use as a master set, his use of diatonic collections and pitch centricity, the importance of unordered pitch class intervals IC1 and IC6, his use of aggregate completion as a compositional method, and his use of local motives over larger spans of temporal space. Chapter III explores the possibility that many of these compositional methods are due to the influence of Claude Debussy’s La Mer and Igor Stravinsky’s Le Sacre du Printmeps. The “guitar chord” may also be the result of the influence of Debussy’s La Mer.

應用於音樂的轉換理論，自大衛·盧因於1987年首先提出，至今已逾四分之一個世紀。在轉換理論中，盧因極具創見地將音樂的動態以數學中的群論及函數的概念表達，冀望以此改變過往音樂分析中過於注重對音樂素材及其特性的靜態研究，而忽視素材之間轉換過程的問題。盧因的研究對於西方理論學界產生了極大的影響。有關理論的深層探討，特別是在音樂與數學結合的方向顯示了驚人的成果。然而，就如何將轉換理論系統地應用於音樂分析，迄今最為成功的嘗試仍僅為盧因1993年成書的四首作品分析。對於轉換理論如何體現某個作曲家個人風格及其發展的研究，更是絶無僅見。本文將轉換理論應用於分析德彪西的兩首管弦樂傑作《牧神午後前奏曲》及芭蕾舞劇《遊戲》。雖然有關德彪西作品的分析者眾，但囿於理論途徑的限制，能充分展現在新舊風格轉換的歷史語境下，德彪西音樂獨特之處的研究仍極為有限。在本文中，轉換理論因其彈性的適用性，為兩首作品中的音高組合與曲式的關係，以及由此體現的風格衍變與美學思想，提供了獨特而極具說服力的分析視角。 / Theoretical development that stems from David Lewin’s transformational theory has flourished since its inception in 1987. However, the analytical application of Lewin’s theory remains scant, with Musical Form and Transformation: Four Analytical Essays (1993) standing out as one major achievement. Transformational theory is more often used to address specific theoretical issues, rather than to enhance our understanding of musical works or stylistic traits of individual composers. This study explores the applicability of Lewin’s transformation theory to two of Debussy’s orchestral masterworks, Prélude à l’après-midi d’un faune and Jeux, and contributes to Debussy scholarship by offering readings that cast new light on the interrelationship between pitch organization and form in them. / Detailed summary in vernacular field only. / Hong, Ding. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 181-191). / Abstracts also in Chinese.

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

Thesis (M.Mus)-University of Natal, Durban, 1978. / Full text available online. Scroll down to electronic link.

Th. doct.--Musicologie--Paris--Ecole des hautes études en sciences sociales, 1996. / Exemples musicaux en fin de volume. Glossaire p. 504-506. Bibliogr. p. 508-528. Index.

Orientadores : Jose Antonio de Almeida Prado , Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-13T22:14:36Z (GMT). No. of bitstreams: 1 Pascoal_MariaLuciaSennaMachado_D.pdf: 7534551 bytes, checksum: b7212ad76f9190cc72764d409cad2c9b (MD5) Previous issue date: 1989 / Resumo: Existem peças musicais que se constituem em conjutos homogeneos e seu estudo pormenorizado nos leva a compreender o pensamento musical de um compositor. Um desses conjuntos de peças são os 24 Prelúdios de Claude Debussy, escritos entre 1909/1912, representativos de sua plena maturidade. Obra das mais importantes na literatura pianistica pelo maneira nova de tratar o instrumento, é também pela própria composição que nos revela como Debussy, utilizando-se de ténicas antigas, outras estranhas ao repertório europeu, cria sua linquagem original: amplia os códigos de sua epoca, inventa novos que se projetam e abrem caminhos para a música do século xx. O que este trabalho demonstra: através da análise e levantamento das técnica, faz ligações e comparações dos Prelúdios de Debussy com músicas de diversas épocas, sistemas e estilos musicais/pianisticos, considerando-os portanto, como reflexo e projeção / Abstract: Some musical works may be considered as an homogeneous whole and by studying them in detail, the composer's musical thought will be revealed. One of these pieces are DEBUSSY'S 24 PRELUDES, written between 1909- 12. Representing the culmination of his artistic maturity, they are an important work in the pianistic literature because of the new treatment that is given to the instrumento Also regarding the composition itself, Debussy makes use of ancient as well as foreign techniques, that until then did not belong to the European repertoire. In these PRELUDES the composer shows how he creates his original language, by increasing the codes of his time and inventing new ones, which outstood and have opened the way for the outcome of the twentieth century's music. That's what is demonstrated here, comparing DEBUSSY'S PRELUDES to music of different times as well as musical/pianistic systems and styles, considering them in view of alI that as REFLECTION and PROJECTION / Doutorado / Doutor em Artes

Jean-Michel Defaye composed Á La Maniére de Debussy in 2001 as part of a series of trombone solos written to emulate the compositional styles of significant predecessors. This study compares Á La Maniére de Debussy to the harmonic, melodic, and rhythmic practices of Claude Debussy (1862–1918), an innovative French composer and recognized figure of musical Impressionism. At present, there is limited scholarship on Defaye’s Á La Maniére de Debussy and its compositionally imitative nature. The first section of this document presents a survey of historical information, current literature, and methods of examination. The second section provides biographical information on composers Jean-Michel Defaye and Claude Debussy. The third section exhibits a compositional comparison of Á La Maniére de Debussy to Debussy’s use of harmony, melody, and rhythm. The final section draws a conclusion to the piece’s importance to the trombone solo repertoire and includes an interview with French trombonist Jacques Mauger who collaborated with Defaye on Á La Maniére de Debussy. Although this document is not a performance guide, an informed performance of Á La Maniére de Debussy requires a trombonist to understand Debussy’s unique treatment of harmony, melody, and rhythm.

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