Debussy: Prelude to the Afternoon of a Faun

Debussy, from Preludes Book One:Debussy, from Preludes Book One:

Voiles (Sails)

Debussy: Prelude to the Afternoon of a Faun (excerpt)

Debussy’s “Prelude to the Afternoon of a Faun”

inspired by Mallarmé’s symbolist poem.

I would perpetuate these nymphsSo clear

Their skin’s light bloom, it eddies in the airHeavy with tufts of sleep

Did I love a dream?

Debussy’s “Prelude to the Afternoon of a Faun”

inspired by Mallarmé’s symbolist poem.

I. Impressionism: The BasicsI. Impressionism: The Basics

A. Where?

B. When?

C. Who?

II. Debussy’s Aesthetic Goals

II. Debussy’s Aesthetic Goals

A. The Goal = Immediacy Immediacy

B. The Obstacle = Nature of Music not immediate, unfolds in/over time

III. Immediacy, Musical Realization (Pt. 1): What you donWhat you don’’t gett get

A. Don’t get: Clear, articulated, periodic phrases instead fragments, short motives

III. Immediacy, Musical Realization (Pt. 1) What you don’t get

A. Don’t get: Clear, articulated, periodic phrases instead fragments, short motives

B. Don’t get: Long-range goals or climaxes instead phrases that avoid clear peak or closure

III. Immediacy, Musical Realization (Pt. 1) What you don’t get

A. Don’t get: Clear, articulated, periodic phrases instead fragments, short motives

B. Don’t get: Long-range goals or climaxes instead phrases that avoid clear peak or closure

C. Don’t get: clear meter and often don’t get clear pulse

D. Don’t get: traditional or predictable forms

E. Don’t get: music that has long-range progress/process

IV. Immediacy, Musical Realization (Pt. 2): What you DO get

A. Debussy’s Interest in Tone Color or Timbre

IV. The Musical Realization (Pt. 2): What you DO get

A. Debussy’s Ear for Tone Color or Timbre•Dymanics: often in soft or very soft regions

IV. The Musical Realization (Pt. 2): What you DO get

A. Debussy’s Ear for Tone Color or Timbre•Dymanics: often in soft or very soft regions

•Orchestration = solo instruments in unusual combinations muted brass/soft percussion/harp•Human voice used purely for color

B.Debussy’s Unique Harmony

•Chords chosen not for function, but beauty/effect

•Chords in parallel motion

IV. The Musical Realization (Pt. 2): What you DO get

A. Debussy’s Ear for Tone Color or Timbre•Dymanics: often in soft or very soft regions•Orchestration = solo instruments/unusual combinations/muted brass/soft percussion•Human voice used as another color in the instrumental palette

B.Debussy’s Unique Harmony•Chords chosen not for function, but beauty/effect•Chords in parallel motion•Use of whole-tone scale

Whole-tone ScaleWhole-tone Scale

IV. The Musical Realization (Pt. 2): What you DO get

A. Debussy’s Ear for Tone Color or Timbre

•Dymanics: often in soft or very soft regions•Orchestration •Human voice used as another color in the instrumental palette

B.Debussy’s Unique Harmony

•Chords chosen not for function, but beauty/effect•Chords in parallel motion•Use of whole-tone scale

3. Lack of Leading-Tone Effect

2. Symmetrical Scale

4. Lack of strong dissonance•Pentatonic Scale

1. Six (6) notes per octave

Format of Exam #4:

• 5 Listening IDs from listening list (composer, title, movement as appropriate)

• 1 Listening question on Berlioz, Symphonie Fantastique, “Witches Sabbath,” based on Wright Listening Guide

• 2 additional listening

• Objective questions on reading, listening, lecture

• Choice of 2-3 essay questions

Debussy, from Preludes Book One:Debussy, from Preludes Book One:

Voiles (Sails)