Impressionism in France Debussy: Prelude to the Afternoon of a Faun

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 nymphs So clear Their skin’s light bloom, it eddies in the air Heavy with tufts of sleep Did I love a dream?

Narrative/Progress/Plot Debussy’s “Prelude to the Afternoon of a Faun” Sheer Sound Evokes Atmosphere Narrative/Progress/Plot inspired by Mallarmé’s symbolist poem.

I. Impressionism: The Basics A. Where? B. When? C. Who?

II. Debussy’s Aesthetic Goals

II. Debussy’s Aesthetic Goals A. The Goal = Immediacy B. The Obstacle = Nature of Music not immediate, unfolds in/over time

III. Immediacy, Musical Realization (Pt. 1): What you don’t get Don’t get: Clear, articulated, periodic phrases instead fragments, short motives

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

What you don’t get III. Immediacy, Musical Realization (Pt. 1) 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 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 1. Six (6) notes per octave 2. Symmetrical Scale 3. Lack of Leading-Tone Effect 4. Lack of strong dissonance Pentatonic Scale

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: Voiles (Sails)