Claude Debussy / Bibliothèque nationale ; [catalogue par François Lesure] ; [préface de Julien Cain]

[Exposition. Paris, Bibliothèque nationale. 1962]

Impresiones de España en la música de Claude Debussy.

Resumen en inglés

El deporte también puede inspirar música (III) : de Claude Debussy (siglo XX) a la música electrónica (siglo XXI).

Resumen tomado de la publicación

O estudo pour les octaves de Claude Debussy : um relato sobre a organização do processo de aprendizagem motora

Este trabalho relata a organização do meu processo de aprendizagem motora do Estudo Pour les Octaves de Claude Debussy. Nele, são descritos o planejamento, a implementação e a avaliação da prática através do modelo tripartido de Fitts e Posner (1979). A prática foi organizada da seguinte forma: a peça foi segmentada e foram definidos os movimentos necessários à sua execução através dos ciclos de movimento (PÓVOAS, 1999). O estudo da peça iniciou-se pelos segmentos, os quais foram gradativamente integrados. As sessões de prática foram documentadas através de relatos escritos e gravações em vídeo e algumas foram supervisionadas pela orientadora. Os dados coletados foram avaliados tanto ao longo da implementação da prática, quanto a posteriori, através de uma reflexão retrospectiva do processo.

Chanson polifônica francesa: um estudo nas obras corais a capella de Claude Debussy e Maurice Ravel

Pós-graduação em Música - IA

Elisabeth Kandt, Rollenbild, in: Claude Debussy: Pelléas et Mélisande

Signatur des Originals: S 36/F04860

Lisbeth Sellin als Melisande, Rollenbild, in: Claude Debussy: Pelléas et Mélisande

Signatur des Originals: S 36/F06502

Erik Wirl, Rollenbild, in: Claude Debussy: Pelléas und Mélisande

Signatur des Originals: S 36/F07292

Erik Wirl als Pelleas, Rollenbild, in: Claude Debussy: Pelleas und Melisande

Signatur des Originals: S 36/F07304

Claude Debussy, Brustbild

Signatur des Originals: S 36/F08445

Mary Garden, Rollenbild, Hüftbild, in: Claude Debussy: Pelléas et Mélisande

Signatur des Originals: S 36/F08622

Vaclav F. Nižinskij, Szenenfoto, in: Claude Debussy: L'après-midi d'un faune, 1912

Signatur des Originals: S 36/F11688

Preludes pour piano : (2e livre) / par Claude Debussy

Mode of access: Internet.

BOULANGER, SATIE, AND DEBUSSY: THEIR SPHERES OF INFLUENCE ON FRENCH MELODIE AND AMERICAN ART SONG

This dissertation project explored the spheres of influence on art song by Nadia Boulanger, Erik Satie, and Claude Debussy within Boulangeries, Les Six, and Les Apaches. After World War I, American composers flocked to Paris to study with Boulanger. Boulanger gave her students the confidence to explore their native talents instead of mimicking foreign models. Works by Aaron Copland, Virgil Thomson, Theodore Chanler, John Duke, and Richard Hundley were included in the first dissertation recital on January 31, 2010: The Legacy of Nadia Boulanger: Her Influence on American Song Composers. Satie established a new modern French musical style, and was a catalyst for the formation of Les Six. Ned Rorem came to Paris, and had a close association with Les Six. Works by Satie, and three members of Les Six, Francis Poulenc, Arthur Honegger, Darius Milhaud; and Rorem were featured in the second recital on September 1, 2010: Satie, Selected Members of Les Six, and Rorem in Paris. Debussy was one of the most significant French composers in the late nineteenth century, predating Boulanger and Satie. Young composers exploring new directions were inspired by Debussy, forming the group Les Apaches. The final recital, April 7, 2011, featured works by Debussy and two members of Les Apaches, Maurice Ravel and Manuel de Falla: Debussy: A Catalyst for Les Apaches, Ravel and Falla. Falla‘s less well-known repertoire was presented. This dissertation showed the influence of these three major figures and that they embraced innovation in their own time, along with their followers. Recordings of these three performances may be obtained from the Michelle Smith Performing Arts Library in Clarice Smith Performing Arts Center at the University of Maryland, College Park.

Poetics of the Nameless Middle : Japan and the West in Philosophy and Music of the Twentieth Century

This study investigates the affinities between philosophy, aesthetics, and music of Japan and the West. The research is based on the structuralist notion (specifically, on that found in the narratology of Algirdas Julius Greimas), that the universal grammar functions as an abstract principle, underlying all kinds of discourse. The study thus aims to demonstrate how this grammar is manifested in philosophical, aesthetic, and musical texts and how the semiotic homogeneity of these texts can be explained on this basis. Totality and belongingness are the key philosophical concepts presented herein. As distinct from logocentrism manifested as substantializations of the world of ideas , god or mind, which was characteristic of previous Western paradigms, totality was defined as the coexistence of opposites. Thus Heidegger, Merleau-Ponty, Dōgen, and Nishida often illustrated it by identifying fundamental polarities, such as being and nothing, seer and seen, truth and illusion, etc. Accordingly, totality was schematically presented as an all-encompassing middle of the semiotic square. Similar values can be found in aesthetics and arts. Instead of dialectic syntagms, differentiated unity is considered as paradigmatic and the study demonstrates how this is manifested in traditional Japanese and Heideggerian aesthetics, as well as in the aspects of music of Claude Debussy and Tōru Takemitsu.