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Interpreting and Developing Musical Imagery in Debussy's Piano Music
Interpreting and Developing Musical Imagery in Debussy's Piano Music
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20260202104650
- ISBN
- 9798288833205
- DDC
- 780
- 저자명
- Huh, Ian.
- 서명/저자
- Interpreting and Developing Musical Imagery in Debussys Piano Music
- 발행사항
- [Sl] : University of Washington, 2025
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2025
- 형태사항
- 67 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 87-01, Section: A.
- 주기사항
- Advisor: McCabe, Robin L.
- 학위논문주기
- Thesis (D.M.A.)--University of Washington, 2025.
- 초록/해제
- 요약Pianistic challenges are some of the varying issues in performing Claude Debussy's piano music. These include tempo and rubato, pedaling, dynamic control, articulation and touch, musicality and phrasing, and interpreting of musical imagery. Each pianist must strive to overcome these challenges, requiring dedicated practice and taking a closer examination of his piano style. "La cathedrale engloutie," from Preludes (1909-1910), will be the first topic on exploring his departure from tonality and venturing away from traditional harmonic structures. In addition, "Prelude," from Pour le piano (1902), will be examined from the same perspective of the influences from the baroque composers Couperin, Rameau, and Bach, stretching to Chopin's pianistic style in technique and pedaling. Estampes (1903) will be looked at in depth regarding the gamelan influences Debussy experienced while taking in the 1889 Exposition in the first piece "Pagodes." We will also observe the influences from Maurice Ravel through compositions from his two-piano, four-hands works that may have directly influenced "La soiree dans Grenade." Furthermore, this dissertation discusses the topic of how "impressionism" was dismissed by the composer, as he often referred to himself as a Symbolist. "Reflets dans l'eau," from the first book of Images (1901-1905), will be examined which relates mathematics to the Golden Section, organizing the structure of the entire piece. The late solo piano works nod to stereotypical racism, including "Golliwog's Cakewalk" and "Minstrels," venturing into American jazz and how Scott Joplin's ragtime influenced and expanded Debussy's stylistic grasp. From 1900, Debussy's piano output was considerably more demanding in pianistic technique and more difficult to interpret than his earlier works. This dissertation will also give suggestions on how to successfully navigate challenges on the issues of performance. Moreover, issues in executing and understanding pedaling in Debussy's piano works will be analyzed.
- 일반주제명
- Music
- 일반주제명
- Performing arts
- 일반주제명
- Musical performances
- 일반주제명
- Musical composition
- 키워드
- Impressionism
- 키워드
- Interpretation
- 키워드
- Musical imagery
- 키워드
- Tonality
- 기타저자
- University of Washington Music
- 기본자료저록
- Dissertations Abstracts International. 87-01A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■020 ▼a9798288833205
■035 ▼a(MiAaPQ)AAI32115235
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a780
■1001 ▼aHuh, Ian.
■24510▼aInterpreting and Developing Musical Imagery in Debussy's Piano Music
■260 ▼a[Sl]▼bUniversity of Washington▼c2025
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2025
■300 ▼a67 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 87-01, Section: A.
■500 ▼aAdvisor: McCabe, Robin L.
■5021 ▼aThesis (D.M.A.)--University of Washington, 2025.
■520 ▼aPianistic challenges are some of the varying issues in performing Claude Debussy's piano music. These include tempo and rubato, pedaling, dynamic control, articulation and touch, musicality and phrasing, and interpreting of musical imagery. Each pianist must strive to overcome these challenges, requiring dedicated practice and taking a closer examination of his piano style. "La cathedrale engloutie," from Preludes (1909-1910), will be the first topic on exploring his departure from tonality and venturing away from traditional harmonic structures. In addition, "Prelude," from Pour le piano (1902), will be examined from the same perspective of the influences from the baroque composers Couperin, Rameau, and Bach, stretching to Chopin's pianistic style in technique and pedaling. Estampes (1903) will be looked at in depth regarding the gamelan influences Debussy experienced while taking in the 1889 Exposition in the first piece "Pagodes." We will also observe the influences from Maurice Ravel through compositions from his two-piano, four-hands works that may have directly influenced "La soiree dans Grenade." Furthermore, this dissertation discusses the topic of how "impressionism" was dismissed by the composer, as he often referred to himself as a Symbolist. "Reflets dans l'eau," from the first book of Images (1901-1905), will be examined which relates mathematics to the Golden Section, organizing the structure of the entire piece. The late solo piano works nod to stereotypical racism, including "Golliwog's Cakewalk" and "Minstrels," venturing into American jazz and how Scott Joplin's ragtime influenced and expanded Debussy's stylistic grasp. From 1900, Debussy's piano output was considerably more demanding in pianistic technique and more difficult to interpret than his earlier works. This dissertation will also give suggestions on how to successfully navigate challenges on the issues of performance. Moreover, issues in executing and understanding pedaling in Debussy's piano works will be analyzed.
■590 ▼aSchool code: 0250.
■650 4▼aMusic
■650 4▼aPerforming arts
■650 4▼aMusical performances
■650 4▼aMusical composition
■653 ▼aImpressionism
■653 ▼aInterpretation
■653 ▼aMusical imagery
■653 ▼aTonality
■690 ▼a0413
■690 ▼a0641
■690 ▼a0943
■690 ▼a0214
■71020▼aUniversity of Washington▼bMusic.
■7730 ▼tDissertations Abstracts International▼g87-01A.
■790 ▼a0250
■791 ▼aD.M.A.
■792 ▼a2025
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17358364▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
