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Essay / Research Paper Abstract
A 6 page research paper that discusses three pieces from Debussy's works for piano, Images II. The writer first examines the nature of each piece and then discusses the proper technique for playing Debussy. The pieces are Cloches a travers les feuilles; Et la lune descend sur le temple qui fut; and Poissons d'or. Bibliography lists 10 sources.
Page Count:
6 pages (~225 words per page)
File: D0_khdebi2.rtf
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Unformatted sample text from the term paper:
and other Impressionist composers despised this label and rejected it (20th Century Period). Despite this rejection, Debussys music does indeed conjure images that are distinctive and evocative. His music brought
a "fluidity of rhythm and color quite new to Western music" (Sadie). These qualities are exemplified by the three pieces that appear in his work Images II and are discussed
below: first by examining the nature of each piece and then by discussing the proper technique for playing them. The pieces are Cloches a travers les feuilles; Et la lune
descend sur le temple qui fut; and Poissons dor. Characteristics of the pieces and relevance of titles Debussy wrote two sets of Images for the piano in 1903, 1905 and
1907, which are among some of his most evocative creations (Ax 2). Debussy expressed to his publisher an opinion of his Images that showed he valued this work highly. He
told Jacques Durand (Debussys publisher) that he believed that these pieces would take their place in piano literature, "either to the left of Schubert or to the right of Chopin"
(Ax 2). Visual concordances are inescapable and remarkable in this "suggestive, pastel-hued music" (Ax 2). Frank Dawes, the British musicologist, in explaining the beauty of the pieces in Images I
and II, said that it was rather like staring fixedly at an object for a long period of time, so that the pupils dilate and the picture begins to lose
focus. One feels that Debussy "gazed long enough into his pool of water to became bemused by the spectacle of endlessly shifting reflections" (Ax 2). Throughout this career,
Debussy was dedicated to creating a musical language that was uniquely French, eschewing any German influence. To this end, he endeavored to revive long-dormant musical traditions that originated in the
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