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Essay / Research Paper Abstract
A 5 page research paper that discusses accurate performance practice for Debussy's Sonata for Flute, Viola and Harp. For over a century, the music of Claude Debussy has been performed, analyzed and argued over, with its innate mystery still a major contemporary issue (Abravanel 28). There is a present-day misconception among musicians that their knowledge of musical notation and intelligence alone are sufficient for accurately creating an interpreting a work (Abravanel 28). In order to achieve this goal, the musician must also know something of the "spirit and style of the work" in order to reconstruct the composer's intention in performance (Abravanel 28). Bibliography lists 6 sources.
Page Count:
5 pages (~225 words per page)
File: D0_khdebson.rtf
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contemporary issue (Abravanel 28). There is a present-day misconception among musicians that their knowledge of musical notation and intelligence alone are sufficient for accurately creating an interpreting a work (Abravanel
28). In order to achieve this goal, the musician must also know something of the "spirit and style of the work" in order to reconstruct the composers intention in
performance (Abravanel 28). For example, in performing the work of Debussy, the musician should realize that Debussy distanced himself from tradition and particularly from the understanding that music should
be "founded on the objectives of symbolism" (Abravanel 29). As this suggests, it is within the realm of musicology and research into the life and perspectives Debussy that the contemporary
musician will find the best guidance as to how to obtain authentic performance practice. In discussing this topic, the following examination of performance practice focuses specifically on Debussy Second Sonata,
the Sonata for Flute, Viola and Harp. It is helpful in interpreting this work correctly in performance to know something of Debussys intentions in writing this work. The Sonata
was composed nearly the end of Debussys life and was part of an ambitious project to write a cycle of six sonatas (Program Notes). His intention was to advance French
national music via a synthesis of "refined eighteenth century stylistic gestures" and his own "nuanced style of musical impressionism" (Program Notes). This was, nevertheless, a departure for Debussy that critics,
as well as Debussy himself, have judged to be quite different from his previous work. Debussy did not live to complete all six sonatas, but of the first three, he
commented that "It is the music of a Debussy I no longer know. It is frightfully mournful, and I dont know whether one should laugh or cry--perhaps both?" (Program Notes).
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