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

2. Debussy, from Preludes Book One:
Voiles (Sails)

3. Debussy: Prelude to the Afternoon of a Faun (excerpt)

6. Debussy’s “Prelude to the Afternoon of a Faun”
inspired by Mallarmé’s symbolist poem.

7. 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?

8. 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.

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

10. II. Debussy’s Aesthetic Goals

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

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

14. 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

16. 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

17. IV. Immediacy, Musical Realization (Pt. 2): What you DO get
A. Debussy’s Interest in Tone Color or Timbre

19. 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

20. 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

22. 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

23. Whole-tone Scale

24. 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

26. 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

27. Debussy, from Preludes Book One:
Voiles (Sails)