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Debussy and symbolism: A comparative...

Brown, Jennifer Lea.

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Debussy and symbolism: A comparative study of the aesthetics of Claude Debussy and three French symbolist poets with an analysis of Debussy's symbolist techniques in "Pelleas et Melisande".

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Debussy and symbolism: A comparative study of the aesthetics of Claude Debussy and three French symbolist poets with an analysis of Debussy's symbolist techniques in "Pelleas et Melisande"./
作者:	Brown, Jennifer Lea.
面頁冊數:	159 p.
附註:	Adviser: Thomas Grey.
Contained By:	Dissertation Abstracts International53-07A.
標題:	Literature, Romance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9234041

Debussy and symbolism: A comparative study of the aesthetics of Claude Debussy and three French symbolist poets with an analysis of Debussy's symbolist techniques in "Pelleas et Melisande".
Brown, Jennifer Lea.

Debussy and symbolism: A comparative study of the aesthetics of Claude Debussy and three French symbolist poets with an analysis of Debussy's symbolist techniques in "Pelleas et Melisande". - 159 p.

Adviser: Thomas Grey.

Thesis (D.M.A.)--Stanford University, 1992.

The aesthetic ideal of Claude Debussy has many similarities to that of the contemporary Symbolist movement in France; the rejection of the heavy rhetoric of the Romantics by Debussy and the Symbolist poets gave way to a style which emphasized understatement and suggestion rather than blatant description of the artistic idea. A discussion of the aesthetics and Symbolist techniques of three poets, Baudelaire, Verlaine, and Mallarme, is followed by an examination of parallel aesthetics and techniques of Debussy. The final section is devoted to Debussy's application of the Symbolist techniques in his opera, Pelleas et Melisande.Subjects--Topical Terms:

1019014
Literature, Romance.

Debussy and symbolism: A comparative study of the aesthetics of Claude Debussy and three French symbolist poets with an analysis of Debussy's symbolist techniques in "Pelleas et Melisande".
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100 1 $a Brown, Jennifer Lea. $3 1253407
245 1 0 $a Debussy and symbolism: A comparative study of the aesthetics of Claude Debussy and three French symbolist poets with an analysis of Debussy's symbolist techniques in "Pelleas et Melisande".
300 $a 159 p.
500 $a Adviser: Thomas Grey.
500 $a Source: Dissertation Abstracts International, Volume: 53-07, Section: A, page: 2149.
502 $a Thesis (D.M.A.)--Stanford University, 1992.
520 $a The aesthetic ideal of Claude Debussy has many similarities to that of the contemporary Symbolist movement in France; the rejection of the heavy rhetoric of the Romantics by Debussy and the Symbolist poets gave way to a style which emphasized understatement and suggestion rather than blatant description of the artistic idea. A discussion of the aesthetics and Symbolist techniques of three poets, Baudelaire, Verlaine, and Mallarme, is followed by an examination of parallel aesthetics and techniques of Debussy. The final section is devoted to Debussy's application of the Symbolist techniques in his opera, Pelleas et Melisande.
520 $a The three Symbolist poets above are included in this study not only because of their relationship with Debussy, but also because of their literary historical importance; Charles Baudelaire is considered the "founding father" of French Symbolism whose influence was felt by both Paul Verlaine, who developed important Symbolist techniques such as freedom of verse, or l'impair, and Stephane Mallarme, who was the leader of the Symbolist movement during its peak in the last decade of the nineteenth century.
520 $a The aesthetic similarities between Debussy and the three poets are both conceptual and technical. Beginning with Verlaine, the section on aesthetic parallels examines the concepts of suggestion rather than description, senses and nature, as well as musicality and fluidity of motion. Verlaine's aesthetic is presented through the analysis of several of his poems including "L'Art poetique," which rejects the eloquence of Romanticism in favour of understatement and freedom of motion. The section on Baudelaire is more technically oriented and examines the expressive employment of motion and timbre in his poetry. The section dealing with Mallarme's aesthetic also emphasizes technique rather than concept; his manipulation of syntax, including unconventional word order and extended ellipsis, as well as his expressive use of silence all play an important role in the style of the poet.
520 $a In analyzing the opera, Pelleas et Melisande, one finds that many of the concepts and techniques employed regularly by the Symbolist poets are present in Debussy's composition. His expressive use of motion, including the arabesque, of timbre, and harmony have a parallel in Baudelaire; Debussy's expressive employment of silence, his manipulation of musical syntax and his distortion of music "reality" are similar to techniques found in Mallarme's poetry; Debussy's concept of understatement, of fluidity of motion, and the importance he places on nature and the senses are seen in the aesthetic of Verlaine. Debussy evolved a musical language which is well suited to underlining parallel aesthetic aims of these poets.
590 $a School code: 0212.
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650 4 $a Music. $3 516178
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710 2 0 $a Stanford University. $3 754827
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9234041