Professional Documents
Culture Documents
1997
Recommended Citation
O'steen, William Timothy, "Analysis and Interpretation: Musical Analysis as a Technique for Performance Decisions in Selected
Preludes by Claude Debussy." (1997). LSU Historical Dissertations and Theses. 6511.
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ANALYSIS AND INTERPRETATION: MUSICAL ANALYSIS
AS A TECHNIQUE FOR PERFORMANCE DECISIONS
IN SELECTED PRELUDES BY CLAUDE DEBUSSY
A Monograph
in
by
William Timothy 0 Steen
B.M., Auburn University, 1979
M.M., Southern Illinois University, Edwardsville, 1981
August 1997
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UM I N tin b e r: 9808768
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To Mom and Dad
11
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ACKNOWLEDGMENTS
ixx
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and for her abiding faith in me, I am eternally and
IV
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CONTENTS
ACKNOWLEDGMENTS.................................... iii
LIST OF F I G U R E S ..................................... vi
CHAPTER
1 INTRODUCTION ............................. 1
The Analytical Approach ................. 1
How This Study P r o c e e d s ................... 5
V I T A ................................................88
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LIST OF FIGURES
VI
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ABSTRACT
vix
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CHAPTER 1
INTRODUCTION
performance problems.
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in one of a series of lectures, put forth the idea that
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all elements of musical structure. As Cone suggests,
noted:
4
Wallace Berry, Musical Structure and Performance
(New Haven: Yale University Press, 1989), 9.
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In following a second important guideline, a piece
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as "synoptic comprehension"^ of the music. Such
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research of music historians, and from a study of the
the plain").®
g
Claude Debussy Plays Again in Stereo, Superscope,
Keyboard Immortal Series, Stereo A 005.
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CHAPTER 2
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8
9
Edward Lockspeiser, Debussy; His Life and Mind
(London: Cassell and Co. Ltd., 1965; repr., Cambridge:
Cambridge University Press, 1978), 2:44.
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the titles are placed at the end of each prelude.
^ ^Howat, p . xvi.
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10
12
Howat, p. xvi.
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11
from book one. On the other hand, choosing from both books
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12
composition.^ ®
Howat, p. XV.
1 7„
Howat, p. XV.
18
Lockspeiser, p. 235-6.
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13
Performance Tradition
19
Burge, p. 14.
Schmitz, p. 147,
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14
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15
Brody, p. 53.
^*Brody, p. 50-51.
25
Published only in excerpts. See Roger Nichols,
Debussy Remembered (London: Faber and Faber, 1992),
192-193., and Brody, p. 45-62.
^^Brody, p. 55.
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16
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17
28
Dumesnil, p. 12.
29
Sidney Buckland, ed. and trans., Francis Poulenc:
"Echo and Source," Selected Correspondence 1915-1963
(London: Victor Golancz LTD, 1991), 175.
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18
^^Banowetz, p. 43.
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19
34
Banowetz, p. 42-43.
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20
^^Timbrell p. 31,
38
Margaret G. Cobb, Discographie de l'oeuvre de Claude
Debussy, Publications du Centre de documentation Claude
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21
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22
41
Figure 1 : Dumesnil's diagram of a portato attack
and etudes. She notes that since the hand will lift away
41
Dumesnil, How to Teach, 13.
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23
Trcslcnc
" ^ ~ k à 1
•/»... J9 P
j^Tl] ^ Tp-------- 1 *
FP
the portato notes and the left hand plays the low octave.
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24
43
release and the weight of attack. According to Long,
dynamic level.
^^Mallard, p. 84.
^^Long, p. 20.
^^Mallard p. 108.
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25
so often requires.
accuracy.
Burkhart, p. 14.
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26
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27
Aaimê (J >126)
M uà te w è ftm tu t ^ pooM e
49
The insertions marked "R" in the Durand/Costallat
edition are provided by Howat and are based on his
evaluation of the Welte-Mignon recording. After listening
to the recording, the author believes that Debussy plays
d-flat as the score indicates above (mm. 5-6) and not
d-natural.
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28
i
m m m
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29
Ccdez
1 Tempo
P
m
Un {Ku menu
final note is held with the left hand and allowed to sound
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30
Jacobs, p. 42.
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CHAPTER 3
31
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32
T rin e « Ictic t j - u t
$
p tx p fts u f et Joëiokreux
decay of tone.
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33
does not compete with them or drown them out. The pianist
half-notes with the left hand, using the attack that Long
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34
thumb on f.
tempo.
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35
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36
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37
structure.
hand to the right in playing the notes may make this slight
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38
of the phrase.
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39
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40
degree than other parts, what steps can the pianist take
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41
'g f - f S '- f -
Figure 9; "Des pas sur la neige," mm. 12-15
Durand S.A./Costallat, Used by Permission
Sole Agent U.S.A., Theodore Presser Company
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42
i
= :l = = = r
V T
P C om m e eo te n d re t « m * r i i | m
y - -na&L^ -- fU J
L —
—- - - W--= -^ i 4 ^ =
Plus lent
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43
of the piece.
requires the use of the damper pedal for legato and for
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44
the melody.
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45
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46
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47
is not lost.
effect.
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48
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49
point (m. 3), the pianist can think of the ostinato pattern
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50
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51
Problems of Voicing
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52
accompaniment.
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53
them with the ostinato rather than with the parallel fifths
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54
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55
»r r r ' if
Figure 13: "Des pas sur la neige," nun, 8-11
Durand S.A./Costallat, Used by Permission
Sole Agent U.S.A., Theodore Presser Company
parts.
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56
apparent.
the dynamics of that line to rise and fall with the melodic
direction.
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57
music.
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CHAPTER 4
MUM
58
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59
jump with the left hand to play the low fifth in measure
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60
easily— that is, one that either allows the left hand
enough that the pianist can follow the other with the
eyes.
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61
the pulse?
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62
avoided.
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63
passage.
Problems of Pedaling
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64
58
Dean Elder, "Gieseking's Pedaling in Debussy and
Ravel," in The Pianist's Guide to Pedaling, Joseph Banowetz
(Bloomington: Indiana University Press, 1985), 234.
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65
the b-flat and c-flat with the left hand on those beats
triad if desired.
piece.
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66
m.1 b-flat
m.9 e-flat
m.2 2 g
m.2 5 a-flat
m.2 8 g-flat
m, 3 3 g-natural
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67
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68
of phrase articulation.
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69
Problems of Phrasing
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70
63
David Lewin offers some other interpretations
of how the wind moves within the plain in musical terms
in: "Some Instances of Parallel Voice-Leading in Debussy,"
19th Century Music 11, no. 1 (Summer 1987): 64n.
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71
frequently.
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72
to the sense that the wind and the landscape are not
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73
#
dllrmrdÜ^W
.JB T O JT O S Æ ÎS Æ ro
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74
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75
this effect.
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CHAPTER FIVE
and analysis.
76
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77
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78
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79
musical events":
in verbal terms.
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80
which the wind descends to the plain and then, over the
music itself.
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SELECTED BIBLIOGRAPHY
81
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82
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83
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84
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85
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APPENDIX; LETTERS O F PERMISSION
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We thank you for your interest in our publication i.id .ish •uch
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Chairman
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87
June 3, 1997
Tim O'Steen
(WIMTRSION GRANTED
^ ^ y p R O V E D JUN 2 5 1997'
Rights ft Pei«ssttng / ^ I
DOVER PUBU8I9I0IS, IRC.
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VITA
88
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DOCTORAL EXAMINATION AND DISSERTATION REPORT
improved:
iuate School
EXAMINING COMMITTEE:
Date of :
July 7, 1997
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