Con- and dissonance in musical form (Claude Debussy’s Preludes “Les dansieurs des Delphes” and “Voiles”)

Authors

  • Dmitry F. Ushakov Tomsk State Philarmony; Tomsk State University

Abstract

In this paper the principles of musical form in Claude Debussy are concerned, having taken his two Preludes (“Dansieuers des Delphes” and “Voiles”) as examples. The author traces the link between material of the pieces, the specifics of harmonic processes within them, and the musical form the composer chooses to incarnate these processes. An attempt is made to demonstrate the way how the terms “con-” and “dissonance” in harmonic sense may be applied to a higher level — the one of musical form. In this extent, the first of the two pieces represents the consonant form, while the second is in the dissonant form. To make this idea more clear, the two pieces are analyzed in detail. The analysis results in the conclusion that the pieces are written using two systems which one may understand as a dichotomy, that is, the two systems opposed to each other.

Keywords:

Debussy, Impressionism, musical form, harmony, consonance, dissonance, analysis

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Author Biography

Dmitry F. Ushakov, Tomsk State Philarmony; Tomsk State University

Artistic Director at the Tomsk State Philharmony; Lecturer of the Department of Instrumental Performance at the Institute of Arts and Culture

References

Литература

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References

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Published

2014-03-18

How to Cite

Ushakov, D. F. . (2014). Con- and dissonance in musical form (Claude Debussy’s Preludes “Les dansieurs des Delphes” and “Voiles”). Vestnik of Saint Petersburg University. Arts, 4(1), 14–29. Retrieved from https://artsjournal.spbu.ru/article/view/4453

Issue

Vol. 4 No. 1 (2014)

Section

Music

License

Articles of "Vestnik of Saint Petersburg University. Arts" are open access distributed under the terms of the License Agreement with Saint Petersburg State University, which permits to the authors unrestricted distribution and self-archiving free of charge.

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