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- All Subjects: Music
- Genre: Music--Political aspects--France.
- Genre: Suites
Description
The Sonata for Cello and Piano (1915) was one of the last three sonatas written by Claude Debussy (1862–1918). When Debussy composed the sonata, France was involved in World War I and Debussy was influenced by political dogmas that sought to advance nationalism as well as the use of French traditions in musical compositions. By discussing the political impact of World War I on French music, this paper will place the Sonata in a context that strengthens the understanding of the work.
Debussy, who participated in the political project of seeking out tradition as the protector of French culture, also presents his understanding of what French tradition is in this sonata. An analytical description of the structure, thematic materials, harmonies and intervallic relationships of the Sonata reveals Debussy’s approach of combining the elements that he observed from his French predecessors, as well as his own innovations in the work as he negotiated musical world that was controlled by political dogma
Debussy, who participated in the political project of seeking out tradition as the protector of French culture, also presents his understanding of what French tradition is in this sonata. An analytical description of the structure, thematic materials, harmonies and intervallic relationships of the Sonata reveals Debussy’s approach of combining the elements that he observed from his French predecessors, as well as his own innovations in the work as he negotiated musical world that was controlled by political dogma
ContributorsSong, Peipei (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Feisst, Sabine (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016
Description
The music of Johann Sebastian Bach has long been used for keyboard percussion pedagogy and performance. The cello suites (BWV 1007-1012), in particular, are popular choices for marimbists. As with many transcriptions for marimba, performers are challenged to transfer Bach's musical genius onto an instrument whose timbre, range, mode of execution and acoustic properties are distinctly different from the original. To date, there is no concise and relevant edition of the suites for study and performance at the marimba. The edition contained herein solves most, if not all, of the problems normally confronted by marimbists. In addition to synthesizing the most salient information from early manuscript sources and modern performances, this edition corrects the harmonic and voiceleading problems that are caused by the polyphonic limitations of the cello. This edition also eliminates performance notations found in most cello editions which are of little use to a marimbist.
ContributorsSallak, William Leslie (Author) / Smith, J. B. (Thesis advisor) / Sunkett, Mark (Committee member) / Hackbarth, Glenn (Committee member) / Bush, Jeffrey (Committee member) / Arizona State University (Publisher)
Created2010