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    Rasgos Estilísticos de Debussy, Ravel e Satie PDF

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    This document contains lecture notes from a music theory class discussing works by Erik Satie, Claude Debussy, Maurice Ravel, and the connections between musical techniques and those used in early French cinema. It provides analysis questions on Debussy's "Nuages" and his Sonata for Flute, Viola, and Harp, as well as Ravel's Le Tombeau de Couperin. The notes discuss compositional techniques like repetition, ostinati, layered events, and thickening of texture. They also compare Ravel and Debussy's treatment of rhythm, meter, texture, melody, phrasing, bass lines, cadences, and pitch collections. The document examines types of connection between

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    Rasgos Estilísticos de Debussy, Ravel e Satie PDF

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    This document contains lecture notes from a music theory class discussing works by Erik Satie, Claude Debussy, Maurice Ravel, and the connections between musical techniques and those used in early French cinema. It provides analysis questions on Debussy's "Nuages" and his Sonata for Flute, Viola, and Harp, as well as Ravel's Le Tombeau de Couperin. The notes discuss compositional techniques like repetition, ostinati, layered events, and thickening of texture. They also compare Ravel and Debussy's treatment of rhythm, meter, texture, melody, phrasing, bass lines, cadences, and pitch collections. The document examines types of connection between

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    This document contains lecture notes from a music theory class discussing works by Erik Satie, Claude Debussy, Maurice Ravel, and the connections between musical techniques and those used in early French cinema. It provides analysis questions on Debussy's "Nuages" and his Sonata for Flute, Viola, and Harp, as well as Ravel's Le Tombeau de Couperin. The notes discuss compositional techniques like repetition, ostinati, layered events, and thickening of texture. They also compare Ravel and Debussy's treatment of rhythm, meter, texture, melody, phrasing, bass lines, cadences, and pitch collections. The document examines types of connection between

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    111 views3 pages

    Rasgos Estilísticos de Debussy, Ravel e Satie PDF

    Uploaded by

    Ricardo Henrique
    This document contains lecture notes from a music theory class discussing works by Erik Satie, Claude Debussy, Maurice Ravel, and the connections between musical techniques and those used in early French cinema. It provides analysis questions on Debussy's "Nuages" and his Sonata for Flute, Viola, and Harp, as well as Ravel's Le Tombeau de Couperin. The notes discuss compositional techniques like repetition, ostinati, layered events, and thickening of texture. They also compare Ravel and Debussy's treatment of rhythm, meter, texture, melody, phrasing, bass lines, cadences, and pitch collections. The document examines types of connection between

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    of 3

    T351 Week 1 Notes Fall 2003

    Erik Satie (1866-1925)


    Sports et divertissments, 1914. Twenty short pieces for piano; illustrations by Charles Martin.
    No. 16, "Shooting the Chute" (handout)
    [Wassily Kandinsky (1866-1944) wrote the following in his treatise entitled "Concerning the spiritual
    in art" (1912): "[The] borrowing of methods from one art to another, can only be truly successful
    when application of the borrowed materials is not superficial but fundamental. One art must learn
    first how another uses its methods, so that the methods may afterwards be applied to the borrower's
    art from the beginning, and suitably."]
    How might you construct or construe a set of "correspondences" or "analogues" between the different
    artistic dimensions of this piece? Identify a musical aspect, a textual aspect, a visual/pictorial aspect, and
    a possible general area of connection (common aspects, commonalities) between them? For example:
    Musical: D major
    Textual:
    "strong stomach"
    Visual:
    viewing position: overview
    General:
    stability

    Claude Debussy (1862-1918), Nocturnes, 1897-99, I, "Nuages" ("Clouds")


    Discussion: Debussy, Nocturnes, I, "Nuages" (describe, discuss process, think about significance;
    syntax vs. point of view)
    1. describe the composers treatment of scalar materials (diatonic, chromatic, octatonic, pentatonic, or
    whole-tone) in one section of the piece.
    2. describe the composers treatment of sonorities and/or harmonic progressions in a different section
    of the piece (i.e., other than that chosen in no. 1). For information on labeling sonorities, see T351,
    pp. 28-29.
    3. briefly describe (compare & contrast) the musical presentation of the "octatonic" motive of mm. 5,
    21, 43, 84 OR the musical presentation of the diatonic/chromatic motive of mm. 1, 11, 57, 94. For
    information on the octatonic scale, see T351, p. 9.
    4. form, duration, and proportional relationships: give an example of proportional relationships shaped
    by summation series and Golden Section relationships. Read T351 pp. 31-32 (Kramer on the Golden
    Section in the music of Debussy), and comment on your example in the context of this movement)

    Music and early French cinema: musical devices co-emerge with those of cinema
    Modes of connection and continuity: Significance of correspondence between objects, images, musical
    sounds, colors (French symbolism & music)
    French cinema: (for early cinema goers, film editing was conspiucuous!)
    Techniques: (what would be their musical analogues?)
    dissolve
    juxtaposition
    direct cut
    close-ups
    adjustments of film speed and direction
    superimpositions and matted images

    double exposure
    kinesthetic "shifts"
    shot/reverse shot (crosscutting and duplication)
    switch-back editing
    What are the meanings or significance of particular techniques?: many involve new ways of perceiving
    time, and in its relationship with direct experience (reference to past, dream, passage of time, fictional
    space, ways of marking an event, utopian visions, etc.). A reconfiguration of narrative time. New
    ways and modes of representing time and space.
    Contributions of early silent film (see Leydon essay):
    montage of shots and perspectives
    reconfiguration of narrative time
    multiplicity of "viewing views"
    Example (Thursday): "A Trip to the Moon" (1902), Georges Mlis

    Discussion, Friday, Sept 5:


    Ravel (1875-1937), Le Tombeau de Couperin, 1917 (also for orchestra)
    Debussy (1862-1918), Sonata for Flute, Viola, and Harp, 1915-16, 1st mvt. Pastorale: Lento, dolce
    rubato
    Debussy: compositional procedures (give an example):
    1. repetition or varied repetition of small units (identify unit & varied repetition)
    2. pitch and/or rhythmic ostinato, pedal point, sequence
    3. layers of events, overlapped in different ways
    4. thickening an element in the texture [parallel chords (planing) and/or repositioning an element
    texturally)
    5. reharmonization of a melodic idea (extended tertian chords, different scalar materials: be as specific
    as you can)
    6. other stylistic aspects (see above)
    Ravel vs. Debussy: Ravel tends to enrich traditional harmonic vocabulary but remain close to the
    constraints of classical practice. In contrast, Debussy employs an "additive" or "mosaic" approach to
    formal design. Compare Ravel & Debussy in their treatment of rhythm and meter, texture, melodic line
    and motive, phrasing, bass lines, cadences, pitch collections, and formal design:
    1. recurring rhythmic motive(s)
    2. homophonic textures vs. "polyphonic" textures
    3. weak sense of meter vs. metric regularity
    4. motivic fragments vs. long melodic lines
    5. regular phrase lengths vs. irregular phrase lengths
    6. traditional - functional bass lines (diatonic intervals, P4 & P5ths, etc.) vs.
    bass lines that emphasize tritone relationships
    7. avoidance of traditional cadence formulae vs. use of traditional cadence formulae
    8. planing (harmonic parallelism)
    9. pitch ostinato
    10. diatonic pitch collections vs. whole-tone, or octatonic pitch collections
    11 formal design based on the addition of melodic ideas (additive or mosaic design) vs. formal design
    based on an older formal model (classical design)
    12. What factors contribute to the grouping of sections and subsections in these pieces? How does each
    composer achieve and/or treat cadences?

    Assignment: Tuesday September 8, 2003


    1. 30 pts: Types and modes of connection: Describe 2 passages in Debussy's Sonata for Flute, Viola,
    and Harp, 1st mvt. How does each passage connect with preceding and/or subsequent events? How
    (or do?) these connections relate to cinematic techniques? What do the types & modes of connection
    convey about the temporal experience of the passage in question and/or for the formal configuration
    of movement as a whole, e.g., implications for pastorale, for a sonata? [For each passage, describe
    elements (5 pts), discuss process, e.g., quality of connection or ordering (5 pts), and comment on
    significance for temporal experience (5 pts). You may choose two passages that are similar in some
    respect.
    2. 20 pts. Write out a particular diatonic (modal), octatonic, pentatonic, or whole-tone scale. Write out
    at least five three-note and five four-note sonorities, in different registral spacings, that can be derived
    from the scale (collection) you have chosen. Order these sonorities in a way that seems meaningful,
    and briefly describe the rationale for your arrangement. Write a melody for your instrument (at least
    two "phrases") in the style of Debussy or Ravel using the scalar collection and sonorities chosen.
    Explain how it models the composer chosen (relate to pieces studied).

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