query: give an example of a musical work of each of the following composers debussy

pos: Claude Debussy took many years to develop his mature style, and was nearly 40 when he achieved international fame in 1902 with the only opera he completed, "Pelléas et Mélisande". Debussy's orchestral works include "Prélude à l'après-midi d'un faune" (1894), "Nocturnes" (1897–1899) and "Images" (1905–1912). His music was to a considerable extent a reaction against Wagner and the German musical tradition. He regarded the classical symphony as obsolete and sought an alternative in his "symphonic sketches", "La mer" (1903–1905). His piano works include two books of Préludes and two of Études. Throughout his career he wrote "mélodies" based on a wide variety

pos: Leitmotif Debussy, and Igor Stravinsky). They identified the motif with Wagner's own approach to composing, mocking the impression of a musical "address book" or list of "cloakroom numbers" it created. Since Wagner, the use of leitmotifs has been taken up by many other composers. Richard Strauss used the device in many of his operas and several of his symphonic poems. Despite his sometimes acerbic comments on Wagner, Claude Debussy utilised leitmotifs in his opera "Pelléas et Mélisande" (1902). Arnold Schoenberg used a complex set of leitmotifs in his choral work "Gurre-Lieder" (completed 1911). Alban Berg's opera "Wozzeck" (1914–1922) also utilises leitmotifs.

pos: Claude Debussy one of the most influential composers of the 20th century. Roger Nichols writes that "if one omits Schoenberg [...] a list of 20th-century composers influenced by Debussy is practically a list of 20th-century composers "tout court"." Bartók first encountered Debussy's music in 1907 and later said that "Debussy's great service to music was to reawaken among all musicians an awareness of harmony and its possibilities". Not only Debussy's use of whole-tone scales, but also his style of word-setting in "Pelléas et Mélisande", were the subject of study by Leoš Janáček while he was writing his 1921 opera "Káťa Kabanová". Stravinsky

pos: Paris the Impressionist composers who created new works for piano, orchestra, opera, chamber music and other musical forms, stand in particular, Claude Debussy ("Suite bergamasque", and its well-known third movement, "Clair de lune", "La Mer", "Pelléas et Mélisande"), Erik Satie ("Gymnopédies", "Je te veux", "Gnossiennes", "Parade") and Maurice Ravel ("Miroirs", "Boléro", "La valse", "L'heure espagnole"). Several foreign-born composers, such as Frédéric Chopin (Poland), Franz Liszt (Hungary), Jacques Offenbach (Germany), Niccolò Paganini (Italy), and Igor Stravinsky (Russia), established themselves or made significant contributions both with their works and their influence in Paris. Bal-musette is a style of French music and dance that

neg: Trois poèmes de Mallarmé was readily presented as his rival, he was furious. Debussy confided how "this Mallarmé-Ravel story isn't funny." For his part, Ravel announced to Roland-Manuel: "We will soon see a Debussy-Ravel match"..."In 1913, Debussy and Ravel didn't talk to each other", concluded Stravinsky, quite interested in such "scrambles" between composers. In general, the two great composers - apart from a certain tacit rivalry inherent in their creative contemporaneity - have always respected each other deeply, and many supposed frictions between the two personalities were above all caused by their respective surroundings, or even by the cotteries occupying the Parisian musical scene.

neg: Western canon twentieth century non-Western music has begun to influence Western composers. In particular, direct homages to Javanese gamelan music are found in works for western instruments by Claude Debussy, Béla Bartók, Francis Poulenc, Olivier Messiaen, Pierre Boulez, Benjamin Britten, John Cage, Steve Reich, and Philip Glass. Debussy was immensely interested in non-Western music and its approaches to composition. Specifically, he was drawn to the Javanese Gamelan, which he first heard at the 1889 Paris Exposition. He was not interested in directly quoting his non-Western influences, but instead allowed this non-Western aesthetic to generally influence his own musical work, for example, by

neg: Roger Nichols (musical scholar) the Oxford University Press (OUP) was a study of Claude Debussy (1972), an 86-page work, part of the OUP's "Oxford Studies of Composers" series. Later books include studies of Messiaen (1974) and Ravel (1977), and as editor or translator or both, collections of letters and reminiscences by and about Debussy (1987), Ravel (1987), Berlioz (1995), Satie (1995) and Mendelssohn (1997). Among his most substantial translations is the English version of Jean-Michel Nectoux's "Gabriel Fauré: les voix du clair-obscur" (1990), published in English by the Cambridge University Press as "Gabriel Fauré: A Musical Life" (1991). In 2002 Nichols produced "The Harlequin

neg: La cathédrale engloutie in 2007. La cathédrale engloutie La Cathédrale engloutie ("The Submerged Cathedral") is a prelude written by the French composer Claude Debussy for solo piano. It was published in 1910 as the tenth prelude in Debussy’s first of two volumes of twelve piano preludes each. It is characteristic of Debussy in its form, harmony, and content. This prelude is an example of Debussy's musical impressionism in that it is a musical depiction of, or allusion to, an image or idea. Debussy quite often named his pieces with the exact image that he was composing about, like "La Mer", "Des pas sur

neg: La cathédrale engloutie La cathédrale engloutie La Cathédrale engloutie ("The Submerged Cathedral") is a prelude written by the French composer Claude Debussy for solo piano. It was published in 1910 as the tenth prelude in Debussy’s first of two volumes of twelve piano preludes each. It is characteristic of Debussy in its form, harmony, and content. This prelude is an example of Debussy's musical impressionism in that it is a musical depiction of, or allusion to, an image or idea. Debussy quite often named his pieces with the exact image that he was composing about, like "La Mer", "Des pas sur la neige",

neg: Masashi Hamauzu of a soundtrack. He mostly creates classical and ambient music, and uses the piano predominantly as an instrument. He frequently uses dissonance to provide an atmospheric effect. In "Unlimited Saga", for example, the style of his compositions mix classical marches, tango music, electronic ambiance, instrumental solos, bossa nova, and jazz. He cites animation composers Hiroshi Miyagawa and Ryuichi Sakamoto of Yellow Magic Orchestra, impressionist composers Maurice Ravel and Claude Debussy, and his father as major musical influences. During his adolescence, he enjoyed listening to the works of Miyagawa and Sakamoto. While attending university, he developed an appreciation for classical music,

neg: Ernest Fanelli to Gabriel Pierné as an example of his neat handwriting. Pierné was intrigued by the music itself, which Fanelli told him was one of his own compositions, "Tableaux Symphoniques", written nearly 30 years earlier. Pierné found evidence of radical musical innovations anticipating the recent work of Claude Debussy. He arranged for "Thebes", the first part of the "Tableaux", to be performed, creating a sensation in the musical press. Pierné later performed several other works by Fanelli. Debussy himself reviewed the work, taking a sceptical view that Fanelli had "an acute sense of musical ornamentation" but that it "dragged [him] towards

neg: Carl Maria von Weber been highly praised and emulated by later generations of composers – Berlioz referred to him several times in his "Treatise on Instrumentation" while Debussy remarked that the sound of the Weber orchestra was obtained through the scrutiny of the soul of each instrument. His operas influenced the work of later opera composers, especially in Germany, such as Marschner, Meyerbeer and Wagner, as well as several nationalist 19th-century composers such as Glinka. Homage has been paid to Weber by 20th-century composers such as Debussy, Stravinsky, Mahler (who completed Weber's unfinished comic opera "Die drei Pintos" and made revisions of "Euryanthe" and

neg: Impressionism composers, but Debussy disavowed the term, calling it the invention of critics. Erik Satie was also considered in this category, though his approach was regarded as less serious, more musical novelty in nature. Paul Dukas is another French composer sometimes considered an Impressionist, but his style is perhaps more closely aligned to the late Romanticists. Musical Impressionism beyond France includes the work of such composers as Ottorino Respighi (Italy) Ralph Vaughan Williams, Cyril Scott, and John Ireland (England), and Manuel De Falla, and Isaac Albeniz (Spain). The term Impressionism has also been used to describe works of literature in which

neg: Music of Nigeria ornamented music. In the northern regions, farmers work together on each other's farms and the host is expected to supply musicians for his neighbours. The issue of musical composition is also highly variable. The Hwana, for example, believe that all songs are taught by the peoples' ancestors, while the Tiv give credit to named composers for almost all songs, and the Efik name individual composers only for secular songs. In many parts of Nigeria, musicians are allowed to say things in their lyrics that would otherwise be perceived as offensive. The most common format for music in Nigeria is the

neg: Rodrigue et Chimène "Le Cid" (1885, Paris Opera) may have put Mendès off in his search for a composer. It was only in April, 1890 that Mendès handed it to the young Debussy. Mendès had predicted that Debussy would become "one of the great composers of the future" and had helped to promote his music. Although he was unimpressed by the literary quality of the drama he had to set, Debussy was encouraged by the prospect that his work would be performed at the Paris Opéra and earn him some money. Over the next two years Debussy's musical style developed in a radically

neg: Carl Orff Richard Strauss and other German composers of the day, but with hints of what would become Orff's distinctive musical language. In 1911/12, Orff wrote "Zarathustra", Op. 14, an unfinished large work for baritone voice, three male choruses and orchestra, based on a passage from Friedrich Nietzsche's philosophical novel "Also sprach Zarathustra". The following year, he composed an opera, "Gisei, das Opfer" ("Gisei, the Sacrifice"). Influenced by the French Impressionist composer Claude Debussy, he began to use colorful, unusual combinations of instruments in his orchestration. Moser's "Musik-Lexikon" states that Orff studied at the Munich Academy of Music until 1914. He then

neg: The Five (composers) become the founder of Armenian classical music, carrying on the traditions and aesthetics of the Mighty Handful to the Caucasus. Rimsky-Korsakov provides the following picture of "The Mighty Handful" in his memoirs, "Chronicle of My Musical Life" (translated by J. A. Joffe): Except perhaps for Cui, the members of this group influenced or taught many of the great Russian composers who were to follow, including Alexander Glazunov, Mikhail Ippolitov-Ivanov, Sergei Prokofiev, Igor Stravinsky, and Dmitri Shostakovich. They also influenced the two French symbolist composers Maurice Ravel and Claude Debussy through their radical tonal language. The Five (composers) The Five, also

neg: Homes Under the Hammer give their opinion of the property, followed by the actual auction and sale price. The buyers discuss potential improvements to the purchased property, with an estimated budget. Following this format for each property, the show returns to show the refurbishments carried out. Another estate agent gives an updated value of the property following the work. During the stages of viewing the property, or whilst interviewing the buyer, music is normally played which is related to the property, or person buying. London-based composers Michael Burdett and Richard Cottle created the theme tune, stings and musical beds for "Homes Under the Hammer".

neg: Exploring Music Bartók, Grieg, Debussy, Vaughan Williams, Stravinsky, and Bernstein — have also had weekly themes devoted exclusively to their lives and music. These programs are intimate biographies which include the composer's early life, education, historical and musical influences, personal life, and emotional and musical development, plus numerous musical pieces each day. Several composers, including Schubert, Brahms, Tchaikovsky, Mahler, Verdi, and Shostakovich, have had a two-week theme devoted to their lives and works. Bach, Mozart, and Beethoven have each had several series centered around their works. Approximately one week per month is devoted to the life and works of a single composer.

neg: 20th-century music as house music were created largely with synthesizers and drum machines. Faster modes of transportation such as jet flight allowed musicians and fans to travel more widely to perform or hear shows, which increased the spread of musical styles. In the early 20th century, many composers, including Rachmaninoff, Richard Strauss, Giacomo Puccini, and Edward Elgar, continued to work in forms and in a musical language that derived from the 19th century. However, modernism in music became increasingly prominent and important; among the most important modernists were Alexander Scriabin, Claude Debussy, and post-Wagnerian composers such as Gustav Mahler and Richard Strauss,

neg: Menuet sur le nom d'Haydn (Ravel) This work came about as a result of a commission by the "Revue musicale mensuelle de la Société Internationale de Musique." In total, six composers were commissioned: Maurice Ravel, Claude Debussy "('Hommage à Haydn"'), Vincent d'Indy ("'Menuet sur le nom d'Haydn')", Paul Dukas "('Prélude Élégiaque')", Reynaldo Hahn "('Theme Varié sur le nom de Haydn')", and Charles-Marie Widor "('Fugue sur le nom d'Haydn')." Each composer was given the same task: to write a piece based on the musical equivalent of Haydn's name. Menuet sur le nom d'Haydn (Ravel) Menuet sur le nom d'Haydn is a minuet for solo piano written by

neg: Antônio Carlos Jobim of limited means, Jobim earned his living by playing in nightclubs and bars and later as an arranger for a recording label, before starting to achieve success as a composer. Jobim's musical roots were planted firmly in the work of Pixinguinha, the legendary musician and composer who began modern Brazilian music in the 1930s. Among his teachers were Lúcia Branco and, from 1941 on, Hans-Joachim Koellreutter. Jobim was also influenced by the French composers Claude Debussy and Maurice Ravel, by the Brazilian composers Heitor Villa-Lobos and Ary Barroso. The Bossa Nova guitar style, such as Antonio Carlos Jobim's guitar, has

neg: Unsuk Chin music as belonging to any specific culture. Chin names Béla Bartók, Igor Stravinsky, Claude Debussy, Anton Webern, Iannis Xenakis, and György Ligeti, among others, as 20th-century composers of special importance for her. Chin regards her working experience with electronic music and her preoccupation with Balinese Gamelan as influential for her work. In her orchestral work "Miroirs des temps", Chin has also used compositional concepts of Medieval composers, such as Machaut and Ciconia, by employing and evolving techniques such as musical palindromes and crab canons. The texts of Chin's vocal music are often based on experimental poetry, and occasionally they are

neg: Perfect fourth become more predominant than its "function", a notion which was soon after to be explored by Debussy and others. Fourth-based harmony became important in the work of Slavic and Scandinavian composers such as Modest Mussorgsky, Leoš Janáček, and Jean Sibelius. These composers used this harmony in a pungent, uncovered, almost archaic way, often incorporating the Folk music of their particular homelands. Sibelius' "Piano Sonata" in F-Major op. 12 of 1893 used tremolo passages of near-quartal harmony in a way that was relatively hard and modern. Even in the example on the right from Mussorgsky's piano-cycle Pictures at an Exhibition "(Избушка

neg: Jean Coulthard opera "Return of the Native". Born in Vancouver, British Columbia, Coulthard was the daughter of Jean Blake Robinson Coulthard, a prominent and influential music teacher in Vancouver. Through her mother she received her earliest musical training and was introduced at an early age to the work of French composers like Claude Debussy and Maurice Ravel, both of whom were lifelong influences. From 1924-1928 she studied the piano with Jan Cherniavsky and music theory with Frederick Chubb. A scholarship from the Vancouver Woman's Musical Club enabled her to pursue studies at the Royal College of Music in 1928-1929 where she was

neg: Edgar Miller (artist) glass and cut stone. Through Iannelli, Miller met important studio clients like Marshall Field & Company and Holabird & Root, and developed a network of future employers. In his 20s Edgar was already an active and established artist in Chicago's creative world, designing illustrations for books and ads for Marshall Field’s "Fashions of the Hour" magazine, amongst many other commissions and projects. He also busily promoted other arts and artists; for example, he introduced musical works by composers Stravinsky, Ravel, DeBussy and Prokofiev at his short-lived gallery space, The House at the End of the Street. He ran it for

neg: Claude Debussy that some have seen this as a reference to the composers Gustav Mahler and Arnold Schoenberg, both born Jewish. In 1912 Debussy had remarked to his publisher of the opera "Ariane et Barbe-bleue" by the (also Jewish) composer Paul Dukas, "You're right, [it] is a masterpiece – but it's not a masterpiece of French music." Despite his lack of formal schooling, Debussy read widely and found inspiration in literature. Lesure writes, "The development of free verse in poetry and the disappearance of the subject or model in painting influenced him to think about issues of musical form." Debussy was influenced

neg: Claude Debussy Claude Debussy Achille-Claude Debussy (; 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries. Born to a family of modest means and little cultural involvement, Debussy showed enough musical talent to be admitted at the age of ten to France's leading music college, the Conservatoire de Paris. He originally studied the piano, but found his vocation in innovative composition, despite the disapproval of the Conservatoire's conservative professors. He

neg: Richard Kogan (physician) music. I like both kinds.'" Over the years, Kogan says, he has had at least a dozen favorite composers, including Bach, Mozart, Beethoven, Schubert, Chopin, Brahms, Debussy, Stravinsky, Bartók, and Shostakovich. "My favorite composer seems to be the one whose musical world I've been immersed in most deeply at any given time." Psychological resilience is the ability to recover from traumatic events to such a degree that the individual's life returns to its pre-traumatic level of functioning. In Kogan’s view, music can foster the development of resilience. An extraordinary example of resilience, says Kogan, is Beethoven. When he discovered that

neg: The Sorcerer's Apprentice (Dukas) Romantic genre of programmatic music, which composers like Franz Liszt, Claude Debussy, Jean Sibelius and Richard Strauss increasingly explored as an alternative to earlier symphonic forms. Unlike other tone poems, such as "La mer" by Debussy or "Finlandia" by Sibelius, Dukas's work is, like works such as "Till Eulenspiegel's Merry Pranks" by Strauss, descriptively programmatic, closely following the events described in the Goethe poem. It was customary, in fact, to publish the poem as part of the orchestral score. The instrumentation of the piece consists of two flutes and piccolo, two oboes, two soprano clarinets and bass clarinet, three bassoons

neg: Deux arabesques Deux arabesques The Two Arabesques ("Deux arabesques"), L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891. Although quite an early work, the arabesques contain hints of Debussy's developing musical style. The suite is one of the very early impressionistic pieces of music, following the French visual art form. Debussy seems to wander through modes and keys, and achieves evocative scenes through music. His view of a musical arabesque was a line curved in accordance with nature, and with his music he mirrored the

neg: Claude Debussy was more ambivalent about Debussy's music (he thought "Pelléas" "a terrible bore...in spite of many wonderful pages") but the two composers knew each other and Stravinsky's "Symphonies d'instruments à vent" (1920) was written as a memorial for Debussy. In the aftermath of the Great War, the young French composers of Les Six reacted against what they saw as the poetic, mystical quality of Debussy's music in favour of something more hard-edged. Their sympathiser and self-appointed spokesman, Jean Cocteau wrote in 1918: "Enough of "nuages", waves, aquariums, "ondines" and nocturnal perfumes," pointedly alluding to the titles of pieces by Debussy. Later

neg: Kaikhosru Shapurji Sorabji Kaikhosru Shapurji Sorabji Kaikhosru Shapurji Sorabji (born Leon Dudley Sorabji; 14 August 1892 – 15 October 1988) was an English composer, music critic, pianist and writer. He was one of the 20th century's most prolific piano composers. As a composer and pianist, Sorabji was largely self-taught, and he distanced himself from the main currents of contemporary musical life early in his career. He developed a highly idiosyncratic musical language, with roots in composers as diverse as Busoni, Debussy and Szymanowski, and he dismissed large portions of the established and contemporary repertoire. A reluctant performer, Sorabji played a few of his

neg: Humphrey Bogart interview, Hepburn said: Bogart fell into a coma and died on the next day. He had just turned 57 twenty days prior and weighed only . His simple funeral was held at All Saints Episcopal Church, with musical selections from favorite composers Johann Sebastian Bach and Claude Debussy. The ceremony was attended by some of Hollywood's biggest stars, including Hepburn, Tracy, Judy Garland, David Niven, Ronald Reagan, James Mason, Bette Davis, Danny Kaye, Joan Fontaine, Marlene Dietrich, James Cagney, Errol Flynn, Gregory Peck, Gary Cooper, Billy Wilder and Jack Warner. Bacall asked Tracy to give the eulogy, but he was

neg: Sheet music music can be issued as individual pieces or works (for example, a popular song or a Beethoven sonata), in collections (for example works by one or several composers), as pieces performed by a given artist, etc. When the separate instrumental and vocal parts of a musical work are printed together, the resulting sheet music is called a "score". Conventionally, a score consists of musical notation with each instrumental or vocal part in vertical alignment (meaning that concurrent events in the notation for each part are orthographically arranged). The term "score" has also been used to refer to sheet music written

neg: Hoboken catalogue in C major, Hob. VIIa:1". The catalog is a massive work; a currently available version runs to 1936 pages. Each work is given with an identifying incipit, printed on a single musical line. There is discussion of manuscript sources, early editions, listing in previous catalogs (including the two Haydn prepared), and critical commentary. Catalogs of composers' works typically follow either a chronological arrangement (sorting by date of composition) or a sorting by musical genre. Hoboken's catalogue is of the latter type; thus the symphonies, for example, are in category I, all string quartets are in category III, piano sonatas are

neg: Emmanuel Chabrier (including "L'étoile"), songs, and piano music, but no symphonies, concertos, quartets, sonatas, or religious or liturgical music. His lack of academic training left him free to create his own musical language, unaffected by established rules, and he was regarded by many later composers as an important innovator and a catalyst who paved the way for French modernism. He was admired by, and influenced, composers as diverse as Debussy, Ravel, Richard Strauss, Satie, Stravinsky, and the group of composers known as Les six. Writing at a time when French musicians were generally proponents or opponents of the music of Wagner, Chabrier

neg: Dane Rudhyar on music as well, producing such books as "Claude Debussy and His Work" (1913), "Dissonant Harmony" (1928), "Rebirth of Hindu Music" (1928), "The New Sense of Sound" (1930), and "The Magic of Tone and the Art of Music" (1982). Rudhyar's own compositions tend to employ dissonant harmony, emphatically not of a systematic variety such as Charles Seeger's—Rudhyar was philosophically opposed to such a rigid approach. His musical thought was influenced by Henri Bergson and theosophy, and he viewed composers as mediums, writing that "the new composer" was "no longer a 'composer,' but an evoker, a magician. His material is his

neg: Tempo example, a modern "largo" is slower than an "adagio", but in the Baroque period it was faster. From slowest to fastest: Several composers have written markings in French, among them baroque composers François Couperin and Jean-Philippe Rameau as well as Claude Debussy, Olivier Messiaen, Maurice Ravel and Alexander Scriabin. Common tempo markings in French are: Erik Satie was known to write extensive tempo (and character) markings by defining them in a poetical and literal way, as in his Gnossiennes. Many composers have used German tempo markings. Typical German tempo markings are: One of the first German composers to use tempo

neg: Pelléas et Mélisande (opera) Arkel comforts the sobbing Golaud. Rather than engaging a librettist to adapt the original play for him (as was customary), Debussy chose to set the text directly, making only a number of cuts. Maeterlinck's play was in prose rather than verse. Russian composers, notably Mussorgsky (whom Debussy admired), had experimented with setting prose opera libretti in the 1860s, but this was highly unusual in France (or Italy or Germany). Debussy's example influenced many later composers who edited their own libretti from existing prose plays, e.g. Richard Strauss' "Salome", Alban Berg's "Wozzeck" and Bernd Alois Zimmermann's "Die Soldaten". The nature of

neg: Newport Music Festival of General Manager and was later conferred leadership of the organization following his father’s passing. The younger Malkovich shared his fathers’ passion and brought his own vision to the organization. While still devoted to the Romantic era, the Festival began to feature a broader range of musical periods. Bach to Bernstein and new works by both established and emerging composers, became part of the repertoire, as well as discoveries of forgotten minor masterpieces. Examples include the world premiere of a four-hand Andante Cantabile by Claude Debussy, found in a manuscript at the Pierpont Morgan Library in New York, and an

neg: Quatre petites mélodies (Satie) a collective musical tribute for which Prunières invited Europe's leading composers to contribute. Ten musicians responded with either newly-written pieces or excerpts from their current works in progress: Paul Dukas, Albert Roussel, Gian Francesco Malipiero, Eugene Goossens, Béla Bartok, Florent Schmitt, Igor Stravinsky, Maurice Ravel, Manuel de Falla, and Erik Satie. For Satie the commission was an opportunity to address an unhealed wound. Debussy was probably the closest friend he ever had. He once wrote, "From the moment I saw [Debussy] for the first time, I was drawn to him and wanted to live constantly at his side". But both

neg: Sigfrid Karg-Elert late 1970s; today his works for the organ are frequently included in recitals. Karg-Elert regarded himself as an outsider. Notable influences in his work include composers Johann Sebastian Bach (he often used the BACH motif in Bach's honour), Edvard Grieg, Claude Debussy, Max Reger, Alexander Scriabin, and early Arnold Schoenberg. In general terms, his musical style can be characterised as being late-romantic with impressionistic and expressionistic tendencies. His profound knowledge of music theory allowed him to stretch the limits of traditional harmony without losing tonal coherence. His favourite instrument to compose for was the Kunstharmonium, a versatile French creation that

neg: Claude Debussy that although Palestrina's musical forms had a "strict manner", they were more to his taste than the rigid rules prevailing among 19th-century French composers and teachers. He drew inspiration from what he called Palestrina's "harmony created by melody", finding an arabesque-like quality in the melodic lines. Debussy opined that Chopin was "the greatest of them all, for through the piano he discovered everything"; he professed his "respectful gratitude" for Chopin's piano music. He was torn between dedicating his own Études to Chopin or to François Couperin, whom he also admired as a model of form, seeing himself as heir to

neg: Gymnopédies 1" (shown below) consist of an alternating progression of two major seventh chords, the first on the subdominant, G, and the second on the tonic, D. </score> By the end of 1896, Satie's popularity and financial situation were ebbing. Claude Debussy, whose popularity was rising at the time, helped draw public attention to the work of his friend. Debussy expressed his belief that the second "Gymnopédie" did not lend itself to orchestration. (Orchestrations of this "gymnopédie" were only realised many decades later, by other composers, and not frequently performed.) Thus, in February 1897, Debussy orchestrated the third and first only,

neg: George Tremblay Tremblay. As the son of an active composer and performer, young George was exposed to not only the classics, but to more contemporary composers; his father, Amédée, was an early champion of Cesar Franck, Max Reger, and Claude Debussy for Canadian audiences. In addition to receiving musical instruction from his father, Tremblay quickly learned how to extemporize at the keyboard in the style of these composers. At the age of eight Tremblay gave his first public performance, a recital for Canada’s prime minister, Sir Wilfrid Laurier, in which his father performed first on pipe organ and then George performed a

neg: Composer tributes (classical music) copies the compositional style of an earlier composer, such as: Dedication of a work to another composer or performer: Musical cryptograms, where the composer’s name is encoded in musical letters. The most famous example of this is the BACH motif, which has been used by over 400 composers in tribute to Johann Sebastian Bach (Bach himself used it more than once in his own works). Other examples include: Composer tributes (classical music) Musical tributes or homages from one composer to another can take many forms. Following are examples of the major types of tributes occurring in classical music. A particular

neg: Henry Eichheim Henry Eichheim Henry Eichheim (January 3, 1870 – August 22, 1942) was an American composer, conductor, violinist, organologist, and ethnomusicologist. He is best known as one of the first American composers to combine the sound of indigenous Asian instruments with western orchestral colors. He was born in Chicago, where he studied at the Chicago Musical College. He later went to Boston to play with the Boston Symphony Orchestra. After about 1912 he became more interested in conducting and composition than in violin performance; he was an early promoter of the works of contemporary French composers, particularly Debussy, Ravel and Gabriel

neg: Impressionism into the middle of the 20th century. Originating in France, musical Impressionism is characterized by suggestion and atmosphere, and eschews the emotional excesses of the Romantic era. Impressionist composers favoured short forms such as the nocturne, arabesque, and prelude, and often explored uncommon scales such as the whole tone scale. Perhaps the most notable innovations of Impressionist composers were the introduction of major 7th chords and the extension of chord structures in 3rds to five- and six-part harmonies. The influence of visual Impressionism on its musical counterpart is debatable. Claude Debussy and Maurice Ravel are generally considered the greatest Impressionist

neg: Music of France musicians who gathered around Satie. Later in the century, Olivier Messiaen, Henri Dutilleux and Pierre Boulez proved influential. The latter was a leading figure of Serialism while Messiaen incorporated Asian (particularly Indian) influences and bird song and Dutilleux translated the innovations of Debussy, Bartók and Stravinsky into his own, very personal, musical idiom. The most important French contribution to musical innovation of the past 35 years is a form of computer-assisted composition called "spectral music". The astonishing technical advances of the spectralist composers in the 1970s are only recently beginning to achieve wide recognition in the United States; major composers

neg: Kurt Westerberg concepts, the older idea of motif (music) is a large component of Westerberg's style. Westerberg was specifically influenced by Ludwig van Beethoven, Claude Debussy, and Béla Bartók, fascinated with how these composers worked with different musical motifs over the course of a work, how they were able to compress, stretch, and manipulate these themes over the course of a piece. In the last 20 years, Westerberg has purposely began to incorporate extended techniques for different instruments into his compositions, such as his trio for three clarinets. His focus when using these techniques is to incorporate them naturally into the vocabulary,

neg: Michael Tippett his work was not even recommended in composition lessons as a basic study for the setting of English". Tippett recognised the importance to his compositional development of several 19th- and 20th-century composers: Berlioz for his clear melodic lines, Debussy for his inventive sound, Bartók for his colourful dissonance, Hindemith for his skills at counterpoint, and Sibelius for his originality in musical forms. He revered Stravinsky, sharing the Russian composer's deep interest in older music. Tippett had heard early ragtime as a small child before the First World War; he noted in his later writings that, in the early years of

neg: Ostinato called the "Rossini crescendo", owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other bel canto composers, especially Vincenzo Bellini; and later by Wagner (in pure instrumental terms, discarding the closing vocal cadenza). Applicable in homophonic and contrapuntal textures they are "repetitive rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord

neg: Étude Étude An étude (; , meaning 'study') is an instrumental musical composition, usually short, of considerable difficulty, and designed to provide practice material for perfecting a particular musical skill. The tradition of writing études emerged in the early 19th century with the rapidly growing popularity of the piano. Of the vast number of études from that era some are still used as teaching material (particularly pieces by Carl Czerny and Muzio Clementi), and a few, by major composers such as Frédéric Chopin, Franz Liszt and Claude Debussy, achieved a place in today's concert repertory. Études written in the 20th century

neg: Léo-Pol Morin He wrote musical criticism for several Canadian publications and also published a book and a collection of essays. As a pianist, he played a major role in advocating music by French composers in his native country; notably performing the Canadian premieres of works by Claude Debussy, Gabriel Fauré, Darius Milhaud, Francis Poulenc, Maurice Ravel, Albert Roussel, and Erik Satie among others. He likewise was an exponent of works by Canadian composers in France, including pieces by François Brassard, Claude Champagne, Henri Gagnon, Émiliano Renaud, Léo Roy, and Georges-Émile Tanguay. Composer Rodolphe Mathieu notably dedicated two of his works to him:

neg: Ernest Fanelli Despite this paucity of invention, Debussy only remains the most important and profoundly musical composer living today. Debussy is said to have been so sensitive to these claims that he tried to avoid being seen listening to Fanelli's work. Ezra Pound recalls an episode in which he was sitting in a restaurant listening to Fanelli play a composition on the piano when Debussy walked in. As soon as Debussy saw Fanelli, he walked out again. After his death his widow is supposed to have claimed that Erik Satie, Ravel and Debussy had all visited Fanelli's home and studied his unpublished

neg: Jeanne Stark-Iochmans highest esteem, in Europe and in America, for her superb musicianship and deeply spiritual interpretations of classical music's most challenging repertoire for the piano. Her artistry has earned her the praise of some of the great musical masters of our time, including the composers Darius Milhaud, Olivier Messiaen and Lou Harrison. Reviews on the music of: Ludwig van Beethoven "Each note is a jewel chiseled with perfect mastery and emotion." "Le Parisien" Claude Debussy "Portrays the music ideally." "Los Angeles Times" Frédéric Chopin "Her felicitous touch and mastery brought...infinite coloristic possibilities." "Le Parisien" Wolfgang Amadeus Mozart "Stark-Iochmans' performance was so

neg: Bill Evans Bill Evans is seen as the main reformer of the harmonic language of jazz piano. Evans's harmonic language was influenced by impressionist composers such as Claude Debussy and Maurice Ravel. His versions of jazz standards, as well as his own compositions, often featured thorough reharmonisations. Musical features included added tone chords, modal inflections, unconventional substitutions, and modulations. One of Evans's distinctive harmonic traits is excluding the root in his chords, leaving this work to the bassist, played on another beat of the measure, or just left implied. "If I am going to be sitting here playing roots, fifths and full

neg: Will Vodery himself, he drew his chromatic convictions, his uses of the tones ordinarily extraneous to the diatonic scale, with the consequent alteration of the harmonic character of his music, its broadening, The deepening of his resources. It has become customary to ascribe the classical influences upon Duke – Delius, Debussy and Ravel – to direct contact with their music. Actually his serious appreciation of those and other modern composers, came after his meeting with Vodery." From 1929 to 1932 Vodery was arranger and musical director for Fox Films in Hollywood. Following his time at Fox, Vodery moved back to New York

neg: Vladimir Altschuler Gounod, among others. With those performances he traveled to Finland, Germany, Great Britain, Ireland, Norway, Portugal, Spain, Switzerland, both Croatia and Republic of Macedonia and even Asian countries such as South Korea and Turkey. From 2013 to 2014 he played Slonimsky's Symphony No. 28 and also did Hector Berlioz's "Romeo and Juliet" following by Edvard Grieg's "Cello Sonata". During the same years he performed musical scores of Russian composers such as Rachmaninoff and Tchaikovsky, as well German and French ones such as Ludwig van Beethoven, Mozart, Brahms, Claude Debussy and Frédéric Chopin. Currently he is rehearsing with Alexander Rudin with

neg: Toru Takemitsu as his "great mentor". As Arnold Whittall puts it: Given the enthusiasm for the exotic and the Orient in these [Debussy and Messiaen] and other French composers, it is understandable that Takemitsu should have been attracted to the expressive and formal qualities of music in which flexibility of rhythm and richness of harmony count for so much. For Takemitsu, Debussy's "greatest contribution was his unique orchestration which emphasizes colour, light and shadow ... the orchestration of Debussy has many musical focuses." He was fully aware of Debussy's own interest in Japanese art, (the cover of the first edition of "La

neg: Music history of Portugal early work we count the symphonic poems "Váthek" and "Paraísos Artificiais" and several piano pieces. His prolific production includes five symphonies, a violin concert and enumerous vocal works. In the turn of the 20th century, other relevant composers are Francisco de Lacerda (1869–1934), Óscar da Silva (1870–1958), Luiz Costa (1879–1960) and António Fragoso (1897–1918). Lacerda was as well a famous director specialist in the French and Russian repertoire. He became assistant of Vincent d'Indy at the Schola Cantorum in Paris. His musical language is very close to that of Fauré and Debussy. The military coup of 1926 installed in Portugal

neg: Klangfarbenmelodie Samson writes: "To a marked degree the music of Debussy elevates timbre to an unprecedented structural status; already in "Prélude à l'après-midi d'un faune" the "color" of flute and harp functions referentially." In the 1950s, the concept inspired a number of European composers including Karlheinz Stockhausen to attempt systematization of timbre along serial lines, especially in electronic music. Klangfarbenmelodie Klangfarbenmelodie (German for "sound-color melody") is a musical technique that involves splitting a musical line or melody between several instruments, rather than assigning it to just one instrument (or set of instruments), thereby adding color (timbre) and texture to the melodic

neg: Claude Debussy painters' use of brush-strokes and dots is paralleled in the music of Debussy. Although Debussy said that anyone using the term (whether about painting or music) was an imbecile, some Debussy scholars have taken a less absolutist line. Lockspeiser calls "La mer" "the greatest example of an orchestral Impressionist work", and more recently in "The Cambridge Companion to Debussy" Nigel Simeone comments, "It does not seem unduly far-fetched to see a parallel in Monet's seascapes". In this context may be placed Debussy's pantheistic eulogy to Nature, in a 1911 interview with Henry Malherbe: In contrast to the "impressionistic" characterisation of

neg: Maurice Vieux a solo instrument. The musical literature for the viola, so limited until then, grew thanks to Maurice Vieux. Today, almost all composers write for this instrument and many of them have dedicated their work to Maurice Vieux. Maurice Vieux played soloist at the Society of Concerts at the Conservatory, at Colonne, Pasdeloup, Walter Straram, and at the radio-symphonic orchestra. He made triumphal tours in Spain, Germany, Italy, England, Switzerland, Belgium. His merits have made him the sought-after and appreciated collaborator of such masters as Saint-Saëns, Gabriel Fauré, Vincent D'Indy and Claude Debussy; virtuosos such as Sarasate, Ysaye, Kreisler, Cortot, Marguerite

neg: Aaron Copland complete, much like assembling a collage. Copland himself admitted, "I don't compose. I assemble materials." Many times, he included material he had written years earlier. If the situation dictated, as it did with his film scores, Copland could work quickly. Otherwise, he tended to write slowly whenever possible. Even with this deliberation, Copland considered composition, in his words, "the product of the emotions," which included "self-expression" and "self-discovery." While Copland's earliest musical inclinations as a teenager ran toward Chopin, Debussy, Verdi and the Russian composers, Copland's teacher and mentor Nadia Boulanger became his most important influence. Copland especially admired Boulanger's

neg: Gabriel Fauré Saint-Saëns, more varied than Lalo, more spontaneous than d'Indy, more classic than Debussy, Gabriel Fauré is the master "par excellence" of French music, the perfect mirror of our musical genius.' Perhaps, when English musicians get to know his work better, these words of Roger-Ducasse will seem, not over-praise, but no more than his due." Aaron Copland wrote that although Fauré's works can be divided into the usual "early", "middle" and "late" periods, there is no such radical difference between his first and last manners as is evident with many other composers. Copland found premonitions of late Fauré in even the

neg: Cinq poèmes de Charles Baudelaire musical evolution of Debussy. Musicologists agree that it is "a work of crisis and transition." The composition of the "Cinq poèmes de Charles Baudelaire" extended over more than a year: "La mort des amants" was completed in December 1887, "Le balcon" in January 1888, "Harmonie du soir" in January 1889, and "Le jet d'eau" in March of the same year. "Recueillement" is an undated melody. The work was ill received by Parisian musical circles. After the success of "Ariettes oubliées", nobody wanted to edit or perform the "Cinq poèmes de Charles Baudelaire", according to Jean Barraqué. Debussy was reduced to

neg: Academy Award for Best Original Score Original Musical is defined as this: ""An original musical consists of not fewer than five original songs by the same writer or team of writers, either used as voiceovers or visually performed. Each of these songs must be substantively rendered, clearly audible, intelligible, and must further the storyline of the motion picture. An arbitrary group of songs unessential to the storyline will not be considered eligible."" The following is the list of nominated composers organized by year, and listing both films and composers. The years shown in the following list of winners are the production years, thus a reference to

neg: Jack Ox Debussy, before creating a cycle of paintings based on the eighth Bruckner symphony. Ox began this work in 1983, completing it eight years later in 1991. Junod emphasizes the conceptual rigor of Ox's work, developing each of Bruckner's symphonic themes. Each painting in the suite covers a sequence of ten to twenty measures. The vertical divisions of each painting correspond to Bruckner's time segments. Ox analyzed the musical structure of the symphony as the basis of artwork that would successfully translate the composer's score and sound into a visual medium. To prepare the work, Ox executed numerous drawings from the

neg: Années folles and "Paris qui jazz" (1920–21), "Mon homme" and "Dans un fauteuil" gave rise to stardom for Maurice Chevalier and Mistinguett. American influences such as musicals underlay the success of the Folies Bergère, the famous "Mad Berge", inaugurated with "Les Folies raging" in 1922. A number of classical music composers, such as those of the School of Paris and Les Six, also flourished at this time. "The musical influence of Paris, dominated first by Debussy and then by Stravinsky, seems to have been almost inescapable for composers in the first four decades of the century." Operetta had a turning point on

neg: La mer (Debussy) Henry Krehbiel wrote: The work was not performed in Britain until 1908, when the composer – though a reluctant conductor – gave a performance at the Queen's Hall; the work was enthusiastically reviewed in "The Times", but "The Observer" thought it lacked "real force of elemental strength". "The Manchester Guardian" thought the work an advance on Debussy's earlier work in some respects, although "the vagueness of thematic outline is carried to hitherto unheard-of lengths", and found "moments of great beauty" in the work; and "The Musical Times" reserved judgment, but noted that the audience had been highly enthusiastic. Debussy commented

neg: Musical historicism violin closely imitate Bachian forms), Shostakovich, and Hindemith. A closely related instrumental genre that first appeared in the late Renaissance, the toccata achieved particular prominence in the keyboard works of Buxtehude and J.S. Bach and has since been revived by such distinguished composers as Schumann, Debussy, and Prokofiev. Other romantic and early 20th-century composers among the many who demonstrated either explicit or implicit historicist affinities are Barber, Bartók, Britten, Bruckner, Marius Casadesus, Chávez, Ferdinand David, Falla, Fauré, François-Joseph Fétis, Grieg, d'Indy, Ives, Kreisler, Liszt, Martinů, Paderewski, Pfitzner, Manuel Ponce, Poulenc, Respighi, Satie, Schoenberg (; ), Sibelius, Richard Strauss, Stravinsky, Vaughan

neg: French classical music music" (music that tells a story) developed. Other types of music that became important in the nineteenth century were grand opera, small pieces for piano; piano sonatas, often with the exploration of new harmonic or tonal ideas. In the late Romantic era, the Austro-German tradition of Wagner dominated musical composition. Composers began exploring different, looser approaches to tonality (the key-centered-ness of a piece of music). During this era, French composers such as Debussy and Ravel developed a style called Impressionism, which emphasized tone "colours", and which used chords purely for their sound (as opposed to for their harmonic role). During

neg: Louis-Albert Bourgault-Ducoudray we should welcome all elements of expression by which the musical idiom may be rejuvenated. Bourgault was one of the first western European composers to be influenced by what is now known as world music. His devotion led many other composers, including his student Debussy, to study it more intensely. He also taught Victoria Cartier, noted Canadian music educator. Stage Orchestral Chamber music Cantatas and oratorios Songs Louis-Albert Bourgault-Ducoudray Louis-Albert Bourgault-Ducoudray (2 February 1840 – 4 July 1910) was a French Breton composer, pianist, and professor of music history/theory at the Conservatoire de Paris as well as a Prix de

neg: Chanson of World War II. Born of the "cafés-concerts" and cabarets of the Montmartre district of Paris and influenced by literary realism and the naturalist movements in literature and theatre, "chanson réaliste" was a musical style which was mainly performed by women and dealt with the lives of Paris's poor and working class. Among the better-known performers of the genre are Damia, Fréhel, and Édith Piaf. Later 19th-century composers of French art songs, known as mélodie and not chanson, included Ernest Chausson, Emmanuel Chabrier, Gabriel Fauré, and Claude Debussy, while many 20th-century and current French composers have continued this strong tradition.

neg: Kaikhosru Shapurji Sorabji inspired by Busoni's Elegy No. 2, "All'Italia", and the Spanish music of Isaac Albéniz, Debussy, Enrique Granados and Liszt. They are considered among his outwardly more virtuosic and musically less ambitious works. Sorabji's counterpoint stems from Busoni's and Reger's. The influence of these composers led Sorabji to employ various baroque contrapuntal forms (chorale prelude, passacaglia, fugue and others), but he rejected the symmetry and forms that characterise the music of composers such as Mozart and Brahms. Sorabji was dismissive of the Classical style, mainly because he saw it as restricting the musical material to conform to a "ready-made mould", and

neg: Late works of Franz Liszt experimental harmonically and formally. However, as with his earlier compositions, Liszt's later works continued to abound with forward-looking technical devices. Works such as "Bagatelle sans tonalité" ("Bagatelle without Tonality") foreshadow in intent, if not in exact manner, composers who would further explore the modern concept of atonality. Liszt's work also foreshadowed the impressionism that would characterize the work of Debussy and Ravel, as shown in "Les Jeux d'Eaux à la Villa d'Este" (The Fountains of the Villa d'Este) from the third volume of "Années de Pèlerinage". Another precursor of impressionism is "Nuages gris", which won the admiration of both Debussy

neg: Night music (Bartók) the Piano Sonata (1926)). The development of Night music was influenced by sound effect compositions by Debussy and Ravel as well as pre-Bachian composers like Couperin. Schneider shows the influence of the Hungarian style of musical depictions of nature, night and the vast open space by the Hungarian composers Erkel, Mosonyi, Szendy, Weiner, and Dohnányi. Close family of Bartók agree that inspiration for Night music came from summer nights at Szőllőspuszta where Bartók visited his sister from 1921 onwards. This estate lies in Békés county in the Great Hungarian Plain, "Nagy Alföld". The Song op. 15 No. 5 "Here down

neg: Billie Lynn Daniel Billie Lynn Daniel Billie Lynn Daniel is an African-American operatic soprano and composer. A winner of several notable vocal competitions, she is best known for her portrayal of Clara in "Porgy and Bess" and for her work as an exponent of American art song. She has performed the world premieres of works by composers Richard Hundley, William Flanagan, and Claude Debussy among other composers. Born and raised in Queens, New York City, Daniel made her Broadway debut as one of the Female Saints in the revival of Virgil Thomson's "Four Saints in Three Acts" with Leontyne Price. She made her

neg: Four Organs work, each tone sounds almost in sequence. A continuous maraca beat serves as a rhythmic framework. Reich describes the piece as "the longest V–I cadence in the history of Western Music," the V and I chords being contained within the one chord. "You'll find the chord in Debussy and Thelonious Monk – the tonic on top and the dominant on the bottom." He has cited the music of Pérotin and other twelfth and thirteenth century composers as suggesting the technique of note augmentation used in "Four Organs". For performances of the piece, Reich recommended using electronic organs with as plain

neg: Billie Lynn Daniel and the Red Silk Dancers adaptation of J. E. Franklin's "Black Girl" in 1993. Daniel and Frierson's daughter, actress Andrea Frierson, married actor Jesse D. Goins in 1977. Andrea later married actor David Toney. Billie Lynn Daniel Billie Lynn Daniel is an African-American operatic soprano and composer. A winner of several notable vocal competitions, she is best known for her portrayal of Clara in "Porgy and Bess" and for her work as an exponent of American art song. She has performed the world premieres of works by composers Richard Hundley, William Flanagan, and Claude Debussy among other composers. Born and

neg: Sharon Azrieli and 2016 Azrieli recorded an album of French Arias at Avatar Studios in New York City. The album's performances were arranged and conducted by Steven Mercurio. The work is a collection of popular and rare arias, by well known composers such as Claude Debussy to more obscure works by Jacques Offenbach and Gioachino Rossini. Azrieli sits on the board of directors for the Azrieli Foundation. Azrieli created the Foundation's $150,000 composition and commission competition; the Azrieli Music Prize, which promotes new Jewish and Canadian music. Azrieli also created a new $50,000 for Canadian Composers. Azrieli sits on the board of

neg: Toru Takemitsu Composition Award Toru Takemitsu Composition Award The is a music competition for young composers organized in Tokyo, Japan. The Toru Takemitsu Composition Award (annual competition of orchestral composition), which is an international composition award following Toru Takemitsu's principle "Prayer, Hope, Peace", continues since 1997 to encourage younger generations of composers who will shape the coming age by creating new musical works. The nucleus of this award is in its uniqueness that each year only one judge is responsible for its outcome. For the first 3-year cycle, Takemitsu himself chose the following three composers to head the competition: Henri Dutilleux (1997), György Ligeti

neg: Carlos Salzedo a symphonic poem for harp and orchestra, "The Enchanted Isle", after the death of Debussy. Salzedo included "Five Poetical Studies" in his "Modern Study of the Harp" (1919), where he introduced his notation system for indicating his novel harp techniques. Salzedo collaborated with Lucile Lawrence to write "Method for Harp" (1927), where he published additional tone colors and their graphic representation. Another work that made a strong impression on the audience was his "Four Preludes to the Afternoon of a Telephone" (1921) based on the telephone numbers of four of his students, an example of musical humor. He composed "Concerto

neg: Spectral music independently in the contemporary work of Romanian composers Ştefan Niculescu, Horațiu Rădulescu, and Iancu Dumitrescu. More recent composers who have built on the spectral idea include Julian Anderson, Ana-Maria Avram, Joshua Fineberg, Georg Friedrich Haas, Jonathan Harvey, Fabien Lévy, Magnus Lindberg, and Kaija Saariaho. Jazz saxophonist and composer Steve Lehman has introduced spectral techniques into the domain of jazz. Proto-spectral composers include Claude Debussy, Edgard Varèse, Giacinto Scelsi, Olivier Messiaen, György Ligeti, Iannis Xenakis, and Karlheinz Stockhausen. Theoretical predecessors include some of the composers mentioned and Harry Partch, Henry Cowell, and Paul Hindemith. Romanian folk music, as collected by Béla

neg: Maurice Ravel two composers were frequently taken as part of a single genre. Ravel thought that Debussy was indeed an impressionist but that he himself was not. Orenstein comments that Debussy was more spontaneous and casual in his composing while Ravel was more attentive to form and craftsmanship. Ravel wrote that Debussy's "genius was obviously one of great individuality, creating its own laws, constantly in evolution, expressing itself freely, yet always faithful to French tradition. For Debussy, the musician and the man, I have had profound admiration, but by nature I am different from Debussy... I think I have always personally followed

neg: Peter Oberg (musician) Peter Oberg (musician) Peter Oberg (born 1953) is a musician, composer, and luthier living in San Diego, California. He has been playing and composing for the classical guitar for over 40 years. Oberg's musical style might be categorized as a hybridization of classical and jazz, though even this falls short of adequately describing the character of his compositions. He credits as influences composers as diverse as Federico Mompou, Claude Debussy, Maurice Ravel, Ralph Towner, Keith Jarrett, Joaquín Rodrigo, Darius Milhaud, Egberto Gismonti, and many others too numerous to mention. His compositions seek to use musical space, complex harmonies, and unexpected

neg: Edward Lockspeiser writings on Debussy include a two-volume biography, "Debussy: His Life and Mind" (1962, 1965), which was the culmination of 30 years of intense research into the composer's life and personality. According to Mark DeVoto of "The Boston Musical Intelligencer", this tome "remains a landmark work of biography enriched by a wide-ranging analysis of Debussy’s cultural background and literary and artistic influences." He contributed the entry on Debussy in "The New Grove Dictionary of Music and Musicians", articles on Debussy, Felix Mendelssohn and Sergei Diaghilev to the "Encyclopædia Britannica" and numerous articles for "Gramophone", "Music & Letters", "The Listener" and "The

neg: F-A-E Sonata F-A-E Sonata The F-A-E Sonata, a four-movement work for violin and piano, is a collaborative musical work by three composers: Robert Schumann, the young Johannes Brahms, and Schumann's pupil Albert Dietrich. It was composed in Düsseldorf in October 1853. The sonata was Schumann's idea as a gift and tribute to violinist Joseph Joachim, whom the three composers had recently befriended. Joachim had adopted the Romantic German phrase ""Frei aber einsam"" ("free but lonely") as his personal motto. The composition's movements are all based on the musical notes F-A-E, the motto's initials, as a musical cryptogram. Schumann assigned each movement to

neg: RNZ Concert Prokofiev or Felix Mendelssohn-Bartholdy. On other occasions, they are the work of local composers like Gareth Farr, James MacMillan or Chris Watson. Each year, young composers studying musical composition at university are also given the opportunity to have their work performed by the Symphony Orchestra and broadcast on the Concert programme. The NZSO Todd Corporation Young Composers Award provides nine finalists with firsthand mentoring on orchestral composition and the chance to have their composition workshopped, rehearsed and performed by the full-size, professional orchestra. Each finalist is interviewed for a Concert feature programme, with a judging panel deciding the award winner.

neg: Arthur Hervey for an outstanding young composer, which was initiated in memory of Hervey by bequest of his step-daughter, Nancy Webster. A relief portrait of Hervey in carved marble is preserved in the museum of the RAM. Despite of his substantial musical oeuvre Hervey remained mainly known for his writings, which include biographical studies of composers, most of which being devoted to French contemporaries like Saint-Saëns and Bruneau. He was widely regarded as an expert on French music. His viewpoint was very open-minded for its time, with an exception in the impressionists, and particularly Debussy, whom he regarded as "decadent". Opera Vocal

neg: Schenkerian analysis them. Weisse himself, who had studied with Schenker at least from 1912, immigrated to the United States and began teaching Schenkerian analysis at the Mannes School of Music in New York in 1931. One of his students, Adele T. Katz, devoted an article to "Heinrich Schenker's Method of Analysis" in 1935, then an important book, "Challenge to Musical Tradition", in 1945, in which she applied Schenkerian analytical concepts not only to some of Schenker's favorite composers, Johann Sebastian and Philipp Emmanuel Bach, Haydn and Beethoven, but also to Wagner, Debussy, Stravinsky and Schoenberg: this certainly represents one of the earliest

neg: Images (Debussy compositions for solo piano) Images (Debussy compositions for solo piano) Images (usually pronounced in French) are six compositions (two series, books or sets, each consisting of three pieces) for solo piano by Claude Debussy. These are distinct from Debussy's "Images pour orchestre". The pieces in the first series were written between 1901 and 1905 and the pieces in the second series were written in 1907. The total run time is approximately 30 minutes. Book 1 or 1st series (L110) Book 2 or 2nd series (L111) Debussy (along with Maurice Ravel) was a leading exponent of the innovative musical language in the late nineteenth century

neg: Composer distinct from a 19th-century conception of instrumental composition, where the work was represented solely by a musical score to be interpreted by performers. Music was an important part of social and cultural life in Ancient Greece. We know that composers wrote notated music during the Ancient Greek era because scholars have found the Seikilos epitaph. The epitaph, written around 200 BC to around AD 100 is the oldest surviving example of a complete musical composition, including musical notation, in the world. The song, the melody of which is recorded, alongside its lyrics, in the ancient Greek musical notation, was found

neg: Confessions of a Pop Group atmosphere of his compositions. Weller regularly played Satie and Claude Debussy around this time, among other composers. The Beach Boys were also an influence on the album, as was Chick Corea. The band's bassist Camelle Hinds recalls Weller "absorbing composers like Bacharach and Michel Legrand. Dance was on the horizon and "Confessions" seemed like a semi-conclusion." Reed wrote that, like "The Cost of Loving", "Confessions" "betrayed a debt to contemporary US R&B (from the work of million-selling producers Jimmy Jam and Terry Lewis to indie funk like Osiris' 'War on the Bullshit'). But the range of music on offer here,

neg: Leopold Stokowski year of his official conducting debut in Paris with the Colonne Orchestra on 12 May 1909, when Stokowski accompanied his bride to be, the pianist Olga Samaroff, in Tchaikovsky's Piano Concerto No. 1. Stokowski's conducting debut in London took place the following week on 18 May with the New Symphony Orchestra at Queen's Hall. His engagement as new permanent conductor in Cincinnati was a great success. He introduced the concept of "pops concerts" and, starting with his first season, he began championing the work of living composers. His concerts included performances of music by Richard Strauss, Sibelius, Rachmaninoff, Debussy, Glazunov,

neg: Music of Germany along an increasingly avant-garde path, pioneering atonal music in 1909 and twelve-tone music in 1923. Meanwhile, composers in Berlin took a more populist route, from the cabaret-like socialist operas of Kurt Weill to the Gebrauchsmusik of Paul Hindemith. In Munich there was also Carl Orff, who was influenced by the French Impressionist composer Claude Debussy. He began to use colorful, unusual combinations of instruments in his orchestration. His most popular work is "Carmina Burana". Many composers emigrated to the United States when the Nazi Party came to power, including Schoenberg, Hindemith, and Erich Korngold. During this period, the Nazi Party

neg: Louis Laloy as well as Jean-Philippe Rameau (1683–1764) who was then rediscovered. Louis Laloy Louis Laloy ( Gray, 18 February 1874 – Dole, 4 March 1944 ) was a French musicologist, writer and sinologist. A Doctor of Letters (he spoke French, English, German, Italian, Latin, Russian, Greek and Chinese), he became an eminent musicologist, music critic, co-founder of "Le Mercure musical", teacher at the Sorbonne and at the Paris Conservatory, and Secretary General of the Paris Opera. He is associated with many prominent artists and composers. He was a friend and the first biographer of Claude Debussy and wrote books on his

neg: Louis Laloy Louis Laloy Louis Laloy ( Gray, 18 February 1874 – Dole, 4 March 1944 ) was a French musicologist, writer and sinologist. A Doctor of Letters (he spoke French, English, German, Italian, Latin, Russian, Greek and Chinese), he became an eminent musicologist, music critic, co-founder of "Le Mercure musical", teacher at the Sorbonne and at the Paris Conservatory, and Secretary General of the Paris Opera. He is associated with many prominent artists and composers. He was a friend and the first biographer of Claude Debussy and wrote books on his contemporaries Maurice Ravel, Igor Stravinsky, Erik Satie, and Paul Dukas,

neg: Tom Allen (broadcaster) 2002 Edna Staebler Award for Creative Non-Fiction for "Rolling Home", his memoir of a cross-Canada rail journey. Two of Allen's musical works premiered in 2013: "Bohemians in Brooklyn", a cabaret-style revue based upon the lives of the musicians and writers living in Brooklyn, New York, in the 1940s, and "The Judgment of Paris", a "chamber musical" about the composers Claude Debussy and Maurice Ravel. Both featured the Canadian soprano Patricia O'Callaghan, the pianist-singer Bryce Kulak, the harpist Lori Gemmell and Allen himself as trombonist and narrator. Tom Allen (broadcaster) Tom Allen (born 1964) is a Canadian public radio broadcaster, concert