Diabolus in memoria: pripazke o rabi tritonusa v Debussyjevih zaključkih

  • Andrea Malvano
Ključne besede: tritonus, Claude Debussy, glasbene reminiscence, spominski procesi

Povzetek

Na začetku 20. stoletja je Claude Debussy na raznolike načine eksperimentiral s tritonusom v harmoniji in melodiji. V zaključkih v njegovih instrumentalnih skladbah je pogost tritonus v tematičnem gradivu, ki spodbuja primerjavo med sedanjostjo in preteklostjo. Za razliko od drugih francoskih skladateljev je Debussy bolj naklonjen latentnim glasbenim reminiscencam, ki zdrsnejo pod zavedno percepcijo, kot pa jasnim povezavam.

Prenosi

Podatki o prenosih še niso na voljo.

Biografija avtorja

Andrea Malvano

Università degli studi di Torino

Literatura

Antokoletz, Elliott. “The Music of Bartók: Some Theoretical Approaches in the USA”. Studia Musicologica Academiae Scientiarum Hungaricae 24: Report of the Musicological Congress of the International Music Council (1982, supplement): 67–74. https://doi.org/10.2307/902025.

Antokoletz, Elliott. The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music. Berkeley: University of California Press, 1984.

Antokoletz, Elliott. Musical Symbolism in the Operas of Debussy and Bartók: Trauma, Gender and the Unfolding of the Unconscious. New York: Oxford University Press, 2004. https://doi.org/10.1093/acprof:oso/9780195365825.001.0001.

Bowers, Faubion. Scriabin: A Biography. New York: Dover, 1996.

Burkhart, Charles. “Schoenberg’s Farben: An Analysis of Op. 16, No. 3”. Perspectives of New Music 12, nos. 1–2 (1973/1974): 141–172. https://doi.org/10.2307/832275.

Code, David J. “Hearing Debussy Reading Mallarmé: Music après Wagner in the Prélude à l’après-midi d’un faune”. Journal of the American Musicological Society 54, no. 3 (2001): 493–554. https://doi.org/10.1525/jams.2001.54.3.493.

Debussy, Claude. Correspondance, 1872–1918. Edited by François Lesure and Denis Herlin. Paris: Gallimard, 2005.

Debussy, Claude. Monsieur Croche et Autres Ecrits. Edited by François Lesure. Paris: Gallimard, 1987.

DeVoto, Mark. Debussy and the Veil of Tonality. Hillsdale: Pendragon Press, 2004.

Dubois, Théodore. Notes & Études d’Harmonie pour Servir de Supplément au Traité de H. Reber. Paris: Heugel, 1889.

Dubois, Théodore. Traité de Contrepoint et de Fugue. Paris: Heugel, 1901.

Durand, Émile. Traité Complet d’Harmonie Théorique et Pratique. Paris: Alphonse Leduc, [1881].

Forte, Allen. “Debussy and the Octatonic”. Music Analysis 10, nos. 1–2 (1991): 125–169. https://doi.org/10.2307/854001.

Fux, Johann Joseph. Gradus ad Parnassum sive Manuductio ad compositionem musicæ regularem, methodo novâ, ac certâ nondum antè tam exacto ordine in lucem edita. Wien: Typis Joannis Petri Van Ghelen, 1725.

Hepokoski, James. “Clouds and Circles: Rotational Form in Debussy’s ‘Nuages’”. Dutch Journal of Music Theory (February 2010): 1–17.

Howat, Roy. “Russian Imprints in Debussy’s Piano Music”. In Rethinking Debussy, edited by Elliott Antokoletz and Marianne Wheeldon, 31–51. New York: Oxford University Press, 2011. https://doi.org/10.1093/acprof:oso/9780199755639.003.0002.

Indy, Vincent d’. Cours de Composition Musicale, vol. 1, part 2. Edited by Auguste Sérieyx. Paris: Durand, 1912.

Jablonsky, Stephen. “Introduction aux Graphes de Tonalité: le cercle chromatique des quintes”. Musurgia 10, nos. 3–4 (2003): 91–104.

Koechlin, Charles. Traité de l’Harmonie. Paris: Max Eschig, 1927.

Kunst, Jaap. Music in Java: Its History, Its Theory and Its Technique. Edited by E. L. Heins. The Hague: Martinus Nijhoff, 1973.

Lavignac, Albert, ed. Encyclopédie de la Musique et Dictionnaire du Conservatoire. Vol. 2, Technique-Esthétique-Pédagogie. Paris: Librairie Delagrave, 1925.

Leleu, Jean-Louis. “Spécificités de l’agencement formel et de l’invention thématique dans la Sonate pour flûte, alto et harpe de Claude Debussy”. Revue de musicologie 103, no. 1 (2017): 93–136.

Moser, Hans-Joachim. “Diabolus in musica”. In Musik in Zeit und Raum: ausgewählte Abhandlungen, 262–280. Berlin: Merseburger 1960.

Parks, Richard. The Music of Claude Debussy. New Haven: Yale University Press, 1989. https://doi.org/10.2307/j.ctt1xp3t7b.

Perle, George. Twelve-Tone Tonality. Berkeley: University of California Press, 1996.

Proust, Marcel. À la Recherche du Temps Perdu, Du Côté de Chez Swann. Vol. 1. Paris: Gallimard, 1954.

Roubet, Anne. “Debussy et le Mythe: Affinités et Ambivalences”. In Claude Debussy, Jeux de Formes, edited by Maxime Joos, 49–77. Paris: Éditions Rue d’Ulm, 2004. https://doi.org/10.4000/books.editionsulm.1272.

Smith, Richard Langham. “Tonalities of Darkness and Light”. In Claude Debussy: Pelléas at Mélisande, edited by Roger Nichols and Richard Langham Smith, 107–139. New York: Cambridge University Press, 1989.

Smyth, David. “Stravinsky’s Second Crisis: Reading the Early Serial Sketches”. Perspectives of New Music 37, no. 2 (1999): 117–146. https://doi.org/10.2307/833512.

Tadié, Jean-Yves. “Proust et Debussy”. In Regards sur Debussy, edited by Myriam Chimenes and Alexandra Laederich, 111–118. Paris: Fayard, 2013.

Tiersot, Julien. “Etnographie Musicale: Notes prises à l’Exposition Universelle de 1900 (Suite)”. Le Ménestrel, 4 November 1900.

Whittall, Arnold. Music since the First World War. New York: St. Martin’s Press, 1977.

Objavljeno
2020-06-24
Kako citirati
1.
Malvano A. Diabolus in memoria: pripazke o rabi tritonusa v Debussyjevih zaključkih. DMD [Internet]. 24. junij 2020. [citirano 19. september 2020.];16(2). Dostopno na: https://ojs.zrc-sazu.si/dmd/article/view/8774
Rubrike
PRISPEVKI