A stylistic analysis and technical consideration of Debussy's Sonata for Cello and Piano.
Item
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Title
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A stylistic analysis and technical consideration of Debussy's Sonata for Cello and Piano.
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Identifier
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AAI3063839
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identifier
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3063839
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Creator
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Hong, Sunkyoung.
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Contributor
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Adviser: Joseph Straus
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Date
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2002
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music
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Abstract
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Debussy wrote three sonatas toward the end of his life, the first of which is the Sonata for Cello and Piano (1915). With this work the instrumental techniques and colors which he had established throughout his compositional life matured to a high level. Because Debussy did not want to limit himself to any school or be labeled an Impressionist or a Symbolist, some critics, finding Impressionistic or Symbolistic qualities in Debussy's earlier work, did not understand his late style and ascribed the stylistic changes in this sonata to his final illness.;The purpose of this study is to explore the performance and technical issues in relation to stylistic analysis for a successful performance of the sonata. Debussy is an innovative composer, not only in harmony but also in many aspects of style. His music is considered difficult to perform. To elaborate on how he produced the unique and delicate sounds, one needs to study his work more thoroughly. The audible portamento used in this sonata not only makes this sonata very modern but also may have influenced later composers such as Bartok. Moreover, in the Serenade the guitar-like sound through pizzicato represents the influence of Italian commedia dell' arte, in which Debussy had a life-long interest.;The sonata is characterized by its modest size and by the juxtaposition or repetition of melodic ideas as opposed to the progression of large-scale harmonic units. It features the use of a variety of chords---extended (7th, 9th, 11th 13th), altered, incomplete, and added---tone. It also employs a variety of scales---major/minor, chromatic, pentatonic, and wholetone, along with half-step dyadic conflicts and melodies constructed on 4ths, 5ths and tritones. These melodies are often centered around two pitch classes that are a fifth away from D (A and G). Rhythmic freedom appears with the avoidance of regular metric accents, syncopation, hemiola, frequent time fluctuations and indications of rubato, cedez, and the like. Ostinatos occasionally generate a sense of rhythmic stasis. Furthermore, the application of coloristic techniques (e.g., sur le chevalet, sur la touche, flautando, harmonics, pizzicato and portamento), sensitive dynamics favoring piano over forte , nuanced expression signs (e.g., lusingando, fantasque et leger, volubile and ironique), and extreme changes of register all play an important role in the creation of Debussy's unique mature style.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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D.M.A.
