FOREWORD First of All, the Author Would Like to Thank God for The

FOREWORD

First of all, the author would like to thank God for the strength, encouragement, knowledge, that He has given the author to accomplish this thesis

This thesis entitled “The Various Use of Artificial Scales in Extending

Tonal Harmony in Two Piano Works of Claude Debussy” is to fulfil final academic requirements in order to obtain a degree in Bachelor Degree of Fine Arts, in the study of Music at Pelita Harapan University.

The author realized that without this thesis would be impossible to complete without the guidance, help, and prayers from various parties; therefore, the author would like to express her sincerest gratitude to the followings:

1. My parents for the encouragement, moral and financial support; always

reminding me to believe in myself of what I am capable of and trusting me

to pursue my passion in music.

2. Mrs. Amelia Santoso, B.Mus., M.Mus., as my major lecturer who has been

an inspiring musician, giving endless guidance and motivation, always

reminding me that there is always room to be better; and always

encouraging me on how to be a true musician. I am extremely grateful to

learn under her guidance.

3. Dr. Mario S. Santoso, as my Thesis and Academic Advisor who has been

giving his time and effort in helping me during my study. It was a great

privilege for me to do my bachelor research under his guidance.

4. Mr. Indrawan, S.Kom., B.Mus., M.M., M.B.A., as the Dean of the Faculty

of Fine Arts (Music Department)

5. Mrs. Adriani Gunawan, as Director of Faculty Administration and Student

Affairs at the Faculty of Fine Arts (Music Department)

6. Mrs. Delicia Mandy Nugroho, S.Sn., M.Mus., as Head of the Music Study

Department

7. All lecturers who have taught the author during her study.

8. All staffs of the Faculty of Arts who have helped the author with

administrative needs during her study

9. Ruang Konsultasi (Margaret Lyvia, Novaria Putri, Paula, Sthefanie

Marchellia) who are always there for me through good and bad times;

comforting me when I am sad, giving me encouragements, and always

reminding me what is the meaning of true friendship.

10. Andrew, Tania, Caroline, Clara, Anastasia, Joyce, Nichole, Iva, Gaby, Luisa

who are always there to hear my happy stories, all of my rants, and for all

of the help while I am writing the thesis.

Finally, the author is in complete realization of insufficiency this thesis still has. To this matter, the author will welcome any critics and advices from any readers which will be very beneficial for the author in the future. May this Thesis be of much use to those who read it.

Tangerang, July 2020

Author

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TABLE OF CONTENTS

PERNYATAAN DAN PERSETUJUAN UNGGAH TUGAS AKHIR PERSETUJUAN DOSEN PEMBIMBING TUGAS AKHIR PERSETUJUAN TIM PENGUJI TUGAS AKHIR

ABSTRACT ...... v FOREWORD ...... vi TABLE OF CONTENTS ...... viii LIST OF FIGURES ...... x LIST OF TABLES ...... xiv LIST OF APPENDICES ...... xv CHAPTER 1 INTRODUCTION ...... 1 1.1 Background ...... 1 1.2 Research Questions ...... 4 1.3 Purpose of Research ...... 4 1.4 Scope and Limitations of Research ...... 4 1.5 Significance of Research ...... 5 1.6 Research Writing Structure ...... 5 CHAPTER 2 THEORETICAL FRAMEWORK ...... 6 2.1 Tonality: The Origin and Its Development Until Late-Eighteenth Century ...... 6 2.2 Tonality and Its Expansion/Dissolution during Nineteenth Century ...... 19 2.3 Debussy and the New Harmonic Innovations ...... 44 2.4 Debussy’s Piano Compositional Phases ...... 55 CHAPTER 3 METHODOLOGY ...... 82 3.1 Confirming Exploration of The Topic and Point of Interest ...... 82 3.2 Differences Between Reality and Problem ...... 82 3.3 Sources with Similar Topics ...... 82 3.4 Review of Research Sources ...... 89 3.5 Research Methodology ...... 100 3.6 Research Timetable ...... 101 CHAPTER 4 DATA ANALYSIS ...... 103 4.1 Exhaustive Tonal Harmony in L’isle Joyeuse ...... 103

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4.2 Exhaustive Tonal Harmony in Et la lune descend sur le temple qui fut ...... 134 CHAPTER 5 CONCLUSION ...... 154 BIBLIOGRAPHY ...... 157

LIST OF FIGURES Figure 2.1. 1 Jacopo Peri Euridice ...... 7 Figure 2.1. 2 Claudio Monteveri L’Orfeo ...... 7 Figure 2.1. 3 John Dowland "Flow, my tears" ...... 8 Figure 2.1. 4 Claudio Monteverdi Madrigals, Book 7, SV 117-145 “Tempro la cetra” ...... 9 Figure 2.1. 5 Mozart Piano Sonata in C Major, K. 279 ...... 11 Figure 2.1. 6 Mozart Piano Sonata in C Major, K. 279 ...... 12 Figure 2.1. 7 Haydn Sonata Hob. XVI: 46 in A-flat Major ...... 13 Figure 2.1. 8 Mozart Piano Sonata in C Major, K. 545 ...... 14 Figure 2.1. 9 Mozart Piano Sonata in B-flat Major, K. 333 ...... 15 Figure 2.1. 10 Beethoven Piano Sonata No. 14 (Moonlight Sonata) ...... 15 Figure 2.1. 11 Haydn Sonata in C Major Hob. XVI: 50 (Exposition) ...... 16 Figure 2.1. 12 Haydn Sonata in C Major, Hob. XVI: 50 (Development) ...... 16 Figure 2.1. 13 Haydn Sonata in C Major, Hob. XVI: 50 (Recapitulation) ...... 17

Figure 2.2. 1 Chopin Ballade no. 1 in G minor, Op. 23 ...... 20 Figure 2.2. 2 Chopin Ballade no. 1 in G minor, Op. 23 ...... 20 Figure 2.2. 3 Chopin Scherzo No. 2 in B-flat minor Op. 31 ...... 21 Figure 2.2. 4 Chopin Scherzo No. 1 in B minor, Op. 20 ...... 22 Figure 2.2. 5 Chopin Scherzo No. 1 in B minor, Op. 20 ...... 23 Figure 2.2. 6 Chopin Prelude Op. 28 No. 2 ...... 24 Figure 2.2. 7 Chopin Prelude Op. 28 No. 2 ...... 24 Figure 2.2. 8 Liszt Bagatelle sans tonalite ...... 26 Figure 2.2. 9 Liszt Bagatelle sans tonalite ...... 26 Figure 2.2. 10 Liszt Bagatelle sans tonalite ...... 27 Figure 2.2. 11 Liszt Bagatelle sans tonalite ...... 27 Figure 2.2. 12 Frederic Chopin Fantaisie in F minor Op. 49 (bar 1-6) ...... 28 Figure 2.2. 13 Frederic Chopin La Cathédrale Engloutie (bar 1-3) ...... 29 Figure 2.2. 14 Schubert's Wanderer Fantasy Movement 1 (introduction) ...... 31 Figure 2.2. 15 Wanderer Fantasy Movement 1 (ending) ...... 31 Figure 2.2. 16 Wanderer Fantasy Movement 2 in C-sharp minor ...... 31 Figure 2.2. 17 Frederic Chopin Ballade No. 2 ...... 32 Figure 2.2. 18 Chopin Ballade No. 2 (ending) ...... 33 Figure 2.2. 19 Franz Liszt Nuages Gris ...... 34 Figure 2.2. 20 Franz Liszt Nuages gris ...... 34 Figure 2.2. 21 Chopin's Ballade No. 1 ...... 35 Figure 2.2. 22 Direct Modulation example ...... 36 Figure 2.2. 23 La Lugubre Gondola I ...... 37 Figure 2.2. 24 Berlioz's Symphonie Fantastique Op. 14 (4th movement) ...... 37 Figure 2.2. 25 Augmented Triad example ...... 38 Figure 2.2. 26 Augmented Triad in minor key ...... 38 Figure 2.2. 27 Frederic Chopin's Prelude in e minor, Op. 28 No. 4 ...... 39 Figure 2.2. 28 Chopin Prelude Op. 28 No. 2 ...... 40 Figure 2.2. 29 Chopin Prelude Op. 28 No. 2 ...... 40 Figure 2.2. 30 Quintal chord in Debussy's work ...... 42

Figure 2.2. 31 Whole-tone chords example ...... 43 Figure 2.2. 32 Polychords example ...... 43 Figure 2.2. 33 Igor Stravinsky Petrushka (1911), Second Tableau ...... 44

Figure 2.3. 1 Debussy Arabesque No. 1 ...... 45 Figure 2.3. 2 Debussy Arabesque No. 1 ...... 46 Figure 2.3. 3 Debussy Pagodes ...... 49 Figure 2.3. 4 Ostinato pattern in Pagodes ...... 49 Figure 2.3. 5 Debussy Pour le Piano ...... 50 Figure 2.3. 6 Claude Monet Sunrise painting ...... 52 Figure 2.3. 7 Edgar Degas “Green Dance 1879” painting ...... 52 Figure 2.3. 8 Camille Pissarro “The Boulevard Montmartre at Night” painting .. 53 Figure 2.3. 9 Alfred Sisley “The Bridge at Villeneuve-la-Garenne painting ...... 53

Figure 2.4. 1 Claude Debussy: Prelude from Pour le piano ...... 55 Figure 2.4. 2 Claude Debussy: Prelude from Pour le piano ...... 56 Figure 2.4. 3 Claude Debussy: Prelude from Pour le piano ...... 56 Figure 2.4. 4 Claude Debussy: Prelude from Pour le piano ...... 57 Figure 2.4. 5 Claude Debussy: Prelude from Pour le piano ...... 57 Figure 2.4. 6 Claude Debussy: Prelude from Pour le piano ...... 58 Figure 2.4. 7 Claude Debussy: Prelude from Pour le piano ...... 58 Figure 2.4. 8 Claude Debussy: Prelude from Pour le piano ...... 59 Figure 2.4. 9 Claude Debussy: Prelude from Pour le piano ...... 59 Figure 2.4. 10 Claude Debussy: Prelude from Pour le piano ...... 60 Figure 2.4. 11 Claude Debussy: Prelude from Pour le piano ...... 60 Figure 2.4. 12 Claude Debussy: Sarabande from Pour le piano ...... 61 Figure 2.4. 13 Claude Debussy: Sarabande from Pour le piano ...... 61 Figure 2.4. 14 Claude Debussy: Sarabande from Pour le piano ...... 62 Figure 2.4. 15 Claude Debussy: Sarabande from Pour le piano ...... 63 Figure 2.4. 16 Claude Debussy: Sarabande from Pour le piano ...... 63 Figure 2.4. 17 Claude Debussy: Sarabande from Pour le piano ...... 64 Figure 2.4. 18 Claude Debussy: Toccata from Pour le piano ...... 64 Figure 2.4. 19 Claude Debussy: Toccata from Pour le piano ...... 65 Figure 2.4. 20 Claude Debussy: Pagodes from Estampes ...... 66 Figure 2.4. 21 Claude Debussy: Pagodes from Estampes ...... 66 Figure 2.4. 22 Claude Debussy: Pagodes from Estampes ...... 67 Figure 2.4. 23 Claude Debussy: Soirée dans Grenade from Estampes ...... 67 Figure 2.4. 24 Claude Debussy: Soirée dans Grenade from Estampes ...... 68 Figure 2.4. 25 Claude Debussy: Soirée dans Grenade from Estampes ...... 68 Figure 2.4. 26 Claude Debussy: Soirée dans Grenade from Estampes ...... 69 Figure 2.4. 27 Claude Debussy: Soirée dans Grenade from Estampes ...... 69 Figure 2.4. 28 Claude Debussy: Soirée dans Grenade from Estampes ...... 70 Figure 2.4. 29 Claude Debussy: Soirée dans Grenade from Estampes ...... 71 Figure 2.4. 30 Claude Debussy: Jardin sous la pluie from Estampes (arpeggiated chord patterns) ...... 71

Figure 2.4. 31 Claude Debussy: Jardin sous la pluie from Estampes (parallel chord movement) ...... 72 Figure 2.4. 32 Claude Debussy: Jardin sous la pluie from Estampes (written out trill-like pattern) ...... 72 Figure 2.4. 33 Claude Debussy: Brouillards from Preludes Book 2 ...... 73 Figure 2.4. 34 Claude Debussy: Brouillards from Preludes Book 2 ...... 74 Figure 2.4. 35 Claude Debussy: Brouillards from Preludes Book 2 ...... 75 Figure 2.4. 36 Claude Debussy: Brouillards from Preludes Book 2 ...... 76 Figure 2.4. 37 Claude Debussy: Brouillards from Preludes Book 2 ...... 76 Figure 2.4. 38 Claude Debussy: Brouillards from Preludes Book 2 ...... 77 Figure 2.4. 39 Claude Debussy: Brouillards from Preludes Book 2 ...... 77 Figure 2.4. 40 Claude Debussy: Feux d’artifice from Preludes Book 2 ...... 78 Figure 2.4. 41 Claude Debussy: Feux d’artifice from Preludes Book 2 ...... 79 Figure 2.4. 42 Claude Debussy: Feux d’artifice from Preludes Book 2 ...... 79 Figure 2.4. 43 Claude Debussy: Feux d’artifice from Preludes Book 2 ...... 80 Figure 2.4. 44 Claude Debussy: Feux d’artifice from Preludes Book 2 ...... 81

Figure 4.1. 1 Unresolved dissonances ...... 108 Figure 4.1. 2 Whole tone harmony ...... 109 Figure 4.1. 3 Open fifth examples ...... 109 Figure 4.1. 4 Cadenza-like rhythm in the first motive ...... 110 Figure 4.1. 5 Dotted and triplet rhythm in the second motive ...... 110 Figure 4.1. 6 Triplet rhythm in the third motive ...... 111 Figure 4.1. 7 Triplet rhythm with metric modulation in the fourth motive ...... 111 Figure 4.1. 8 Dotted rhythm in the fifth motive ...... 112 Figure 4.1. 9 Cadenza-like passage with trills on first motive ...... 113 Figure 4.1. 10 Lydian modes and whole-tone scale; dancing-like figure on second motive ...... 113 Figure 4.1. 11 Whole-tone scale, pedal point, cross-hand passage ...... 114 Figure 4.1. 12 Highly chromatic passage on fourth motive ...... 114 Figure 4.1. 13 Parallel motion with Lydian modes; yet diatonic ...... 114 Figure 4.1. 14 L'isle Joyeuse First Motive ...... 118 Figure 4.1. 15 L'isle Joyeuse Second Motive ...... 119 Figure 4.1. 16 L'isle Joyeuse Second Motive ...... 120 Figure 4.1. 17 L'isle Joyeuse Second Motive ...... 121 Figure 4.1. 18 L'isle Joyeuse Third Motive ...... 122 Figure 4.1. 19 L'isle Joyeuse Fourth Motive ...... 123 Figure 4.1. 20 L'isle Joyeuse Fourth Motive ...... 123 Figure 4.1. 21 L'isle Joyeuse Fourth Motive ...... 124 Figure 4.1. 22 L'isle Joyeuse Fifth Motive ...... 125 Figure 4.1. 23 L'isle Joyeuse Premature Recapitulation ...... 127 Figure 4.1. 24 L'isle Joyeuse Development ...... 128 Figure 4.1. 25 L'isle Joyeuse development ...... 128 Figure 4.1. 26 L'isle Joyeuse development ...... 129 Figure 4.1. 27 L'isle Joyeuse development ...... 129 Figure 4.1. 28 L'isle Joyeuse development ...... 130

xii

Figure 4.1. 29 L'isle Joyeuse development ...... 130 Figure 4.1. 30 L'isle Joyeuse recapitulation ...... 131 Figure 4.1. 31 L'isle Joyeuse recapitulation ...... 132 Figure 4.1. 32 L'isle Joyeuse recapitulation ...... 133

Figure 4.2. 1 Et la lune descend sur le temple qui fut First Motive ...... 141 Figure 4.2. 2 Et la lune descend sur le temple qui fut Second Motive ...... 143 Figure 4.2. 3 Et la lune descend sur le temple qui fut Third Motive ...... 144 Figure 4.2. 4 Et la lune descend sur le temple qui fut closing section ...... 145 Figure 4.2. 5 Et la lune descend sur le temple qui fut development (second motive) ...... 147 Figure 4.2. 6 Et la lune descend sur le temple qui fut development (third motive) ...... 148 Figure 4.2. 7 Et la lune descend sur le temple qui fut development 9third motive) ...... 148 Figure 4.2. 8 Et la lune descend sur le temple qui fut development (third motive) ...... 149 Figure 4.2. 9 Et la lune descend sur le temple qui fut false recapitulation ...... 150 Figure 4.2. 10 Et la lune descend sur le temple qui fut recapitulation (second motive) ...... 151 Figure 4.2. 11 Et la lune descend sur le temple qui fut real recapitulation ...... 152 Figure 4.2. 12 Et la lune descend sur le temple qui fut recapitulation (third motive) ...... 152

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LIST OF TABLES

Table 4.1. 1 The main Motives of L’isle Joyeuse ...... 105 Table 4.1. 2 Conclusion of The Whole L’isle Joyeuse Piece ...... 106 Table 4.1. 3 Tonal and Non-tonal in First Motive ...... 117 Table 4.1. 4 Tonal and Non-tonal in Second Motive ...... 119 Table 4.1. 5 Tonal and Non-tonal in Third Motive ...... 121 Table 4.1. 6 Tonal and Non-tonal in Fourth Motive ...... 123 Table 4.1. 7 Tonal and Non-tonal in Fifth Motive ...... 125

Table 4.2. 1 Et la lune descend sur le temple qui fut summative table of the three motives ...... 136 Table 4.2. 2 Sonata form in Et la lune descend sur le temple qui fut summative description ...... 137 Table 4.2. 3 First Motive of Et la lune descend sur le temple qui fut ...... 141 Table 4.2. 4 Second Motive of Et la lune descend sur le temple qui fut ...... 142 Table 4.2. 5 Third Motive of Et la lune descend sur le temple qui fut ...... 144

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LIST OF APPENDICES

APPENDIX A - L’isle Joyeuse Full Score ...... A-1

APPENDIX B - Et la lune descend sur le temple qui fut ...... B-1