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INFORMATION TO USERS This matariai was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavfly dependent upon the quality of the original subm itted. The following explanation of techniques is provided to help you urxierstand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an imaga and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is oWitaratad with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You w ill find a good imaga of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the matariai. It is customary to begin photoing at the upper left hand comer of a large sheet and to continue photoing from left to right in equal sectiom with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users mdicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department giving the catalog number, tide, author and spadfic pagas you wish reproduced. 5. PLEASE NOTE: Some pagas may have iixlistinct print Filmed at University Microfilms International 300 North Zeeb Road Ann Arbor. Michigan 48106 USA St. John's Road. Tyler’s Green High Wycombe. Bucks. England HP10 8HR 77-12,751 MCCOLLOIl, Thomas Oscar, 1934- PRACTICAL SOLUTIONS FOR PERFORMANCE PROBLEMS IN THE PIANO PRELUDES OF CLAUDE DEBUSSY. The University of Oklahoma, D.Mus.Ed., 1976 Music Xerox University Microfilms, Ann Arbor. Michigan 4sio6 0 1976 THOMAS OSCAR MCOOLLCH ALL RIGHTS RESERVED THi; UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PRACTICAL SOLUTIONS FOR PERFORMANCE PROBLEMS IN THE PIANO PRELUDES OF CLAUDE DEBUSSY A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of DOCTOR OF MUSIC EDUCATION BY THOMAS OSCAR MCCOLLOM Norman, Oklahoma 1976 PRACTICAL SCLüTIONr. FOR PERFORMANCE PROBLEMS IN THE PIANO PRELUDES OF CLAUDE DEBUSSf AI'PROVED BY DISSERTATION COHWTITTEE 11 ACKNOWLEDGEMENTS The writer wishes to make grateful acknowledgement of his indebtedness and sincere appreciation to Professor Celia Mae Bryant, Chairman of the committee, for her know­ ledge, counsel, and encouragement throughout his doctoral program and for her assistance in developing the original idea. To the other members of the committee. Dr. Ralph Verrastro and Dr. Gail de Stwolinski, the writer expresses appreciation for their interest and support. The writer wishes to thank Dr. Melvin Toison for his assistance in the translation of the French terms. The writer is grateful to Durand & C i 6 who through their agents, Theodore Presser Company, granted permission to use excerpts from their edi­ tion of the two books of P r A u d e s . Finally, the writer expresses his gratitude to his wife, Joyce Megee McCollom, for her infinite patience which made it possible to pursue this program and to his daughter, Terese McCollom Lovett, for her secretarial assistance. Ill TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ....................................... ii TABLE OF CONTENTS........................................ ill LIST OF MUSICAL EXAMPLES................................ vii Chapter I. INTRODUCTION................................... 1 Purpose of the S t u d y ........................ 1 The Need for the S t u d y ...................... 2 Terminology................................... 7 Limitations of the Study .................... 8 Rationale for the Performance Problems Analysis 8 II. RELATED LITERATURE...............................16 Impressionist Painting ...................... 16 Symbolist Literature ........................ 19 Impressionism in Music ......................... 20 The Influence of Nature in Debussy's Work. 21 Influence of the Romantic Pe r i o d ...............23 The Influence of Chopin and Liszt...............24 Other Influences............................... 25 Debussy's Compositional Style and Tonal Lan­ guage......................................... 26 Harmony in Debussy's Music ................ 29 Melodies. Ostinatos. and Pedal Points. 32 F o r m ......................................... 33 IV Chapter Page Debussy's Piano Style...........................34 III. PRELUDES, BOOK I .................................40 Prelude I: Danseuses des Delphes (Delphic Dancers)..................................... 40 Prelude II: Voiles (Sails or Veils) .... 47 Prelude III: Le Vent dans la plaine (The Wind on the Plain).................................58 Prelude IV: Les sons et les parfums tournent dans l'air du soir (Sounds and perfumes blend on the evening air).................... 66 Prelude V: Les collines d'Anacapri (The Hills of Anacapri)................................. 72 Prelude VI: Des pas sur la neige (Footsteps in the S n o w ) .................................83 Prelude VII: Ce qu'a vu le vent d'Ouest (What the West Wind has seen)...................... 86 Prelude VIII: La fille aux cheveux de lin (The Girl with the Flaxen H a i r ) .................. 97 Prelude IX: La serenade interrompue (The Interrupted Serenade)........................102 Prelude X; La Cathédrale engloutie (The Sunken Cathedral).................................. 110 Prelude XI: La Danse de Puck (The Dance of Puck)........................................ 119 Prelude XII: Minstrels........................128 IV, PRELUDES, BOOK II............................. 134 Prelude I: Brouillards (Fog).................. 134 Prelude II: Feuilles mortes (Dead Leaves) . .141 Prelude III: La Puerta del Vino (The Gate of Wine)........................................ 147 Prelude IV: "Les F ^ s sont d'exquises dan­ seuses" (The fairies are exquisite dancers). 156 V Chapter Page Prelude V: Bruy^eres (Heather).............. 165 Prelude VI: General Lavine-eccentric........ 170 Prelude VII: La terrasse des audiences du clair de lune (The Reception Terrace in the Moonlight).................................. 181 Prelude VIII: O n d i r .......................... 192 Prelude IX: Hommage 'a S. Pickwick, Esq. P.P. M.P.C. (Homage to S. Pickwick, Esq. P.P.M.P. C.).......................................... 201 Prelude X: Canope (Canopic Urn) ............ 207 Prelude XI: Les tierces alternées (Alternating Thirds)...................................... 212 Prelude XII: Feux d'Artifice (Fireworks). .218 V. SUMMARY.......................................... 232 Purpose and Procedures ...................... 232 Harmonic Summary..............................234 The whole-tone scale ...................... 234 Pentatonicism................................ 235 Polytonality .............................. 235 Modality.................................... 236 Pandiatonicism..............................236 Parallel chords..............................236 Triads with added notes......................237 Gutted chords................................ 237 Performance Problem Solutions................. 238 Fingering.................................... 238 Redivision of notes between hands........... 239 Pedaling.................................... 239 VI Chapter Pago Touch and T o n e ..............................242 Semantic Terms ............................. 243 Generalizations................................243 Areas for Further Study........................244 BIBLIOGRAPHY....................................245 APPENDICES OF FRENCH T E R M S ..................... 249 Appendix A .................................... 250 Appendix B .................................... 254 vil MUSICAL EXCERPTS from PRELUDES BOOK I. Copyright 1910^ BOOK II. Copyright 1913^ by Claude Debussy Danseu ?« des Delphes Excerpt 1-measure 4 " 2-measure 1 Voiles Excerpt 3-measures 1-2 " 4-measure 31 " 5-measures 33-36 " 6-measures 42-44 " 7-measures 50-51 " 8-measure 62 Le Vent dans la plaine Excerpt 9-measure 1 " 10-measure 28 " 11-measure 49 " 12-measures 9-10 " 13-measures 3-4 Les sons et les parfums tournent dans 1'air du soir Excerpt 14-measures 2, 5, and 51 " 15-measures 9-10 " 16-measures 34-36 Les collines d'Anacapri Excerpt 17-measure 3 " 18-measures 14-16 " 19-measure 28 " 20-measure 30 " 21-measure 39 ” 22-measure 56 " 23-^easure 72 " 24-measure 81 Permission granted by Durand & through their agent, Theodore Presser Co., for use of copyright material. viii Les collines d'Anacapri (con't) Excerpt 25-measures 92-93 ’’ 26-measure 95 " 27-measures 45-46 Ce qu'a vu le vent d'Ouest Excerpt 28-measures 5-6 " 29-measures 19-20 " 30-measure 51 " 31-measure 63 " 32-measure 26 " 33-measure 30 " 34-measure 10 " 35-measure 15 " 36-measure 17 " 37-measures 36-37 La fille aux cheveux de lin Excerpt 38-measures 1-2 " 39-measure 15 " 40-measures 19-20 " 11-measure 14 " 42-measures 24-26 " 43-measures 12-13 La serenade interrompue Excerpt 44-measures 46-47 " 45-measures 80-83 " 46-measures 5-8
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