Debussy’s Departure: A Meditation on the Preludes

Michael Martinez, Oberlin College

Location

Science Center, A155

Document Type

Presentation

Start Date

4-24-2015 4:00 PM

End Date

4-24-2015 5:30 PM

Abstract

Debussy’s innovations as a composer included the use of musical/stylistic tropes that vastly differed from the Western music scene at the time. How exactly did he function as a watershed composer? Using his piano preludes as a lens, I will consider how he was influenced by and differed from composers who wrote collections of preludes before him, and how his work influenced the preludes of future composers. I claim that the groundbreaking unconventional approach in tonality and structure redefined how modern composers took on the prelude.

Notes

Session 3, Panel 16 - Making Modernism: Music/Text/Image
Moderator: Jared Hartt, Associate Professor of Music Theory

Major

Musical Studies

Advisor(s)

Rebecca Leydon, Music Theory

Project Mentor(s)

Ian MacMillen, OCREECAS

April 2015

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Apr 24th, 4:00 PM Apr 24th, 5:30 PM

Debussy’s Departure: A Meditation on the Preludes

Science Center, A155

Debussy’s innovations as a composer included the use of musical/stylistic tropes that vastly differed from the Western music scene at the time. How exactly did he function as a watershed composer? Using his piano preludes as a lens, I will consider how he was influenced by and differed from composers who wrote collections of preludes before him, and how his work influenced the preludes of future composers. I claim that the groundbreaking unconventional approach in tonality and structure redefined how modern composers took on the prelude.