Conceptual Parallelism between Pictorial Impressionism and Musical Compositions by Claude Debussy:

The Case of Prelude to the Afternoon of a Faun

Authors

  • Mónica Susana Mestanza Revoredo Universidad Nacional de Música

DOI:

https://doi.org/10.62230/antec.v1i2.15

Keywords:

Debussy, Impressionism, Elements, Prelude, Analysis

Abstract

The importance of the composition Prelude to the Afternoon of a Faun in the artistic context of its era is found in Claude Debussy’s innovations demonstrating the composer’s free spirit. In this context, the plastic arts coexisted, especially the art of painting which, given the new concepts applied by the so-called impressionist painters, produced a major impact on music. Therefore, a certain parallelism between these two arts is proposed. This research will analyze some musical aspects of the Prelude by connecting them with the esthetical, technical and conceptual features of impressionist painting.

Downloads

Download data is not yet available.

Author Biography

  • Mónica Susana Mestanza Revoredo, Universidad Nacional de Música

    She graduated from the Faculty of Modern Languages of the Ricardo Palma University of Peru. She studied piano at the National Conservatory of Music of Peru with maestro Elena Ichikawa. She is currently a music teacher at Markham College in Lima at the secondary level and a teacher of the History of Music and Musical Language courses at the National University of Music of Peru.

References

Libros

Fulcher, J. (Ed.). (2001). Debussy and His World. New Jersey: Princeton University Press.

Ocampo, E. (1981). El impresionismo: pintura, literatura, música. Barcelona: Montesinos Editor.

Vuillermoz, E. (1957). Claude Debussy. Paris: René Kister.

Wenk, A. (1976). Claude Debussy and the Poets [Claude Debussy y los Poetas]. California: University of California Press.

Zamacois, J. (2003). Temas de estética y de historia de la música. Barcelona: Idea Books.

Textos en línea

Calle, R. (2007). Sobre las relaciones entre música y pintura. Aisthesis, (42), 8797. Recuperado de http://www.redalyc.org/pdf/1632/163219818007.pdf

Heinlein, F. (1962). Debussy crítico. Revista Musical Chilena, 16 (80), 6675. Recuperado de http://www.revistamusicalchilena.uchile.cl/index.php/RMCH/article/view/13863/14143

Hernández, S. (2009). ‘Plus loin que la musique’: evocaciones plásticas en el pensamiento estético de Claude Debussy. Quintana, (8), 135145. Recuperado de https://www.academia.edu/1207438/_Plus_loin_que_la_musique_evocaciones_pl%C3%A1sticas_en_el_pensamiento_est%C3%A9tico_de_Claude_Debussy

Marías, A. (1988). El escritor Debussy. Cuenta y Razón, (33), 17. Recuperado de www.cuentayrazon.org/revista/pdf/033/Num033_016.pdf

Martínez, J. (2009). Debussy: influencias plásticas y literarias en Prélude à l’après-midi d’un faune. Revista Garoza, (9), 103114. Recuperado de https://www.google.com.pe/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwjP8f3MyvUAhXD4CYKHWw_DekQFgggMAA&url=https%3A%2F%2Fdialnet.unirioja.es%2Fdescarga%2Farticulo%2F3123017.pdf&usg=AFQjCNF5PAcJeCHhZXMEpzZAzTOvJEquXQ

Mesa, R. (2014). Análisis estructural e interpretativo del Preludio a la siesta de un fauno de Claude Debussy. Tesis para optar el grado de Magister. Facultad de Artes, Universidad Nacional de Colombia, Bogotá, Colombia. Recuperado de http://www.bdigital.unal.edu.co/41982/1/7177807.2014.pdf

Monterroza, A & Valencia, N. (2010). La fotografía y la pintura impresionista: un caso de relación artetecnología. Trilogía, (2), 125131. Recuperado de http://itmojs.itm.edu.co/index.php/trilogia/article/download/92/97

Ramírez, C. (2010). Debussy: otro camino al atonalismo. Música, cultura y pensamiento, 2 (2), 113123. Recuperado de http://www.conservatoriodeltolima.edu.co/images/revistas/MCP2/10_Debussy.pdf

Rassial, J. (2011). Le vide, le blanc, le silence et le réel: Cézanne, Mallarmé, Debussy, avec Lacan. Insistance1 (5), 3542. Recuperado de https://www.cairn.info/load_pdf.php?ID_ARTICLE=INSI_005_0035

Rosell, M. (2011). La música de Debussy y la pintura impresionista: dos artes que caminan de la mano. Una propuesta educativa. Educación Artística Revista de Investigación, 2, 181186. Recuperado de https://dialnet.unirioja.es/descarga/articulo/4369422.pdf

Rynex, C. (2016). Arabesque and the Early Music Influence in Debussy’s Trois Chansons de Charles d’Orléans [La Arabesque y la influencia temprana en Tres Canciones de Debussy de Charles d’ Orléans]. Tesis para optar el grado de Doctor en Artes Musicales, Arizona State University, Arizona, USA. Recuperado de: https://repository.asu.edu/attachments/170739/content/Rynex_asu_0010E_15825.pdf

Partituras

Forney, K. (1995). The Norton Scores [reducción al piano] (7ª ed., vol. 2). Nueva York: s. e.

Downloads

Published

2017-12-30

How to Cite

Mestanza Revoredo, M. S. (2017). Conceptual Parallelism between Pictorial Impressionism and Musical Compositions by Claude Debussy:: The Case of Prelude to the Afternoon of a Faun. Antec: Revista Peruana De Investigación Musical, 1(2), 43-58. https://doi.org/10.62230/antec.v1i2.15

Similar Articles

1-10 of 139

You may also start an advanced similarity search for this article.