Abstract
There is a considerable discrepancy between Debussy's iconoclastic comments on harmonic tonality, made in the wake of his experience of javanese gamelan performers and Vietnamese music theatre at the Paris world fair of 1889, and his far more traditional compositional practice as evidenced in the "Fantaisie for piano and orchestra". His insistence on solid craftmanship should be taken into account in the context of post-colonial discussions of the composer.
| Translated title of the contribution | The Influence of non-european compositional methods on Debussy |
|---|---|
| Original language | French |
| Title of host publication | Regards sur Debussy |
| Editors | Myriam Chimenes, Alexandra Laederich |
| Place of Publication | Paris |
| Publisher | Fayard |
| Pages | 357-369 |
| Number of pages | 13 |
| ISBN (Print) | 9782213672588, 221367258X |
| Publication status | Published - 2013 |
| Event | Actes du Colloque international Claude Debussy - Paris, France Duration: 2 Feb 2012 → 4 Feb 2012 |
Conference
| Conference | Actes du Colloque international Claude Debussy |
|---|---|
| Country/Territory | France |
| City | Paris |
| Period | 2/02/2012 → 4/02/2012 |
Keywords
- Debussy, Postcolonialism