Today, Claude Debussy's position as a central figure in twentieth-century concert music is secure, and scholarship has long taken for granted the enduring musical and aesthetic contributions of his compositions. Yet this was not always the case. Unknown to many concert-goers and music scholars is the fact that for years after his death, Debussy's musical aesthetic was perceived as outmoded, decadent, and even harmful for French music. In Debussy's Legacy and the Construction of Reputation, Marianne Wheeldon examines the vicissitudes of the composer's posthumous reception in the 1920s and 30s, and analyzes the confluence of factors that helped to overturn the initial backlash against his music. Rather than viewing Debussy's artistic greatness as the cause of his enduring legacy, she considers it instead as an effect, tracing the manifold processes that shaped how his music was received and how its aesthetic worth was consolidated. Speaking to readers both within and beyond the domain of French music and culture, Debussy's Legacy and the Construction of Reputation enters into dialogue with research in the sociology of reputation and commemoration, examining the collective nature of the processes of artistic consecration. By analyzing the cultural forces that came to bear on the formation of Debussy's legacy, Wheeldon contributes to a greater understanding of the inter-war period--the cultural politics, debates, and issues that confronted musicians in 1920s and 30s Paris--and offers a musicological perspective on the subject of reputation building, to date underrepresented in recent writings on reputation and commemoration in the humanities. Debussy's Legacy and the Construction of Reputation is an important new study, groundbreaking in its methodology and in its approach to musical influence and cultural consecration.

Classical music shows a close relationship to language, and both musicology and philosophy have tended to approach music from that angle, exploring it in terms of expression, representation, and discourse. This book turns that idea on its head. Focusing on the music of Debussy and its legacy in the century since his death, After Debussy offers a groundbreaking new perspective on twentieth-century music that foregrounds a sensory logic of sound over quasi-linguistic ideas of structure or meaning. Author Julian Johnson argues that Debussy's music exemplifies this idea, influencing the music of successive composers who took up the mantle of emphasizing sound over syntax, sense over signification. In doing so, this music not only anticipates a central problem of contemporary thought--the gap between language and our embodied relation to the world--but also offers a solution. With a readable narrative structure grounded in an impressive body of literature, After Debussy ranges widely across French music, demonstrating the impact of Debussy's music on composers from Fauré and Ravel to Dutilleux, Boulez, Grisey, Murail and Saariaho. It ranges similarly through a set of French writers and philosophers, from Mallarmé and Proust to Merleau-Ponty, Jankélévitch, Derrida, Lyotard and Nancy, and even draws from the visual arts to help embody key ideas. In accessibly tackling substantial ideas of both musicology and philosophy, this book not only presents bold new ways of understanding each discipline but also lays the groundwork for exciting new discourse between them.

Exploring the many dimensions of Debussy's historical significance, this volume provides new perspectives on the life and work of a much-loved composer and considers how social and political contexts shape the way we approach and perform his works today. In short, focused chapters building on recent research, contributors chart the influences, relationships and performances that shaped Debussy's creativity, and the ways he negotiated the complex social and professional networks of music, literature, art, and performance (on and off the stage) in Belle Époque Paris. It probes Debussy's relationship with some of the most influential '-isms' of his time, including his fascination with early music and with the 'exotic', and assesses his status as a pioneer of musical modernism and his continuing popularity with performers and listeners alike.

Claude Debussy holds a place as a one of the most recognizable and influential composers in the classical music. Debussy forged a new and influential sound for the twentieth century with his remarkable harmonies, fluid rhythms, airy textures, and an instinct for mystery and beauty. In Experiencing Debussy: A Listener’s Companion, Teresa Davidian welcomes readers into the infectious appeal of Debussy’s major works to consider how they can still attract and move audiences. In such works as the hauntingly beautiful Clair de Lune and the groundbreaking Prelude to the Afternoon of a Faun, Davidian looks beneath the surface of the music to explain its power, all the while drawing connections between different pieces to place them securely within the context of Debussy’s life and times. Written in an accessible style, Experiencing Debussy provides an engaging tour through Debussy’s works for the concertgoers, movie buffs, performers, and students regardless of musical background.

This book appraises the contribution of Paul Dukas (1865–1935) to a wide variety of French musical practices. As a composer, critic, artistic collaborator and teacher, Dukas was central to the fin de siècle and early twentieth-century Paris musical scene (and more broadly to the French scene). Significantly, his compositional style mediated tradition through the modern language of his present, while his critical writings pioneered a new mode of musical discourse in the French press. Of further interest are Dukas’s professional relationships with iconic figures such as Gabriel Fauré and Claude Debussy, and his role in fostering the next generation of French composers. In addition to mentoring famous names such as Olivier Messiaen and Tony Aubin, he staunchly supported his female students, notably Elsa Barraine, Claude Arrieu and Yvonne Desportes. This unique essay collection offers a panoramic perspective on a comparatively neglected French musician. Paul Dukas: Legacies of a French Musician traces two aspects of his work: Part I treats Dukas as a composer, thinker and artistic collaborator; Part II constructs his intellectual legacy as seen in his creative and pedagogic endeavours. This book is essential reading for anyone interested in fin de siècle and early twentieth-century French music, women in French music, music criticism and composition education in the Paris Conservatoire.

Debussy's Critics: Sound, Affect, and the Experience of Modernism explores the music of Claude Debussy and its early reception in light of the rise of the empirical human sciences in Western Europe around the turn of the twentieth century. In the midst of a sea change in conceptions of the human person, the critics who wrote about Debussy's music in the Parisian press-continually returning to this music's nebulous relationship to sensation and sensibilité-attempted to articulate a music aesthetic appropriate to the fully embodied, material self of psychological modernism. While scholarship on French music in this period has often emphasized its affinities with other art forms, such as Impressionist painting and Symbolist poetry, Debussy's Critics demonstrates that a preoccupation with the specifically sonic materiality of Debussy's music, informed by late nineteenth-century scientific discourses on affect, perception, and cognition, was central to this music's historical intervention. Foregrounding the dynamic exchange between sounds and ideas, this book reveals the disorienting and bewildering experience of listening to Debussy's music, which compelled its early audiences to reimagine the most fundamental premises of the European art-music tradition.

Emma Bardac and her relationship with Claude Debussy take centre stage in this insightful exploration of their lives together. The singer Emma Bardac (1862-1934) has often been presented as a woman who ensnared Claude Debussy (1862-1918) because she wanted to be associated with his fame and to live a life of luxury. Indeed, in many biographies and composer-related studies of Debussy, the only mentions that she receives are brief and derogatory. Here Emma Bardac and her relationship with the composer take centre stage. The book traces Emma's Jewish ancestry and her background, the significant role of her wealthy uncle Osiris, her marriage at seventeen to the wealthy Jewish banker Sigismond Bardac, her affair with Gabriel Fauré and her liaison with and subsequent marriage to Debussy. As Gillian Opstad shows, the pressure and stifling effects of domestic life on Debussy's attitude to his composing were considerable. The financial consequences of their partnership were disastrous, and their circle of close friends was small. Emma suffered physically and mentally from the tensions of the marriage, particularly money worries, and the possibility that Debussy was attracted to her older daughter. She considered divorce but supported him through his deepest depression and during the First World War until he succumbed to cancer in 1918. After Debussy's death, Emma felt driven both on his behalf and for financial reasons to further performances of the composer's works and provoked the annoyance of other musicians by having early compositions resurrected, completed and performed. In this engagingly written biography, Gillian Opstad brings to light little-known facts about Emma's background and family, advances new insights into her relationship with Debussy, and provides a glimpse of an early twentieth-century Parisian milieu that experienced wide-spread antisemitism.

Library Journal praises the book as "an excellent one-volume ready reference resource for students, researchers, and others interested in music history." Historical Dictionary of Romantic Music, Second Edition covers the persons, ideas, practices, and works that made up the worlds of Western music during the long 19th century (ca. 1780–1918). It’s the first book to recognize that Romantic music was very nearly a global phenomenon. It includes more women, more Black musicians and other musicians of color, and more exponents of musical Romanticism from Central and South America as well as Central and Eastern Europe than any other single-volume study of Romantic music—thus challenging the conventional hegemony of musical Romanticisms by men and by Western European nations. This book includes entries on topics including anti-Semitism, sexism, and racism that were pervasive and defining to the worlds of musical Romanticism but are rarely addressed in general studies of that subject. It includes Romantic musicians who were not primarily composers, as well as topics such as the Haitian Revolution, spirituals, and ragtime that were more important for music in the long 19th century than is generally acknowledged. The result is an expansive, inclusive, diverse, and more richly textured portrayal of Romantic music than is elsewhere available. Historical Dictionary of Romantic Music, Second Edition contains a chronology, an introduction, an extensive bibliography, and a dictionary section with more than 600 cross-referenced entries on traditions, famous pieces, persons, places, technical terms, and institutions of Romantic music. This book is an excellent resource for students, researchers, and anyone wanting to know more about Romantic music.

Charts a new methodological course in Dead Sea Scrolls scholarship by employing memory theory to inform historical research. This is an instructive resource for scholars who are seeking an alternative to currently constructed approaches to the subject, and will be of appeal to those interested in the Dead Sea Scrolls more generally.

This book on the Australian music publisher and patron Louise Hanson-Dyer brings together, for the first time, an international group of scholars with expertise in the history of early French musicology and sound recording; fine art and design; and critical editions and music publishing in France. With a focus on the interwar period, it aims to synchronise Hanson-Dyer’s Melbourne and Paris ventures, seeing her work in a global perspective and showing how she played a significant role in the transnational cultural relationship between Australia and France. Hanson-Dyer had vision and objectives and the drive to realise them; this volume situates the consolidation of her role as cultural activist in early twentieth-century Europe and Australia and presents new light on her publication of critical musical editions, her art collections and early sound recordings.