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- W136412063 abstract "Since their advent in musical scores during the sixteenth century, composers have used dynamic markings (symbols based on Italian words that conveyed relative volume levels such as the abbreviation p for piano, or soft) and performance indications (more lengthy descriptions of the desired speed, style, or timbre of sound) with increasing frequency and precision. Around 1900 a musical revolution was well underway in France, as controversial composer Claude Debussy had becoming the unwitting leader of a group of composers who imitated and expanded upon his style in their own compositions. These composers, known as the debussystes, continued the trend of increasing use and finer nuance of directions in musical scores, but in a unique way. They strongly favored the soft side of the dynamic spectrum and performance indications calling for delicate sounds: a majority of the debussyste pieces that I have uncovered in my research maintain dynamic levels that rarely rise above mezzo-piano (moderately soft) and contain indications as soft as pppp. Debussyste scores are also full of poetic indications that ask for soft sounds and deceleration, particularly at the ends of formal sections and in the final measures: lointain (far off), perdendo (dying out), tres doux (very soft), le plus p possible (as quiet as possible), and a peine (barely audible). Certainly the debussystes were not the first composers to write tender music that reveled in exquisite shading. Their shared musical style grew out of French salon culture, which due to the intimate nature of its performance venue encouraged composers to cultivate an intimate and delicate sound. It was also common nineteenth-century practice to designate the middle" @default.
- W136412063 created "2016-06-24" @default.
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- W136412063 date "2011-03-01" @default.
- W136412063 modified "2023-09-27" @default.
- W136412063 title "As Though Heard from Afar: Score Indications in Debussyste Compositions" @default.
- W136412063 hasPublicationYear "2011" @default.
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