Society for Music Theory

Tonality and Form in Debussy's "Prelude a 'L'Apres-midi d'un faune"Author(s): Matthew BrownSource: Music Theory Spectrum, Vol. 15, No. 2 (Autumn, 1993), pp. 127-143Published by: University of California Press on behalf of the Society for Music TheoryStable URL: http://www.jstor.org/stable/745811Accessed: 23/06/2009 15:21

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Tonality and Form in Debussy's Prelude a

"L'Apres-midi d'un faune"

Matthew Brown

Tonality and Form in Debussy's Prelude a

"L'Apres-midi d'un faune"

Matthew Brown

Tonality and Form in Debussy's Prelude a

"L'Apres-midi d'un faune"

Matthew Brown

Tonality and Form in Debussy's Prelude a

"L'Apres-midi d'un faune"

Matthew Brown

Tonality and Form in Debussy's Prelude a

"L'Apres-midi d'un faune"

Matthew Brown

Tonality and Form in Debussy's Prelude a

"L'Apres-midi d'un faune"

Matthew Brown

Tonality and Form in Debussy's Prelude a

"L'Apres-midi d'un faune"

Matthew Brown

Tonality and Form in Debussy's Prelude a

"L'Apres-midi d'un faune"

Matthew Brown

Tonality and Form in Debussy's Prelude a

"L'Apres-midi d'un faune"

Matthew Brown

Tonality and Form in Debussy's Prelude a

"L'Apres-midi d'un faune"

Matthew Brown

Tonality and Form in Debussy's Prelude a

"L'Apres-midi d'un faune"

Matthew Brown

Seventy-five years after his death, Debussy is often re- membered as "the quiet revolutionary," who breathed new life into musical art.1 He is credited with challenging the

authority of nineteenth-century tonal and formal practice, and with pushing music gently into the twentieth century. To

quote Pierre Boulez:

Just as modern poetry surely took root in certain of Baudelaire's poems, so one is justified in saying that modern music was awakened by L'Apres-midi d'un faune.2

For his part, Debussy did much to promote this radical image of his music; throughout his letters and journal articles, he launched a bitter campaign against the musical establishment and conventional compositional practice. Most of these criti- cisms are general in nature, and ridicule what Debussy saw

1See chapter 1 of Arthur Wenk's book Claude Debussy and Twentieth- Century Music (Boston: Twayne Publishers, 1983), 1-19; and Pierre Boulez, Relevds d'apprenti, ed. Paul Thevenin (Paris: Seuil, 1966), 336. I would like to thank various people for helpful suggestions, especially Jennifer Williams Brown, David Grayson, Marie Rolf, Arnold Whittall, and the two anonymous readers for this journal.

2Pierre Boulez, Notes to CBS Record 32 11 0056, quoted in Glenn Wat- kins, Soundings (New York: Schirmer, 1988), 75.

Seventy-five years after his death, Debussy is often re- membered as "the quiet revolutionary," who breathed new life into musical art.1 He is credited with challenging the

authority of nineteenth-century tonal and formal practice, and with pushing music gently into the twentieth century. To

quote Pierre Boulez:

Just as modern poetry surely took root in certain of Baudelaire's poems, so one is justified in saying that modern music was awakened by L'Apres-midi d'un faune.2

For his part, Debussy did much to promote this radical image of his music; throughout his letters and journal articles, he launched a bitter campaign against the musical establishment and conventional compositional practice. Most of these criti- cisms are general in nature, and ridicule what Debussy saw

1See chapter 1 of Arthur Wenk's book Claude Debussy and Twentieth- Century Music (Boston: Twayne Publishers, 1983), 1-19; and Pierre Boulez, Relevds d'apprenti, ed. Paul Thevenin (Paris: Seuil, 1966), 336. I would like to thank various people for helpful suggestions, especially Jennifer Williams Brown, David Grayson, Marie Rolf, Arnold Whittall, and the two anonymous readers for this journal.

2Pierre Boulez, Notes to CBS Record 32 11 0056, quoted in Glenn Wat- kins, Soundings (New York: Schirmer, 1988), 75.

Seventy-five years after his death, Debussy is often re- membered as "the quiet revolutionary," who breathed new life into musical art.1 He is credited with challenging the

authority of nineteenth-century tonal and formal practice, and with pushing music gently into the twentieth century. To

quote Pierre Boulez:

Just as modern poetry surely took root in certain of Baudelaire's poems, so one is justified in saying that modern music was awakened by L'Apres-midi d'un faune.2

For his part, Debussy did much to promote this radical image of his music; throughout his letters and journal articles, he launched a bitter campaign against the musical establishment and conventional compositional practice. Most of these criti- cisms are general in nature, and ridicule what Debussy saw

1See chapter 1 of Arthur Wenk's book Claude Debussy and Twentieth- Century Music (Boston: Twayne Publishers, 1983), 1-19; and Pierre Boulez, Relevds d'apprenti, ed. Paul Thevenin (Paris: Seuil, 1966), 336. I would like to thank various people for helpful suggestions, especially Jennifer Williams Brown, David Grayson, Marie Rolf, Arnold Whittall, and the two anonymous readers for this journal.

2Pierre Boulez, Notes to CBS Record 32 11 0056, quoted in Glenn Wat- kins, Soundings (New York: Schirmer, 1988), 75.

Seventy-five years after his death, Debussy is often re- membered as "the quiet revolutionary," who breathed new life into musical art.1 He is credited with challenging the

authority of nineteenth-century tonal and formal practice, and with pushing music gently into the twentieth century. To

quote Pierre Boulez:

Just as modern poetry surely took root in certain of Baudelaire's poems, so one is justified in saying that modern music was awakened by L'Apres-midi d'un faune.2

For his part, Debussy did much to promote this radical image of his music; throughout his letters and journal articles, he launched a bitter campaign against the musical establishment and conventional compositional practice. Most of these criti- cisms are general in nature, and ridicule what Debussy saw

1See chapter 1 of Arthur Wenk's book Claude Debussy and Twentieth- Century Music (Boston: Twayne Publishers, 1983), 1-19; and Pierre Boulez, Relevds d'apprenti, ed. Paul Thevenin (Paris: Seuil, 1966), 336. I would like to thank various people for helpful suggestions, especially Jennifer Williams Brown, David Grayson, Marie Rolf, Arnold Whittall, and the two anonymous readers for this journal.

2Pierre Boulez, Notes to CBS Record 32 11 0056, quoted in Glenn Wat- kins, Soundings (New York: Schirmer, 1988), 75.

Seventy-five years after his death, Debussy is often re- membered as "the quiet revolutionary," who breathed new life into musical art.1 He is credited with challenging the

authority of nineteenth-century tonal and formal practice, and with pushing music gently into the twentieth century. To

quote Pierre Boulez:

Just as modern poetry surely took root in certain of Baudelaire's poems, so one is justified in saying that modern music was awakened by L'Apres-midi d'un faune.2

For his part, Debussy did much to promote this radical image of his music; throughout his letters and journal articles, he launched a bitter campaign against the musical establishment and conventional compositional practice. Most of these criti- cisms are general in nature, and ridicule what Debussy saw

1See chapter 1 of Arthur Wenk's book Claude Debussy and Twentieth- Century Music (Boston: Twayne Publishers, 1983), 1-19; and Pierre Boulez, Relevds d'apprenti, ed. Paul Thevenin (Paris: Seuil, 1966), 336. I would like to thank various people for helpful suggestions, especially Jennifer Williams Brown, David Grayson, Marie Rolf, Arnold Whittall, and the two anonymous readers for this journal.

2Pierre Boulez, Notes to CBS Record 32 11 0056, quoted in Glenn Wat- kins, Soundings (New York: Schirmer, 1988), 75.

Seventy-five years after his death, Debussy is often re- membered as "the quiet revolutionary," who breathed new life into musical art.1 He is credited with challenging the

authority of nineteenth-century tonal and formal practice, and with pushing music gently into the twentieth century. To

quote Pierre Boulez:

Just as modern poetry surely took root in certain of Baudelaire's poems, so one is justified in saying that modern music was awakened by L'Apres-midi d'un faune.2

For his part, Debussy did much to promote this radical image of his music; throughout his letters and journal articles, he launched a bitter campaign against the musical establishment and conventional compositional practice. Most of these criti- cisms are general in nature, and ridicule what Debussy saw

1See chapter 1 of Arthur Wenk's book Claude Debussy and Twentieth- Century Music (Boston: Twayne Publishers, 1983), 1-19; and Pierre Boulez, Relevds d'apprenti, ed. Paul Thevenin (Paris: Seuil, 1966), 336. I would like to thank various people for helpful suggestions, especially Jennifer Williams Brown, David Grayson, Marie Rolf, Arnold Whittall, and the two anonymous readers for this journal.

2Pierre Boulez, Notes to CBS Record 32 11 0056, quoted in Glenn Wat- kins, Soundings (New York: Schirmer, 1988), 75.

Seventy-five years after his death, Debussy is often re- membered as "the quiet revolutionary," who breathed new life into musical art.1 He is credited with challenging the

authority of nineteenth-century tonal and formal practice, and with pushing music gently into the twentieth century. To

quote Pierre Boulez:

Just as modern poetry surely took root in certain of Baudelaire's poems, so one is justified in saying that modern music was awakened by L'Apres-midi d'un faune.2

For his part, Debussy did much to promote this radical image of his music; throughout his letters and journal articles, he launched a bitter campaign against the musical establishment and conventional compositional practice. Most of these criti- cisms are general in nature, and ridicule what Debussy saw

1See chapter 1 of Arthur Wenk's book Claude Debussy and Twentieth- Century Music (Boston: Twayne Publishers, 1983), 1-19; and Pierre Boulez, Relevds d'apprenti, ed. Paul Thevenin (Paris: Seuil, 1966), 336. I would like to thank various people for helpful suggestions, especially Jennifer Williams Brown, David Grayson, Marie Rolf, Arnold Whittall, and the two anonymous readers for this journal.

2Pierre Boulez, Notes to CBS Record 32 11 0056, quoted in Glenn Wat- kins, Soundings (New York: Schirmer, 1988), 75.

Seventy-five years after his death, Debussy is often re- membered as "the quiet revolutionary," who breathed new life into musical art.1 He is credited with challenging the

authority of nineteenth-century tonal and formal practice, and with pushing music gently into the twentieth century. To

quote Pierre Boulez:

Just as modern poetry surely took root in certain of Baudelaire's poems, so one is justified in saying that modern music was awakened by L'Apres-midi d'un faune.2

For his part, Debussy did much to promote this radical image of his music; throughout his letters and journal articles, he launched a bitter campaign against the musical establishment and conventional compositional practice. Most of these criti- cisms are general in nature, and ridicule what Debussy saw

1See chapter 1 of Arthur Wenk's book Claude Debussy and Twentieth- Century Music (Boston: Twayne Publishers, 1983), 1-19; and Pierre Boulez, Relevds d'apprenti, ed. Paul Thevenin (Paris: Seuil, 1966), 336. I would like to thank various people for helpful suggestions, especially Jennifer Williams Brown, David Grayson, Marie Rolf, Arnold Whittall, and the two anonymous readers for this journal.

2Pierre Boulez, Notes to CBS Record 32 11 0056, quoted in Glenn Wat- kins, Soundings (New York: Schirmer, 1988), 75.

Seventy-five years after his death, Debussy is often re- membered as "the quiet revolutionary," who breathed new life into musical art.1 He is credited with challenging the

authority of nineteenth-century tonal and formal practice, and with pushing music gently into the twentieth century. To

quote Pierre Boulez:

Just as modern poetry surely took root in certain of Baudelaire's poems, so one is justified in saying that modern music was awakened by L'Apres-midi d'un faune.2

For his part, Debussy did much to promote this radical image of his music; throughout his letters and journal articles, he launched a bitter campaign against the musical establishment and conventional compositional practice. Most of these criti- cisms are general in nature, and ridicule what Debussy saw

1See chapter 1 of Arthur Wenk's book Claude Debussy and Twentieth- Century Music (Boston: Twayne Publishers, 1983), 1-19; and Pierre Boulez, Relevds d'apprenti, ed. Paul Thevenin (Paris: Seuil, 1966), 336. I would like to thank various people for helpful suggestions, especially Jennifer Williams Brown, David Grayson, Marie Rolf, Arnold Whittall, and the two anonymous readers for this journal.

2Pierre Boulez, Notes to CBS Record 32 11 0056, quoted in Glenn Wat- kins, Soundings (New York: Schirmer, 1988), 75.

Seventy-five years after his death, Debussy is often re- membered as "the quiet revolutionary," who breathed new life into musical art.1 He is credited with challenging the

authority of nineteenth-century tonal and formal practice, and with pushing music gently into the twentieth century. To

quote Pierre Boulez:

Just as modern poetry surely took root in certain of Baudelaire's poems, so one is justified in saying that modern music was awakened by L'Apres-midi d'un faune.2

For his part, Debussy did much to promote this radical image of his music; throughout his letters and journal articles, he launched a bitter campaign against the musical establishment and conventional compositional practice. Most of these criti- cisms are general in nature, and ridicule what Debussy saw

1See chapter 1 of Arthur Wenk's book Claude Debussy and Twentieth- Century Music (Boston: Twayne Publishers, 1983), 1-19; and Pierre Boulez, Relevds d'apprenti, ed. Paul Thevenin (Paris: Seuil, 1966), 336. I would like to thank various people for helpful suggestions, especially Jennifer Williams Brown, David Grayson, Marie Rolf, Arnold Whittall, and the two anonymous readers for this journal.

2Pierre Boulez, Notes to CBS Record 32 11 0056, quoted in Glenn Wat- kins, Soundings (New York: Schirmer, 1988), 75.

Seventy-five years after his death, Debussy is often re- membered as "the quiet revolutionary," who breathed new life into musical art.1 He is credited with challenging the

authority of nineteenth-century tonal and formal practice, and with pushing music gently into the twentieth century. To

quote Pierre Boulez:

Just as modern poetry surely took root in certain of Baudelaire's poems, so one is justified in saying that modern music was awakened by L'Apres-midi d'un faune.2

For his part, Debussy did much to promote this radical image of his music; throughout his letters and journal articles, he launched a bitter campaign against the musical establishment and conventional compositional practice. Most of these criti- cisms are general in nature, and ridicule what Debussy saw

1See chapter 1 of Arthur Wenk's book Claude Debussy and Twentieth- Century Music (Boston: Twayne Publishers, 1983), 1-19; and Pierre Boulez, Relevds d'apprenti, ed. Paul Thevenin (Paris: Seuil, 1966), 336. I would like to thank various people for helpful suggestions, especially Jennifer Williams Brown, David Grayson, Marie Rolf, Arnold Whittall, and the two anonymous readers for this journal.

2Pierre Boulez, Notes to CBS Record 32 11 0056, quoted in Glenn Wat- kins, Soundings (New York: Schirmer, 1988), 75.

as a "silly obsession with overprecise 'forms' and 'tonality.' "3 Sometimes, however, they address concrete musical issues. For example, Debussy denounced accepted notions of chord function; in a letter to Pierre Louys (22 January 1895), he announced that "tonic and dominant had become empty shadows of use only to stupid children."4 Similarly, Debussy rejected the traditional distinctions between consonance and dissonance. With typical panache he insisted:

Nothing is more mysterious than a consonant chord! Despite all theories, both old and new, we are still not sure, first, why it is consonant, and second, why the other chords have to bear the stigma of being dissonant.5

3See Debussy, "Music in the Open Air," La Revue blanche, 1 June 1901, in Francois Lesure, ed. Claude Debussy: Monsieur Croche et autres dcrits (Paris: Gallimard, 1971), 45; Francois Lesure and Richard Langham Smith, eds. and trans., Debussy on Music (New York: Knopf, 1977), 41.

4Francois Lesure, ed., Claude Debussy: Lettres 1884-1918 (Paris: Her- mann, 1980), 70-73; Francois Lesure and Roger Nichols, eds. and trans., Debussy Letters (Cambridge: Harvard University Press, 1987), 76-77.

SDebussy, "A propos de 'Muguette'.-Au Concert Lamoureux," Gil blas, 23 March 1903, in Lesure, ed., Monsieur Croche, 129-30; Lesure and Smith, Debussy on Music, 155. I have changed the translations of the words parfait and imparfait.

as a "silly obsession with overprecise 'forms' and 'tonality.' "3 Sometimes, however, they address concrete musical issues. For example, Debussy denounced accepted notions of chord function; in a letter to Pierre Louys (22 January 1895), he announced that "tonic and dominant had become empty shadows of use only to stupid children."4 Similarly, Debussy rejected the traditional distinctions between consonance and dissonance. With typical panache he insisted:

Nothing is more mysterious than a consonant chord! Despite all theories, both old and new, we are still not sure, first, why it is consonant, and second, why the other chords have to bear the stigma of being dissonant.5

3See Debussy, "Music in the Open Air," La Revue blanche, 1 June 1901, in Francois Lesure, ed. Claude Debussy: Monsieur Croche et autres dcrits (Paris: Gallimard, 1971), 45; Francois Lesure and Richard Langham Smith, eds. and trans., Debussy on Music (New York: Knopf, 1977), 41.

4Francois Lesure, ed., Claude Debussy: Lettres 1884-1918 (Paris: Her- mann, 1980), 70-73; Francois Lesure and Roger Nichols, eds. and trans., Debussy Letters (Cambridge: Harvard University Press, 1987), 76-77.

SDebussy, "A propos de 'Muguette'.-Au Concert Lamoureux," Gil blas, 23 March 1903, in Lesure, ed., Monsieur Croche, 129-30; Lesure and Smith, Debussy on Music, 155. I have changed the translations of the words parfait and imparfait.

as a "silly obsession with overprecise 'forms' and 'tonality.' "3 Sometimes, however, they address concrete musical issues. For example, Debussy denounced accepted notions of chord function; in a letter to Pierre Louys (22 January 1895), he announced that "tonic and dominant had become empty shadows of use only to stupid children."4 Similarly, Debussy rejected the traditional distinctions between consonance and dissonance. With typical panache he insisted:

Nothing is more mysterious than a consonant chord! Despite all theories, both old and new, we are still not sure, first, why it is consonant, and second, why the other chords have to bear the stigma of being dissonant.5

3See Debussy, "Music in the Open Air," La Revue blanche, 1 June 1901, in Francois Lesure, ed. Claude Debussy: Monsieur Croche et autres dcrits (Paris: Gallimard, 1971), 45; Francois Lesure and Richard Langham Smith, eds. and trans., Debussy on Music (New York: Knopf, 1977), 41.

4Francois Lesure, ed., Claude Debussy: Lettres 1884-1918 (Paris: Her- mann, 1980), 70-73; Francois Lesure and Roger Nichols, eds. and trans., Debussy Letters (Cambridge: Harvard University Press, 1987), 76-77.

SDebussy, "A propos de 'Muguette'.-Au Concert Lamoureux," Gil blas, 23 March 1903, in Lesure, ed., Monsieur Croche, 129-30; Lesure and Smith, Debussy on Music, 155. I have changed the translations of the words parfait and imparfait.

as a "silly obsession with overprecise 'forms' and 'tonality.' "3 Sometimes, however, they address concrete musical issues. For example, Debussy denounced accepted notions of chord function; in a letter to Pierre Louys (22 January 1895), he announced that "tonic and dominant had become empty shadows of use only to stupid children."4 Similarly, Debussy rejected the traditional distinctions between consonance and dissonance. With typical panache he insisted:

Nothing is more mysterious than a consonant chord! Despite all theories, both old and new, we are still not sure, first, why it is consonant, and second, why the other chords have to bear the stigma of being dissonant.5

3See Debussy, "Music in the Open Air," La Revue blanche, 1 June 1901, in Francois Lesure, ed. Claude Debussy: Monsieur Croche et autres dcrits (Paris: Gallimard, 1971), 45; Francois Lesure and Richard Langham Smith, eds. and trans., Debussy on Music (New York: Knopf, 1977), 41.

4Francois Lesure, ed., Claude Debussy: Lettres 1884-1918 (Paris: Her- mann, 1980), 70-73; Francois Lesure and Roger Nichols, eds. and trans., Debussy Letters (Cambridge: Harvard University Press, 1987), 76-77.

SDebussy, "A propos de 'Muguette'.-Au Concert Lamoureux," Gil blas, 23 March 1903, in Lesure, ed., Monsieur Croche, 129-30; Lesure and Smith, Debussy on Music, 155. I have changed the translations of the words parfait and imparfait.

as a "silly obsession with overprecise 'forms' and 'tonality.' "3 Sometimes, however, they address concrete musical issues. For example, Debussy denounced accepted notions of chord function; in a letter to Pierre Louys (22 January 1895), he announced that "tonic and dominant had become empty shadows of use only to stupid children."4 Similarly, Debussy rejected the traditional distinctions between consonance and dissonance. With typical panache he insisted:

Nothing is more mysterious than a consonant chord! Despite all theories, both old and new, we are still not sure, first, why it is consonant, and second, why the other chords have to bear the stigma of being dissonant.5

3See Debussy, "Music in the Open Air," La Revue blanche, 1 June 1901, in Francois Lesure, ed. Claude Debussy: Monsieur Croche et autres dcrits (Paris: Gallimard, 1971), 45; Francois Lesure and Richard Langham Smith, eds. and trans., Debussy on Music (New York: Knopf, 1977), 41.

4Francois Lesure, ed., Claude Debussy: Lettres 1884-1918 (Paris: Her- mann, 1980), 70-73; Francois Lesure and Roger Nichols, eds. and trans., Debussy Letters (Cambridge: Harvard University Press, 1987), 76-77.

SDebussy, "A propos de 'Muguette'.-Au Concert Lamoureux," Gil blas, 23 March 1903, in Lesure, ed., Monsieur Croche, 129-30; Lesure and Smith, Debussy on Music, 155. I have changed the translations of the words parfait and imparfait.

as a "silly obsession with overprecise 'forms' and 'tonality.' "3 Sometimes, however, they address concrete musical issues. For example, Debussy denounced accepted notions of chord function; in a letter to Pierre Louys (22 January 1895), he announced that "tonic and dominant had become empty shadows of use only to stupid children."4 Similarly, Debussy rejected the traditional distinctions between consonance and dissonance. With typical panache he insisted:

Nothing is more mysterious than a consonant chord! Despite all theories, both old and new, we are still not sure, first, why it is consonant, and second, why the other chords have to bear the stigma of being dissonant.5

3See Debussy, "Music in the Open Air," La Revue blanche, 1 June 1901, in Francois Lesure, ed. Claude Debussy: Monsieur Croche et autres dcrits (Paris: Gallimard, 1971), 45; Francois Lesure and Richard Langham Smith, eds. and trans., Debussy on Music (New York: Knopf, 1977), 41.

4Francois Lesure, ed., Claude Debussy: Lettres 1884-1918 (Paris: Her- mann, 1980), 70-73; Francois Lesure and Roger Nichols, eds. and trans., Debussy Letters (Cambridge: Harvard University Press, 1987), 76-77.

SDebussy, "A propos de 'Muguette'.-Au Concert Lamoureux," Gil blas, 23 March 1903, in Lesure, ed., Monsieur Croche, 129-30; Lesure and Smith, Debussy on Music, 155. I have changed the translations of the words parfait and imparfait.

as a "silly obsession with overprecise 'forms' and 'tonality.' "3 Sometimes, however, they address concrete musical issues. For example, Debussy denounced accepted notions of chord function; in a letter to Pierre Louys (22 January 1895), he announced that "tonic and dominant had become empty shadows of use only to stupid children."4 Similarly, Debussy rejected the traditional distinctions between consonance and dissonance. With typical panache he insisted:

Nothing is more mysterious than a consonant chord! Despite all theories, both old and new, we are still not sure, first, why it is consonant, and second, why the other chords have to bear the stigma of being dissonant.5

3See Debussy, "Music in the Open Air," La Revue blanche, 1 June 1901, in Francois Lesure, ed. Claude Debussy: Monsieur Croche et autres dcrits (Paris: Gallimard, 1971), 45; Francois Lesure and Richard Langham Smith, eds. and trans., Debussy on Music (New York: Knopf, 1977), 41.

4Francois Lesure, ed., Claude Debussy: Lettres 1884-1918 (Paris: Her- mann, 1980), 70-73; Francois Lesure and Roger Nichols, eds. and trans., Debussy Letters (Cambridge: Harvard University Press, 1987), 76-77.

SDebussy, "A propos de 'Muguette'.-Au Concert Lamoureux," Gil blas, 23 March 1903, in Lesure, ed., Monsieur Croche, 129-30; Lesure and Smith, Debussy on Music, 155. I have changed the translations of the words parfait and imparfait.

as a "silly obsession with overprecise 'forms' and 'tonality.' "3 Sometimes, however, they address concrete musical issues. For example, Debussy denounced accepted notions of chord function; in a letter to Pierre Louys (22 January 1895), he announced that "tonic and dominant had become empty shadows of use only to stupid children."4 Similarly, Debussy rejected the traditional distinctions between consonance and dissonance. With typical panache he insisted:

Nothing is more mysterious than a consonant chord! Despite all theories, both old and new, we are still not sure, first, why it is consonant, and second, why the other chords have to bear the stigma of being dissonant.5

3See Debussy, "Music in the Open Air," La Revue blanche, 1 June 1901, in Francois Lesure, ed. Claude Debussy: Monsieur Croche et autres dcrits (Paris: Gallimard, 1971), 45; Francois Lesure and Richard Langham Smith, eds. and trans., Debussy on Music (New York: Knopf, 1977), 41.

4Francois Lesure, ed., Claude Debussy: Lettres 1884-1918 (Paris: Her- mann, 1980), 70-73; Francois Lesure and Roger Nichols, eds. and trans., Debussy Letters (Cambridge: Harvard University Press, 1987), 76-77.

SDebussy, "A propos de 'Muguette'.-Au Concert Lamoureux," Gil blas, 23 March 1903, in Lesure, ed., Monsieur Croche, 129-30; Lesure and Smith, Debussy on Music, 155. I have changed the translations of the words parfait and imparfait.

as a "silly obsession with overprecise 'forms' and 'tonality.' "3 Sometimes, however, they address concrete musical issues. For example, Debussy denounced accepted notions of chord function; in a letter to Pierre Louys (22 January 1895), he announced that "tonic and dominant had become empty shadows of use only to stupid children."4 Similarly, Debussy rejected the traditional distinctions between consonance and dissonance. With typical panache he insisted:

Nothing is more mysterious than a consonant chord! Despite all theories, both old and new, we are still not sure, first, why it is consonant, and second, why the other chords have to bear the stigma of being dissonant.5

3See Debussy, "Music in the Open Air," La Revue blanche, 1 June 1901, in Francois Lesure, ed. Claude Debussy: Monsieur Croche et autres dcrits (Paris: Gallimard, 1971), 45; Francois Lesure and Richard Langham Smith, eds. and trans., Debussy on Music (New York: Knopf, 1977), 41.

4Francois Lesure, ed., Claude Debussy: Lettres 1884-1918 (Paris: Her- mann, 1980), 70-73; Francois Lesure and Roger Nichols, eds. and trans., Debussy Letters (Cambridge: Harvard University Press, 1987), 76-77.

SDebussy, "A propos de 'Muguette'.-Au Concert Lamoureux," Gil blas, 23 March 1903, in Lesure, ed., Monsieur Croche, 129-30; Lesure and Smith, Debussy on Music, 155. I have changed the translations of the words parfait and imparfait.

as a "silly obsession with overprecise 'forms' and 'tonality.' "3 Sometimes, however, they address concrete musical issues. For example, Debussy denounced accepted notions of chord function; in a letter to Pierre Louys (22 January 1895), he announced that "tonic and dominant had become empty shadows of use only to stupid children."4 Similarly, Debussy rejected the traditional distinctions between consonance and dissonance. With typical panache he insisted:

Nothing is more mysterious than a consonant chord! Despite all theories, both old and new, we are still not sure, first, why it is consonant, and second, why the other chords have to bear the stigma of being dissonant.5

3See Debussy, "Music in the Open Air," La Revue blanche, 1 June 1901, in Francois Lesure, ed. Claude Debussy: Monsieur Croche et autres dcrits (Paris: Gallimard, 1971), 45; Francois Lesure and Richard Langham Smith, eds. and trans., Debussy on Music (New York: Knopf, 1977), 41.

4Francois Lesure, ed., Claude Debussy: Lettres 1884-1918 (Paris: Her- mann, 1980), 70-73; Francois Lesure and Roger Nichols, eds. and trans., Debussy Letters (Cambridge: Harvard University Press, 1987), 76-77.

SDebussy, "A propos de 'Muguette'.-Au Concert Lamoureux," Gil blas, 23 March 1903, in Lesure, ed., Monsieur Croche, 129-30; Lesure and Smith, Debussy on Music, 155. I have changed the translations of the words parfait and imparfait.

as a "silly obsession with overprecise 'forms' and 'tonality.' "3 Sometimes, however, they address concrete musical issues. For example, Debussy denounced accepted notions of chord function; in a letter to Pierre Louys (22 January 1895), he announced that "tonic and dominant had become empty shadows of use only to stupid children."4 Similarly, Debussy rejected the traditional distinctions between consonance and dissonance. With typical panache he insisted:

Nothing is more mysterious than a consonant chord! Despite all theories, both old and new, we are still not sure, first, why it is consonant, and second, why the other chords have to bear the stigma of being dissonant.5

3See Debussy, "Music in the Open Air," La Revue blanche, 1 June 1901, in Francois Lesure, ed. Claude Debussy: Monsieur Croche et autres dcrits (Paris: Gallimard, 1971), 45; Francois Lesure and Richard Langham Smith, eds. and trans., Debussy on Music (New York: Knopf, 1977), 41.

4Francois Lesure, ed., Claude Debussy: Lettres 1884-1918 (Paris: Her- mann, 1980), 70-73; Francois Lesure and Roger Nichols, eds. and trans., Debussy Letters (Cambridge: Harvard University Press, 1987), 76-77.

SDebussy, "A propos de 'Muguette'.-Au Concert Lamoureux," Gil blas, 23 March 1903, in Lesure, ed., Monsieur Croche, 129-30; Lesure and Smith, Debussy on Music, 155. I have changed the translations of the words parfait and imparfait.

128 Music Theory Spectrum 128 Music Theory Spectrum 128 Music Theory Spectrum 128 Music Theory Spectrum 128 Music Theory Spectrum 128 Music Theory Spectrum 128 Music Theory Spectrum 128 Music Theory Spectrum 128 Music Theory Spectrum 128 Music Theory Spectrum 128 Music Theory Spectrum

He likewise scoffed at those who prohibited the use of parallel chords and proposed that tonality should be fully chromatic and "enriched by other scales."6

Just as Debussy debunked many basic tenets of common- practice tonality, so he also questioned conventional ap- proaches to musical form, especially those found in sym- phonic repertories. In an essay for La Revue blanche (6 March 1901), he dismissed a recent orchestral work by Wit- kowski, claiming that it provided "only further proof of the uselessness of the symphony since Beethoven."7 He added:

Must we conclude that despite so many attempts at transformation, the symphony-in all its elegance and formal order ... -is a thing of the past? Has not its worn out gilt merely been replaced by a plating of shining copper, the shoddy finish of present-day orches- tration?8

Some ten years later, the barbs were no less pointed. Writing for SIM (1 November 1913), Debussy censured his colleagues for imitating the stale symphonic forms of Franz Liszt and Richard Strauss:

6In Debussy's conversations with his teacher Guiraud, he questioned the rules prohibiting parallel sonorities, claiming that "there is no theory. You have merely to listen. Pleasure is the law." In the same conversations Debussy also declared: "Music is neither major nor minor. Minor thirds and major thirds should be combined, modulation thus becoming more flexible. The mode is that which one happens to choose at the moment. It is not constant." These conversations are translated in William Austin, ed., Debussy: Prelude to "The Afternoon of a Faun," Norton Critical Scores (New York: Norton, 1970), 128-31. For a facsimile of Maurice Emanuel's original transcription, see Leon Vallas, Claude Debussy: His Life and Works, trans. Maire and Grace O'Brien (London: Oxford University Press, 1933), 84.

7Debussy, La Revue blanche, 1 April 1901, in Lesure, Monsieur Croche, 25; Lesure and Smith, Debussy on Music, 15.

8Lesure, Monsieur Croche, 26; Lesure and Smith, Debussy on Music, 16.

He likewise scoffed at those who prohibited the use of parallel chords and proposed that tonality should be fully chromatic and "enriched by other scales."6

Just as Debussy debunked many basic tenets of common- practice tonality, so he also questioned conventional ap- proaches to musical form, especially those found in sym- phonic repertories. In an essay for La Revue blanche (6 March 1901), he dismissed a recent orchestral work by Wit- kowski, claiming that it provided "only further proof of the uselessness of the symphony since Beethoven."7 He added:

Must we conclude that despite so many attempts at transformation, the symphony-in all its elegance and formal order ... -is a thing of the past? Has not its worn out gilt merely been replaced by a plating of shining copper, the shoddy finish of present-day orches- tration?8

Some ten years later, the barbs were no less pointed. Writing for SIM (1 November 1913), Debussy censured his colleagues for imitating the stale symphonic forms of Franz Liszt and Richard Strauss:

6In Debussy's conversations with his teacher Guiraud, he questioned the rules prohibiting parallel sonorities, claiming that "there is no theory. You have merely to listen. Pleasure is the law." In the same conversations Debussy also declared: "Music is neither major nor minor. Minor thirds and major thirds should be combined, modulation thus becoming more flexible. The mode is that which one happens to choose at the moment. It is not constant." These conversations are translated in William Austin, ed., Debussy: Prelude to "The Afternoon of a Faun," Norton Critical Scores (New York: Norton, 1970), 128-31. For a facsimile of Maurice Emanuel's original transcription, see Leon Vallas, Claude Debussy: His Life and Works, trans. Maire and Grace O'Brien (London: Oxford University Press, 1933), 84.

7Debussy, La Revue blanche, 1 April 1901, in Lesure, Monsieur Croche, 25; Lesure and Smith, Debussy on Music, 15.

8Lesure, Monsieur Croche, 26; Lesure and Smith, Debussy on Music, 16.

He likewise scoffed at those who prohibited the use of parallel chords and proposed that tonality should be fully chromatic and "enriched by other scales."6

Just as Debussy debunked many basic tenets of common- practice tonality, so he also questioned conventional ap- proaches to musical form, especially those found in sym- phonic repertories. In an essay for La Revue blanche (6 March 1901), he dismissed a recent orchestral work by Wit- kowski, claiming that it provided "only further proof of the uselessness of the symphony since Beethoven."7 He added:

Must we conclude that despite so many attempts at transformation, the symphony-in all its elegance and formal order ... -is a thing of the past? Has not its worn out gilt merely been replaced by a plating of shining copper, the shoddy finish of present-day orches- tration?8

Some ten years later, the barbs were no less pointed. Writing for SIM (1 November 1913), Debussy censured his colleagues for imitating the stale symphonic forms of Franz Liszt and Richard Strauss:

6In Debussy's conversations with his teacher Guiraud, he questioned the rules prohibiting parallel sonorities, claiming that "there is no theory. You have merely to listen. Pleasure is the law." In the same conversations Debussy also declared: "Music is neither major nor minor. Minor thirds and major thirds should be combined, modulation thus becoming more flexible. The mode is that which one happens to choose at the moment. It is not constant." These conversations are translated in William Austin, ed., Debussy: Prelude to "The Afternoon of a Faun," Norton Critical Scores (New York: Norton, 1970), 128-31. For a facsimile of Maurice Emanuel's original transcription, see Leon Vallas, Claude Debussy: His Life and Works, trans. Maire and Grace O'Brien (London: Oxford University Press, 1933), 84.

7Debussy, La Revue blanche, 1 April 1901, in Lesure, Monsieur Croche, 25; Lesure and Smith, Debussy on Music, 15.

8Lesure, Monsieur Croche, 26; Lesure and Smith, Debussy on Music, 16.

He likewise scoffed at those who prohibited the use of parallel chords and proposed that tonality should be fully chromatic and "enriched by other scales."6

Just as Debussy debunked many basic tenets of common- practice tonality, so he also questioned conventional ap- proaches to musical form, especially those found in sym- phonic repertories. In an essay for La Revue blanche (6 March 1901), he dismissed a recent orchestral work by Wit- kowski, claiming that it provided "only further proof of the uselessness of the symphony since Beethoven."7 He added:

Must we conclude that despite so many attempts at transformation, the symphony-in all its elegance and formal order ... -is a thing of the past? Has not its worn out gilt merely been replaced by a plating of shining copper, the shoddy finish of present-day orches- tration?8

Some ten years later, the barbs were no less pointed. Writing for SIM (1 November 1913), Debussy censured his colleagues for imitating the stale symphonic forms of Franz Liszt and Richard Strauss:

6In Debussy's conversations with his teacher Guiraud, he questioned the rules prohibiting parallel sonorities, claiming that "there is no theory. You have merely to listen. Pleasure is the law." In the same conversations Debussy also declared: "Music is neither major nor minor. Minor thirds and major thirds should be combined, modulation thus becoming more flexible. The mode is that which one happens to choose at the moment. It is not constant." These conversations are translated in William Austin, ed., Debussy: Prelude to "The Afternoon of a Faun," Norton Critical Scores (New York: Norton, 1970), 128-31. For a facsimile of Maurice Emanuel's original transcription, see Leon Vallas, Claude Debussy: His Life and Works, trans. Maire and Grace O'Brien (London: Oxford University Press, 1933), 84.

7Debussy, La Revue blanche, 1 April 1901, in Lesure, Monsieur Croche, 25; Lesure and Smith, Debussy on Music, 15.

8Lesure, Monsieur Croche, 26; Lesure and Smith, Debussy on Music, 16.

He likewise scoffed at those who prohibited the use of parallel chords and proposed that tonality should be fully chromatic and "enriched by other scales."6

Just as Debussy debunked many basic tenets of common- practice tonality, so he also questioned conventional ap- proaches to musical form, especially those found in sym- phonic repertories. In an essay for La Revue blanche (6 March 1901), he dismissed a recent orchestral work by Wit- kowski, claiming that it provided "only further proof of the uselessness of the symphony since Beethoven."7 He added:

Must we conclude that despite so many attempts at transformation, the symphony-in all its elegance and formal order ... -is a thing of the past? Has not its worn out gilt merely been replaced by a plating of shining copper, the shoddy finish of present-day orches- tration?8

Some ten years later, the barbs were no less pointed. Writing for SIM (1 November 1913), Debussy censured his colleagues for imitating the stale symphonic forms of Franz Liszt and Richard Strauss:

6In Debussy's conversations with his teacher Guiraud, he questioned the rules prohibiting parallel sonorities, claiming that "there is no theory. You have merely to listen. Pleasure is the law." In the same conversations Debussy also declared: "Music is neither major nor minor. Minor thirds and major thirds should be combined, modulation thus becoming more flexible. The mode is that which one happens to choose at the moment. It is not constant." These conversations are translated in William Austin, ed., Debussy: Prelude to "The Afternoon of a Faun," Norton Critical Scores (New York: Norton, 1970), 128-31. For a facsimile of Maurice Emanuel's original transcription, see Leon Vallas, Claude Debussy: His Life and Works, trans. Maire and Grace O'Brien (London: Oxford University Press, 1933), 84.

7Debussy, La Revue blanche, 1 April 1901, in Lesure, Monsieur Croche, 25; Lesure and Smith, Debussy on Music, 15.

8Lesure, Monsieur Croche, 26; Lesure and Smith, Debussy on Music, 16.

He likewise scoffed at those who prohibited the use of parallel chords and proposed that tonality should be fully chromatic and "enriched by other scales."6

Just as Debussy debunked many basic tenets of common- practice tonality, so he also questioned conventional ap- proaches to musical form, especially those found in sym- phonic repertories. In an essay for La Revue blanche (6 March 1901), he dismissed a recent orchestral work by Wit- kowski, claiming that it provided "only further proof of the uselessness of the symphony since Beethoven."7 He added:

Must we conclude that despite so many attempts at transformation, the symphony-in all its elegance and formal order ... -is a thing of the past? Has not its worn out gilt merely been replaced by a plating of shining copper, the shoddy finish of present-day orches- tration?8

Some ten years later, the barbs were no less pointed. Writing for SIM (1 November 1913), Debussy censured his colleagues for imitating the stale symphonic forms of Franz Liszt and Richard Strauss:

6In Debussy's conversations with his teacher Guiraud, he questioned the rules prohibiting parallel sonorities, claiming that "there is no theory. You have merely to listen. Pleasure is the law." In the same conversations Debussy also declared: "Music is neither major nor minor. Minor thirds and major thirds should be combined, modulation thus becoming more flexible. The mode is that which one happens to choose at the moment. It is not constant." These conversations are translated in William Austin, ed., Debussy: Prelude to "The Afternoon of a Faun," Norton Critical Scores (New York: Norton, 1970), 128-31. For a facsimile of Maurice Emanuel's original transcription, see Leon Vallas, Claude Debussy: His Life and Works, trans. Maire and Grace O'Brien (London: Oxford University Press, 1933), 84.

7Debussy, La Revue blanche, 1 April 1901, in Lesure, Monsieur Croche, 25; Lesure and Smith, Debussy on Music, 15.

8Lesure, Monsieur Croche, 26; Lesure and Smith, Debussy on Music, 16.

He likewise scoffed at those who prohibited the use of parallel chords and proposed that tonality should be fully chromatic and "enriched by other scales."6

Just as Debussy debunked many basic tenets of common- practice tonality, so he also questioned conventional ap- proaches to musical form, especially those found in sym- phonic repertories. In an essay for La Revue blanche (6 March 1901), he dismissed a recent orchestral work by Wit- kowski, claiming that it provided "only further proof of the uselessness of the symphony since Beethoven."7 He added:

Must we conclude that despite so many attempts at transformation, the symphony-in all its elegance and formal order ... -is a thing of the past? Has not its worn out gilt merely been replaced by a plating of shining copper, the shoddy finish of present-day orches- tration?8

Some ten years later, the barbs were no less pointed. Writing for SIM (1 November 1913), Debussy censured his colleagues for imitating the stale symphonic forms of Franz Liszt and Richard Strauss:

6In Debussy's conversations with his teacher Guiraud, he questioned the rules prohibiting parallel sonorities, claiming that "there is no theory. You have merely to listen. Pleasure is the law." In the same conversations Debussy also declared: "Music is neither major nor minor. Minor thirds and major thirds should be combined, modulation thus becoming more flexible. The mode is that which one happens to choose at the moment. It is not constant." These conversations are translated in William Austin, ed., Debussy: Prelude to "The Afternoon of a Faun," Norton Critical Scores (New York: Norton, 1970), 128-31. For a facsimile of Maurice Emanuel's original transcription, see Leon Vallas, Claude Debussy: His Life and Works, trans. Maire and Grace O'Brien (London: Oxford University Press, 1933), 84.

7Debussy, La Revue blanche, 1 April 1901, in Lesure, Monsieur Croche, 25; Lesure and Smith, Debussy on Music, 15.

8Lesure, Monsieur Croche, 26; Lesure and Smith, Debussy on Music, 16.

He likewise scoffed at those who prohibited the use of parallel chords and proposed that tonality should be fully chromatic and "enriched by other scales."6

Just as Debussy debunked many basic tenets of common- practice tonality, so he also questioned conventional ap- proaches to musical form, especially those found in sym- phonic repertories. In an essay for La Revue blanche (6 March 1901), he dismissed a recent orchestral work by Wit- kowski, claiming that it provided "only further proof of the uselessness of the symphony since Beethoven."7 He added:

Must we conclude that despite so many attempts at transformation, the symphony-in all its elegance and formal order ... -is a thing of the past? Has not its worn out gilt merely been replaced by a plating of shining copper, the shoddy finish of present-day orches- tration?8

Some ten years later, the barbs were no less pointed. Writing for SIM (1 November 1913), Debussy censured his colleagues for imitating the stale symphonic forms of Franz Liszt and Richard Strauss:

6In Debussy's conversations with his teacher Guiraud, he questioned the rules prohibiting parallel sonorities, claiming that "there is no theory. You have merely to listen. Pleasure is the law." In the same conversations Debussy also declared: "Music is neither major nor minor. Minor thirds and major thirds should be combined, modulation thus becoming more flexible. The mode is that which one happens to choose at the moment. It is not constant." These conversations are translated in William Austin, ed., Debussy: Prelude to "The Afternoon of a Faun," Norton Critical Scores (New York: Norton, 1970), 128-31. For a facsimile of Maurice Emanuel's original transcription, see Leon Vallas, Claude Debussy: His Life and Works, trans. Maire and Grace O'Brien (London: Oxford University Press, 1933), 84.

7Debussy, La Revue blanche, 1 April 1901, in Lesure, Monsieur Croche, 25; Lesure and Smith, Debussy on Music, 15.

8Lesure, Monsieur Croche, 26; Lesure and Smith, Debussy on Music, 16.

He likewise scoffed at those who prohibited the use of parallel chords and proposed that tonality should be fully chromatic and "enriched by other scales."6

Just as Debussy debunked many basic tenets of common- practice tonality, so he also questioned conventional ap- proaches to musical form, especially those found in sym- phonic repertories. In an essay for La Revue blanche (6 March 1901), he dismissed a recent orchestral work by Wit- kowski, claiming that it provided "only further proof of the uselessness of the symphony since Beethoven."7 He added:

Must we conclude that despite so many attempts at transformation, the symphony-in all its elegance and formal order ... -is a thing of the past? Has not its worn out gilt merely been replaced by a plating of shining copper, the shoddy finish of present-day orches- tration?8

Some ten years later, the barbs were no less pointed. Writing for SIM (1 November 1913), Debussy censured his colleagues for imitating the stale symphonic forms of Franz Liszt and Richard Strauss:

6In Debussy's conversations with his teacher Guiraud, he questioned the rules prohibiting parallel sonorities, claiming that "there is no theory. You have merely to listen. Pleasure is the law." In the same conversations Debussy also declared: "Music is neither major nor minor. Minor thirds and major thirds should be combined, modulation thus becoming more flexible. The mode is that which one happens to choose at the moment. It is not constant." These conversations are translated in William Austin, ed., Debussy: Prelude to "The Afternoon of a Faun," Norton Critical Scores (New York: Norton, 1970), 128-31. For a facsimile of Maurice Emanuel's original transcription, see Leon Vallas, Claude Debussy: His Life and Works, trans. Maire and Grace O'Brien (London: Oxford University Press, 1933), 84.

7Debussy, La Revue blanche, 1 April 1901, in Lesure, Monsieur Croche, 25; Lesure and Smith, Debussy on Music, 15.

8Lesure, Monsieur Croche, 26; Lesure and Smith, Debussy on Music, 16.

He likewise scoffed at those who prohibited the use of parallel chords and proposed that tonality should be fully chromatic and "enriched by other scales."6

Just as Debussy debunked many basic tenets of common- practice tonality, so he also questioned conventional ap- proaches to musical form, especially those found in sym- phonic repertories. In an essay for La Revue blanche (6 March 1901), he dismissed a recent orchestral work by Wit- kowski, claiming that it provided "only further proof of the uselessness of the symphony since Beethoven."7 He added:

Must we conclude that despite so many attempts at transformation, the symphony-in all its elegance and formal order ... -is a thing of the past? Has not its worn out gilt merely been replaced by a plating of shining copper, the shoddy finish of present-day orches- tration?8

Some ten years later, the barbs were no less pointed. Writing for SIM (1 November 1913), Debussy censured his colleagues for imitating the stale symphonic forms of Franz Liszt and Richard Strauss:

6In Debussy's conversations with his teacher Guiraud, he questioned the rules prohibiting parallel sonorities, claiming that "there is no theory. You have merely to listen. Pleasure is the law." In the same conversations Debussy also declared: "Music is neither major nor minor. Minor thirds and major thirds should be combined, modulation thus becoming more flexible. The mode is that which one happens to choose at the moment. It is not constant." These conversations are translated in William Austin, ed., Debussy: Prelude to "The Afternoon of a Faun," Norton Critical Scores (New York: Norton, 1970), 128-31. For a facsimile of Maurice Emanuel's original transcription, see Leon Vallas, Claude Debussy: His Life and Works, trans. Maire and Grace O'Brien (London: Oxford University Press, 1933), 84.

7Debussy, La Revue blanche, 1 April 1901, in Lesure, Monsieur Croche, 25; Lesure and Smith, Debussy on Music, 15.

8Lesure, Monsieur Croche, 26; Lesure and Smith, Debussy on Music, 16.

He likewise scoffed at those who prohibited the use of parallel chords and proposed that tonality should be fully chromatic and "enriched by other scales."6

Just as Debussy debunked many basic tenets of common- practice tonality, so he also questioned conventional ap- proaches to musical form, especially those found in sym- phonic repertories. In an essay for La Revue blanche (6 March 1901), he dismissed a recent orchestral work by Wit- kowski, claiming that it provided "only further proof of the uselessness of the symphony since Beethoven."7 He added:

Must we conclude that despite so many attempts at transformation, the symphony-in all its elegance and formal order ... -is a thing of the past? Has not its worn out gilt merely been replaced by a plating of shining copper, the shoddy finish of present-day orches- tration?8

Some ten years later, the barbs were no less pointed. Writing for SIM (1 November 1913), Debussy censured his colleagues for imitating the stale symphonic forms of Franz Liszt and Richard Strauss:

6In Debussy's conversations with his teacher Guiraud, he questioned the rules prohibiting parallel sonorities, claiming that "there is no theory. You have merely to listen. Pleasure is the law." In the same conversations Debussy also declared: "Music is neither major nor minor. Minor thirds and major thirds should be combined, modulation thus becoming more flexible. The mode is that which one happens to choose at the moment. It is not constant." These conversations are translated in William Austin, ed., Debussy: Prelude to "The Afternoon of a Faun," Norton Critical Scores (New York: Norton, 1970), 128-31. For a facsimile of Maurice Emanuel's original transcription, see Leon Vallas, Claude Debussy: His Life and Works, trans. Maire and Grace O'Brien (London: Oxford University Press, 1933), 84.

7Debussy, La Revue blanche, 1 April 1901, in Lesure, Monsieur Croche, 25; Lesure and Smith, Debussy on Music, 15.

8Lesure, Monsieur Croche, 26; Lesure and Smith, Debussy on Music, 16.

Is it not our duty ... to try and find the symphonic formulae best suited to the audacious discoveries of our modern times, so com- mitted as they are to progress? The century of aeroplanes has a right to a music of its own!9

Besides disdaining textbook formal stereotypes, so Debussy also praised composers, such as Mussorgsky, whose works "are impossible to relate to (the) accepted forms-the 'of- ficial' ones."10

Intentions are one thing, but actualities are often quite another matter. While Debussy's radical goals are hard to deny, we may still wonder whether he succeeded in freeing himself from common-practice tonality and nineteenth- century formal conventions. Did Debussy really create sym- phonic forms fit for "the century of aeroplanes"?

Obviously, any answer to this question depends on the way in which we decide to explain tonality and on the kinds of analytical priorities we make in assigning formal functions. Although there are many possible theories of tonality, this paper will use Schenkerian theory. This decision, however, requires some explanation. In particular, it contradicts the prevailing view that Debussy's music cannot be analyzed by strict Schenkerian paradigms. Surely, Schenker would have disapproved; he made no secret of his dislike for Debussy's music. In the preface to his edition of Beethoven's Piano Sonata in A Major, Op. 101, he complained that the se- quences of sounds found in impressionist pieces are valuable as "an acoustic phenomenon, but certainly not as art."1' Else-

9Lesure, Monsieur Croche, 241; Lesure and Smith, Debussy on Music, 297.

'oLesure, Monsieur Croche, 29; Lesure and Smith, Debussy on Music, 21. ""Von einer gewissen 'Linie' sprechen heute gern auch die Verfertiger

sogenannter impressionistischer Stiicke. Wo aber, wie in diesen, die Wirkung erst auf ein Tongerausch hinauslauft (das wie jedes Gerausch nur als akustis- che Erscheinung, aber noch nicht als Kunst gilt), dort sagt die 'Linie' des

Tongerausches gewiss nicht mehr die Linien als die steigend, fallend ja auch in anderen Gerauschen (z.B. in Donner, Tischriicken, Wagenrollen usw.) sich

Is it not our duty ... to try and find the symphonic formulae best suited to the audacious discoveries of our modern times, so com- mitted as they are to progress? The century of aeroplanes has a right to a music of its own!9

Besides disdaining textbook formal stereotypes, so Debussy also praised composers, such as Mussorgsky, whose works "are impossible to relate to (the) accepted forms-the 'of- ficial' ones."10

Intentions are one thing, but actualities are often quite another matter. While Debussy's radical goals are hard to deny, we may still wonder whether he succeeded in freeing himself from common-practice tonality and nineteenth- century formal conventions. Did Debussy really create sym- phonic forms fit for "the century of aeroplanes"?

Obviously, any answer to this question depends on the way in which we decide to explain tonality and on the kinds of analytical priorities we make in assigning formal functions. Although there are many possible theories of tonality, this paper will use Schenkerian theory. This decision, however, requires some explanation. In particular, it contradicts the prevailing view that Debussy's music cannot be analyzed by strict Schenkerian paradigms. Surely, Schenker would have disapproved; he made no secret of his dislike for Debussy's music. In the preface to his edition of Beethoven's Piano Sonata in A Major, Op. 101, he complained that the se- quences of sounds found in impressionist pieces are valuable as "an acoustic phenomenon, but certainly not as art."1' Else-

9Lesure, Monsieur Croche, 241; Lesure and Smith, Debussy on Music, 297.

'oLesure, Monsieur Croche, 29; Lesure and Smith, Debussy on Music, 21. ""Von einer gewissen 'Linie' sprechen heute gern auch die Verfertiger

sogenannter impressionistischer Stiicke. Wo aber, wie in diesen, die Wirkung erst auf ein Tongerausch hinauslauft (das wie jedes Gerausch nur als akustis- che Erscheinung, aber noch nicht als Kunst gilt), dort sagt die 'Linie' des

Tongerausches gewiss nicht mehr die Linien als die steigend, fallend ja auch in anderen Gerauschen (z.B. in Donner, Tischriicken, Wagenrollen usw.) sich

Is it not our duty ... to try and find the symphonic formulae best suited to the audacious discoveries of our modern times, so com- mitted as they are to progress? The century of aeroplanes has a right to a music of its own!9

Besides disdaining textbook formal stereotypes, so Debussy also praised composers, such as Mussorgsky, whose works "are impossible to relate to (the) accepted forms-the 'of- ficial' ones."10

Intentions are one thing, but actualities are often quite another matter. While Debussy's radical goals are hard to deny, we may still wonder whether he succeeded in freeing himself from common-practice tonality and nineteenth- century formal conventions. Did Debussy really create sym- phonic forms fit for "the century of aeroplanes"?

Obviously, any answer to this question depends on the way in which we decide to explain tonality and on the kinds of analytical priorities we make in assigning formal functions. Although there are many possible theories of tonality, this paper will use Schenkerian theory. This decision, however, requires some explanation. In particular, it contradicts the prevailing view that Debussy's music cannot be analyzed by strict Schenkerian paradigms. Surely, Schenker would have disapproved; he made no secret of his dislike for Debussy's music. In the preface to his edition of Beethoven's Piano Sonata in A Major, Op. 101, he complained that the se- quences of sounds found in impressionist pieces are valuable as "an acoustic phenomenon, but certainly not as art."1' Else-

9Lesure, Monsieur Croche, 241; Lesure and Smith, Debussy on Music, 297.

'oLesure, Monsieur Croche, 29; Lesure and Smith, Debussy on Music, 21. ""Von einer gewissen 'Linie' sprechen heute gern auch die Verfertiger

sogenannter impressionistischer Stiicke. Wo aber, wie in diesen, die Wirkung erst auf ein Tongerausch hinauslauft (das wie jedes Gerausch nur als akustis- che Erscheinung, aber noch nicht als Kunst gilt), dort sagt die 'Linie' des

Tongerausches gewiss nicht mehr die Linien als die steigend, fallend ja auch in anderen Gerauschen (z.B. in Donner, Tischriicken, Wagenrollen usw.) sich

Is it not our duty ... to try and find the symphonic formulae best suited to the audacious discoveries of our modern times, so com- mitted as they are to progress? The century of aeroplanes has a right to a music of its own!9

Besides disdaining textbook formal stereotypes, so Debussy also praised composers, such as Mussorgsky, whose works "are impossible to relate to (the) accepted forms-the 'of- ficial' ones."10

Intentions are one thing, but actualities are often quite another matter. While Debussy's radical goals are hard to deny, we may still wonder whether he succeeded in freeing himself from common-practice tonality and nineteenth- century formal conventions. Did Debussy really create sym- phonic forms fit for "the century of aeroplanes"?

Obviously, any answer to this question depends on the way in which we decide to explain tonality and on the kinds of analytical priorities we make in assigning formal functions. Although there are many possible theories of tonality, this paper will use Schenkerian theory. This decision, however, requires some explanation. In particular, it contradicts the prevailing view that Debussy's music cannot be analyzed by strict Schenkerian paradigms. Surely, Schenker would have disapproved; he made no secret of his dislike for Debussy's music. In the preface to his edition of Beethoven's Piano Sonata in A Major, Op. 101, he complained that the se- quences of sounds found in impressionist pieces are valuable as "an acoustic phenomenon, but certainly not as art."1' Else-

9Lesure, Monsieur Croche, 241; Lesure and Smith, Debussy on Music, 297.

'oLesure, Monsieur Croche, 29; Lesure and Smith, Debussy on Music, 21. ""Von einer gewissen 'Linie' sprechen heute gern auch die Verfertiger

sogenannter impressionistischer Stiicke. Wo aber, wie in diesen, die Wirkung erst auf ein Tongerausch hinauslauft (das wie jedes Gerausch nur als akustis- che Erscheinung, aber noch nicht als Kunst gilt), dort sagt die 'Linie' des

Tongerausches gewiss nicht mehr die Linien als die steigend, fallend ja auch in anderen Gerauschen (z.B. in Donner, Tischriicken, Wagenrollen usw.) sich

Is it not our duty ... to try and find the symphonic formulae best suited to the audacious discoveries of our modern times, so com- mitted as they are to progress? The century of aeroplanes has a right to a music of its own!9

Besides disdaining textbook formal stereotypes, so Debussy also praised composers, such as Mussorgsky, whose works "are impossible to relate to (the) accepted forms-the 'of- ficial' ones."10

Intentions are one thing, but actualities are often quite another matter. While Debussy's radical goals are hard to deny, we may still wonder whether he succeeded in freeing himself from common-practice tonality and nineteenth- century formal conventions. Did Debussy really create sym- phonic forms fit for "the century of aeroplanes"?

Obviously, any answer to this question depends on the way in which we decide to explain tonality and on the kinds of analytical priorities we make in assigning formal functions. Although there are many possible theories of tonality, this paper will use Schenkerian theory. This decision, however, requires some explanation. In particular, it contradicts the prevailing view that Debussy's music cannot be analyzed by strict Schenkerian paradigms. Surely, Schenker would have disapproved; he made no secret of his dislike for Debussy's music. In the preface to his edition of Beethoven's Piano Sonata in A Major, Op. 101, he complained that the se- quences of sounds found in impressionist pieces are valuable as "an acoustic phenomenon, but certainly not as art."1' Else-

9Lesure, Monsieur Croche, 241; Lesure and Smith, Debussy on Music, 297.

'oLesure, Monsieur Croche, 29; Lesure and Smith, Debussy on Music, 21. ""Von einer gewissen 'Linie' sprechen heute gern auch die Verfertiger

sogenannter impressionistischer Stiicke. Wo aber, wie in diesen, die Wirkung erst auf ein Tongerausch hinauslauft (das wie jedes Gerausch nur als akustis- che Erscheinung, aber noch nicht als Kunst gilt), dort sagt die 'Linie' des

Tongerausches gewiss nicht mehr die Linien als die steigend, fallend ja auch in anderen Gerauschen (z.B. in Donner, Tischriicken, Wagenrollen usw.) sich

Is it not our duty ... to try and find the symphonic formulae best suited to the audacious discoveries of our modern times, so com- mitted as they are to progress? The century of aeroplanes has a right to a music of its own!9

Besides disdaining textbook formal stereotypes, so Debussy also praised composers, such as Mussorgsky, whose works "are impossible to relate to (the) accepted forms-the 'of- ficial' ones."10

Intentions are one thing, but actualities are often quite another matter. While Debussy's radical goals are hard to deny, we may still wonder whether he succeeded in freeing himself from common-practice tonality and nineteenth- century formal conventions. Did Debussy really create sym- phonic forms fit for "the century of aeroplanes"?

Obviously, any answer to this question depends on the way in which we decide to explain tonality and on the kinds of analytical priorities we make in assigning formal functions. Although there are many possible theories of tonality, this paper will use Schenkerian theory. This decision, however, requires some explanation. In particular, it contradicts the prevailing view that Debussy's music cannot be analyzed by strict Schenkerian paradigms. Surely, Schenker would have disapproved; he made no secret of his dislike for Debussy's music. In the preface to his edition of Beethoven's Piano Sonata in A Major, Op. 101, he complained that the se- quences of sounds found in impressionist pieces are valuable as "an acoustic phenomenon, but certainly not as art."1' Else-

9Lesure, Monsieur Croche, 241; Lesure and Smith, Debussy on Music, 297.

'oLesure, Monsieur Croche, 29; Lesure and Smith, Debussy on Music, 21. ""Von einer gewissen 'Linie' sprechen heute gern auch die Verfertiger

sogenannter impressionistischer Stiicke. Wo aber, wie in diesen, die Wirkung erst auf ein Tongerausch hinauslauft (das wie jedes Gerausch nur als akustis- che Erscheinung, aber noch nicht als Kunst gilt), dort sagt die 'Linie' des

Tongerausches gewiss nicht mehr die Linien als die steigend, fallend ja auch in anderen Gerauschen (z.B. in Donner, Tischriicken, Wagenrollen usw.) sich

Is it not our duty ... to try and find the symphonic formulae best suited to the audacious discoveries of our modern times, so com- mitted as they are to progress? The century of aeroplanes has a right to a music of its own!9

Besides disdaining textbook formal stereotypes, so Debussy also praised composers, such as Mussorgsky, whose works "are impossible to relate to (the) accepted forms-the 'of- ficial' ones."10

Intentions are one thing, but actualities are often quite another matter. While Debussy's radical goals are hard to deny, we may still wonder whether he succeeded in freeing himself from common-practice tonality and nineteenth- century formal conventions. Did Debussy really create sym- phonic forms fit for "the century of aeroplanes"?

Obviously, any answer to this question depends on the way in which we decide to explain tonality and on the kinds of analytical priorities we make in assigning formal functions. Although there are many possible theories of tonality, this paper will use Schenkerian theory. This decision, however, requires some explanation. In particular, it contradicts the prevailing view that Debussy's music cannot be analyzed by strict Schenkerian paradigms. Surely, Schenker would have disapproved; he made no secret of his dislike for Debussy's music. In the preface to his edition of Beethoven's Piano Sonata in A Major, Op. 101, he complained that the se- quences of sounds found in impressionist pieces are valuable as "an acoustic phenomenon, but certainly not as art."1' Else-

9Lesure, Monsieur Croche, 241; Lesure and Smith, Debussy on Music, 297.

'oLesure, Monsieur Croche, 29; Lesure and Smith, Debussy on Music, 21. ""Von einer gewissen 'Linie' sprechen heute gern auch die Verfertiger

sogenannter impressionistischer Stiicke. Wo aber, wie in diesen, die Wirkung erst auf ein Tongerausch hinauslauft (das wie jedes Gerausch nur als akustis- che Erscheinung, aber noch nicht als Kunst gilt), dort sagt die 'Linie' des

Tongerausches gewiss nicht mehr die Linien als die steigend, fallend ja auch in anderen Gerauschen (z.B. in Donner, Tischriicken, Wagenrollen usw.) sich

Is it not our duty ... to try and find the symphonic formulae best suited to the audacious discoveries of our modern times, so com- mitted as they are to progress? The century of aeroplanes has a right to a music of its own!9

Besides disdaining textbook formal stereotypes, so Debussy also praised composers, such as Mussorgsky, whose works "are impossible to relate to (the) accepted forms-the 'of- ficial' ones."10

Intentions are one thing, but actualities are often quite another matter. While Debussy's radical goals are hard to deny, we may still wonder whether he succeeded in freeing himself from common-practice tonality and nineteenth- century formal conventions. Did Debussy really create sym- phonic forms fit for "the century of aeroplanes"?

Obviously, any answer to this question depends on the way in which we decide to explain tonality and on the kinds of analytical priorities we make in assigning formal functions. Although there are many possible theories of tonality, this paper will use Schenkerian theory. This decision, however, requires some explanation. In particular, it contradicts the prevailing view that Debussy's music cannot be analyzed by strict Schenkerian paradigms. Surely, Schenker would have disapproved; he made no secret of his dislike for Debussy's music. In the preface to his edition of Beethoven's Piano Sonata in A Major, Op. 101, he complained that the se- quences of sounds found in impressionist pieces are valuable as "an acoustic phenomenon, but certainly not as art."1' Else-

9Lesure, Monsieur Croche, 241; Lesure and Smith, Debussy on Music, 297.

'oLesure, Monsieur Croche, 29; Lesure and Smith, Debussy on Music, 21. ""Von einer gewissen 'Linie' sprechen heute gern auch die Verfertiger

sogenannter impressionistischer Stiicke. Wo aber, wie in diesen, die Wirkung erst auf ein Tongerausch hinauslauft (das wie jedes Gerausch nur als akustis- che Erscheinung, aber noch nicht als Kunst gilt), dort sagt die 'Linie' des

Tongerausches gewiss nicht mehr die Linien als die steigend, fallend ja auch in anderen Gerauschen (z.B. in Donner, Tischriicken, Wagenrollen usw.) sich

Is it not our duty ... to try and find the symphonic formulae best suited to the audacious discoveries of our modern times, so com- mitted as they are to progress? The century of aeroplanes has a right to a music of its own!9

Besides disdaining textbook formal stereotypes, so Debussy also praised composers, such as Mussorgsky, whose works "are impossible to relate to (the) accepted forms-the 'of- ficial' ones."10

Intentions are one thing, but actualities are often quite another matter. While Debussy's radical goals are hard to deny, we may still wonder whether he succeeded in freeing himself from common-practice tonality and nineteenth- century formal conventions. Did Debussy really create sym- phonic forms fit for "the century of aeroplanes"?

Obviously, any answer to this question depends on the way in which we decide to explain tonality and on the kinds of analytical priorities we make in assigning formal functions. Although there are many possible theories of tonality, this paper will use Schenkerian theory. This decision, however, requires some explanation. In particular, it contradicts the prevailing view that Debussy's music cannot be analyzed by strict Schenkerian paradigms. Surely, Schenker would have disapproved; he made no secret of his dislike for Debussy's music. In the preface to his edition of Beethoven's Piano Sonata in A Major, Op. 101, he complained that the se- quences of sounds found in impressionist pieces are valuable as "an acoustic phenomenon, but certainly not as art."1' Else-

9Lesure, Monsieur Croche, 241; Lesure and Smith, Debussy on Music, 297.

'oLesure, Monsieur Croche, 29; Lesure and Smith, Debussy on Music, 21. ""Von einer gewissen 'Linie' sprechen heute gern auch die Verfertiger

sogenannter impressionistischer Stiicke. Wo aber, wie in diesen, die Wirkung erst auf ein Tongerausch hinauslauft (das wie jedes Gerausch nur als akustis- che Erscheinung, aber noch nicht als Kunst gilt), dort sagt die 'Linie' des

Tongerausches gewiss nicht mehr die Linien als die steigend, fallend ja auch in anderen Gerauschen (z.B. in Donner, Tischriicken, Wagenrollen usw.) sich

Is it not our duty ... to try and find the symphonic formulae best suited to the audacious discoveries of our modern times, so com- mitted as they are to progress? The century of aeroplanes has a right to a music of its own!9

Besides disdaining textbook formal stereotypes, so Debussy also praised composers, such as Mussorgsky, whose works "are impossible to relate to (the) accepted forms-the 'of- ficial' ones."10

Intentions are one thing, but actualities are often quite another matter. While Debussy's radical goals are hard to deny, we may still wonder whether he succeeded in freeing himself from common-practice tonality and nineteenth- century formal conventions. Did Debussy really create sym- phonic forms fit for "the century of aeroplanes"?

Obviously, any answer to this question depends on the way in which we decide to explain tonality and on the kinds of analytical priorities we make in assigning formal functions. Although there are many possible theories of tonality, this paper will use Schenkerian theory. This decision, however, requires some explanation. In particular, it contradicts the prevailing view that Debussy's music cannot be analyzed by strict Schenkerian paradigms. Surely, Schenker would have disapproved; he made no secret of his dislike for Debussy's music. In the preface to his edition of Beethoven's Piano Sonata in A Major, Op. 101, he complained that the se- quences of sounds found in impressionist pieces are valuable as "an acoustic phenomenon, but certainly not as art."1' Else-

9Lesure, Monsieur Croche, 241; Lesure and Smith, Debussy on Music, 297.

'oLesure, Monsieur Croche, 29; Lesure and Smith, Debussy on Music, 21. ""Von einer gewissen 'Linie' sprechen heute gern auch die Verfertiger

sogenannter impressionistischer Stiicke. Wo aber, wie in diesen, die Wirkung erst auf ein Tongerausch hinauslauft (das wie jedes Gerausch nur als akustis- che Erscheinung, aber noch nicht als Kunst gilt), dort sagt die 'Linie' des

Tongerausches gewiss nicht mehr die Linien als die steigend, fallend ja auch in anderen Gerauschen (z.B. in Donner, Tischriicken, Wagenrollen usw.) sich

Is it not our duty ... to try and find the symphonic formulae best suited to the audacious discoveries of our modern times, so com- mitted as they are to progress? The century of aeroplanes has a right to a music of its own!9

Besides disdaining textbook formal stereotypes, so Debussy also praised composers, such as Mussorgsky, whose works "are impossible to relate to (the) accepted forms-the 'of- ficial' ones."10

Intentions are one thing, but actualities are often quite another matter. While Debussy's radical goals are hard to deny, we may still wonder whether he succeeded in freeing himself from common-practice tonality and nineteenth- century formal conventions. Did Debussy really create sym- phonic forms fit for "the century of aeroplanes"?

Obviously, any answer to this question depends on the way in which we decide to explain tonality and on the kinds of analytical priorities we make in assigning formal functions. Although there are many possible theories of tonality, this paper will use Schenkerian theory. This decision, however, requires some explanation. In particular, it contradicts the prevailing view that Debussy's music cannot be analyzed by strict Schenkerian paradigms. Surely, Schenker would have disapproved; he made no secret of his dislike for Debussy's music. In the preface to his edition of Beethoven's Piano Sonata in A Major, Op. 101, he complained that the se- quences of sounds found in impressionist pieces are valuable as "an acoustic phenomenon, but certainly not as art."1' Else-

9Lesure, Monsieur Croche, 241; Lesure and Smith, Debussy on Music, 297.

'oLesure, Monsieur Croche, 29; Lesure and Smith, Debussy on Music, 21. ""Von einer gewissen 'Linie' sprechen heute gern auch die Verfertiger

sogenannter impressionistischer Stiicke. Wo aber, wie in diesen, die Wirkung erst auf ein Tongerausch hinauslauft (das wie jedes Gerausch nur als akustis- che Erscheinung, aber noch nicht als Kunst gilt), dort sagt die 'Linie' des

Tongerausches gewiss nicht mehr die Linien als die steigend, fallend ja auch in anderen Gerauschen (z.B. in Donner, Tischriicken, Wagenrollen usw.) sich

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 129 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 129 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 129 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 129 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 129 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 129 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 129 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 129 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 129 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 129 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 129

where, he also condemned Debussy for pandering to the "me-

diocrity of French taste."12 For the most part, Schenker's followers have accepted the

limitations of their methods for explaining Debussy's music.13

Some, such as Felix Salzer, have seen these limitations as grounds for modifying Schenker's original model and, in so

doing, expanding the notion of tonality in music. For ex-

ample, Salzer claims that, instead of being derived from a Schenkerian Ursatz, Debussy's piano Prelude "Bruyeres" is

generated from a background progression built from a chain of parallel fifths -I-3 in A ."14 Others, such as Adele Katz, acknowledge that only a few of Debussy's pieces follow strict Schenkerian paradigms, and that many of them require some new type of explanation.15 Most recently, Richard Parks has claimed that, with some exceptions, only Debussy's early scores (up to ca. 1889) conform in any consistent way.16 As he puts it:

bemerkbar machen konnen." See Schenker's Erliuterungsausgabe der Sonate Op. 101, Ludwig van Beethoven (Vienna: Universal Edition, 1921), 23. Cited by David Paul Goldman, "Esotericism as a Determinant of Debussy's Har- monic Language," The Musical Quarterly 75 (1991): 146, fn. 20.

'2"Und gar ein Debussy, der ware demnach nicht einmal noch ein Talent, ein Musiker iiberhaupt zu nennen, mag er auch dem Mittelmass in Frankreich geniigen und dort aus Grtinden kunstpolitischer Natur-Frankreich treibt Politik und Ranke auch in den Kiinsten-sogar als ein Uberwinder Wagners, also schon aus diesem Grunde allein als ein Erneuerer nationaler Musik gelten" (Schenker, Das Meisterwerk in der Musik, vol. 3 (1930), 108).

13Adele Katz, Challenge to Musical Tradition (New York: Knopf, 1945), chap. 7, 248-93; Felix Salzer, Structural Hearing (New York: Boni, 1952).

4Salzer, Structural Hearing, fig. 478. '5According to Katz: "Therefore, as both harmonic analysis and the

Schenker method were evolved out of the tonal techniques, it is probable that a new system of analysis is needed to understand the new concepts" (Chal- lenge, 293). For a convenient summary of Katz's position see James Baker, "Schenkerian Analysis and Post-Tonal Music," in David Beach, ed., Aspects of Schenkerian Theory (New Haven: Yale University Press, 1983), 154-55.

'6Richard S. Parks, The Music of Claude Debussy (New Haven and Lon- don: Yale University Press, 1989), 4, 18, 20.

where, he also condemned Debussy for pandering to the "me-

diocrity of French taste."12 For the most part, Schenker's followers have accepted the

limitations of their methods for explaining Debussy's music.13

Some, such as Felix Salzer, have seen these limitations as grounds for modifying Schenker's original model and, in so

doing, expanding the notion of tonality in music. For ex-

ample, Salzer claims that, instead of being derived from a Schenkerian Ursatz, Debussy's piano Prelude "Bruyeres" is

generated from a background progression built from a chain of parallel fifths -I-3 in A ."14 Others, such as Adele Katz, acknowledge that only a few of Debussy's pieces follow strict Schenkerian paradigms, and that many of them require some new type of explanation.15 Most recently, Richard Parks has claimed that, with some exceptions, only Debussy's early scores (up to ca. 1889) conform in any consistent way.16 As he puts it:

bemerkbar machen konnen." See Schenker's Erliuterungsausgabe der Sonate Op. 101, Ludwig van Beethoven (Vienna: Universal Edition, 1921), 23. Cited by David Paul Goldman, "Esotericism as a Determinant of Debussy's Har- monic Language," The Musical Quarterly 75 (1991): 146, fn. 20.

'2"Und gar ein Debussy, der ware demnach nicht einmal noch ein Talent, ein Musiker iiberhaupt zu nennen, mag er auch dem Mittelmass in Frankreich geniigen und dort aus Grtinden kunstpolitischer Natur-Frankreich treibt Politik und Ranke auch in den Kiinsten-sogar als ein Uberwinder Wagners, also schon aus diesem Grunde allein als ein Erneuerer nationaler Musik gelten" (Schenker, Das Meisterwerk in der Musik, vol. 3 (1930), 108).

13Adele Katz, Challenge to Musical Tradition (New York: Knopf, 1945), chap. 7, 248-93; Felix Salzer, Structural Hearing (New York: Boni, 1952).

4Salzer, Structural Hearing, fig. 478. '5According to Katz: "Therefore, as both harmonic analysis and the

Schenker method were evolved out of the tonal techniques, it is probable that a new system of analysis is needed to understand the new concepts" (Chal- lenge, 293). For a convenient summary of Katz's position see James Baker, "Schenkerian Analysis and Post-Tonal Music," in David Beach, ed., Aspects of Schenkerian Theory (New Haven: Yale University Press, 1983), 154-55.

'6Richard S. Parks, The Music of Claude Debussy (New Haven and Lon- don: Yale University Press, 1989), 4, 18, 20.

where, he also condemned Debussy for pandering to the "me-

diocrity of French taste."12 For the most part, Schenker's followers have accepted the

limitations of their methods for explaining Debussy's music.13

Some, such as Felix Salzer, have seen these limitations as grounds for modifying Schenker's original model and, in so

doing, expanding the notion of tonality in music. For ex-

ample, Salzer claims that, instead of being derived from a Schenkerian Ursatz, Debussy's piano Prelude "Bruyeres" is

generated from a background progression built from a chain of parallel fifths -I-3 in A ."14 Others, such as Adele Katz, acknowledge that only a few of Debussy's pieces follow strict Schenkerian paradigms, and that many of them require some new type of explanation.15 Most recently, Richard Parks has claimed that, with some exceptions, only Debussy's early scores (up to ca. 1889) conform in any consistent way.16 As he puts it:

bemerkbar machen konnen." See Schenker's Erliuterungsausgabe der Sonate Op. 101, Ludwig van Beethoven (Vienna: Universal Edition, 1921), 23. Cited by David Paul Goldman, "Esotericism as a Determinant of Debussy's Har- monic Language," The Musical Quarterly 75 (1991): 146, fn. 20.

'2"Und gar ein Debussy, der ware demnach nicht einmal noch ein Talent, ein Musiker iiberhaupt zu nennen, mag er auch dem Mittelmass in Frankreich geniigen und dort aus Grtinden kunstpolitischer Natur-Frankreich treibt Politik und Ranke auch in den Kiinsten-sogar als ein Uberwinder Wagners, also schon aus diesem Grunde allein als ein Erneuerer nationaler Musik gelten" (Schenker, Das Meisterwerk in der Musik, vol. 3 (1930), 108).

13Adele Katz, Challenge to Musical Tradition (New York: Knopf, 1945), chap. 7, 248-93; Felix Salzer, Structural Hearing (New York: Boni, 1952).

4Salzer, Structural Hearing, fig. 478. '5According to Katz: "Therefore, as both harmonic analysis and the

Schenker method were evolved out of the tonal techniques, it is probable that a new system of analysis is needed to understand the new concepts" (Chal- lenge, 293). For a convenient summary of Katz's position see James Baker, "Schenkerian Analysis and Post-Tonal Music," in David Beach, ed., Aspects of Schenkerian Theory (New Haven: Yale University Press, 1983), 154-55.

'6Richard S. Parks, The Music of Claude Debussy (New Haven and Lon- don: Yale University Press, 1989), 4, 18, 20.

where, he also condemned Debussy for pandering to the "me-

diocrity of French taste."12 For the most part, Schenker's followers have accepted the

limitations of their methods for explaining Debussy's music.13

Some, such as Felix Salzer, have seen these limitations as grounds for modifying Schenker's original model and, in so

doing, expanding the notion of tonality in music. For ex-

ample, Salzer claims that, instead of being derived from a Schenkerian Ursatz, Debussy's piano Prelude "Bruyeres" is

generated from a background progression built from a chain of parallel fifths -I-3 in A ."14 Others, such as Adele Katz, acknowledge that only a few of Debussy's pieces follow strict Schenkerian paradigms, and that many of them require some new type of explanation.15 Most recently, Richard Parks has claimed that, with some exceptions, only Debussy's early scores (up to ca. 1889) conform in any consistent way.16 As he puts it:

bemerkbar machen konnen." See Schenker's Erliuterungsausgabe der Sonate Op. 101, Ludwig van Beethoven (Vienna: Universal Edition, 1921), 23. Cited by David Paul Goldman, "Esotericism as a Determinant of Debussy's Har- monic Language," The Musical Quarterly 75 (1991): 146, fn. 20.

'2"Und gar ein Debussy, der ware demnach nicht einmal noch ein Talent, ein Musiker iiberhaupt zu nennen, mag er auch dem Mittelmass in Frankreich geniigen und dort aus Grtinden kunstpolitischer Natur-Frankreich treibt Politik und Ranke auch in den Kiinsten-sogar als ein Uberwinder Wagners, also schon aus diesem Grunde allein als ein Erneuerer nationaler Musik gelten" (Schenker, Das Meisterwerk in der Musik, vol. 3 (1930), 108).

13Adele Katz, Challenge to Musical Tradition (New York: Knopf, 1945), chap. 7, 248-93; Felix Salzer, Structural Hearing (New York: Boni, 1952).

4Salzer, Structural Hearing, fig. 478. '5According to Katz: "Therefore, as both harmonic analysis and the

Schenker method were evolved out of the tonal techniques, it is probable that a new system of analysis is needed to understand the new concepts" (Chal- lenge, 293). For a convenient summary of Katz's position see James Baker, "Schenkerian Analysis and Post-Tonal Music," in David Beach, ed., Aspects of Schenkerian Theory (New Haven: Yale University Press, 1983), 154-55.

'6Richard S. Parks, The Music of Claude Debussy (New Haven and Lon- don: Yale University Press, 1989), 4, 18, 20.

where, he also condemned Debussy for pandering to the "me-

diocrity of French taste."12 For the most part, Schenker's followers have accepted the

limitations of their methods for explaining Debussy's music.13

Some, such as Felix Salzer, have seen these limitations as grounds for modifying Schenker's original model and, in so

doing, expanding the notion of tonality in music. For ex-

ample, Salzer claims that, instead of being derived from a Schenkerian Ursatz, Debussy's piano Prelude "Bruyeres" is

generated from a background progression built from a chain of parallel fifths -I-3 in A ."14 Others, such as Adele Katz, acknowledge that only a few of Debussy's pieces follow strict Schenkerian paradigms, and that many of them require some new type of explanation.15 Most recently, Richard Parks has claimed that, with some exceptions, only Debussy's early scores (up to ca. 1889) conform in any consistent way.16 As he puts it:

bemerkbar machen konnen." See Schenker's Erliuterungsausgabe der Sonate Op. 101, Ludwig van Beethoven (Vienna: Universal Edition, 1921), 23. Cited by David Paul Goldman, "Esotericism as a Determinant of Debussy's Har- monic Language," The Musical Quarterly 75 (1991): 146, fn. 20.

'2"Und gar ein Debussy, der ware demnach nicht einmal noch ein Talent, ein Musiker iiberhaupt zu nennen, mag er auch dem Mittelmass in Frankreich geniigen und dort aus Grtinden kunstpolitischer Natur-Frankreich treibt Politik und Ranke auch in den Kiinsten-sogar als ein Uberwinder Wagners, also schon aus diesem Grunde allein als ein Erneuerer nationaler Musik gelten" (Schenker, Das Meisterwerk in der Musik, vol. 3 (1930), 108).

13Adele Katz, Challenge to Musical Tradition (New York: Knopf, 1945), chap. 7, 248-93; Felix Salzer, Structural Hearing (New York: Boni, 1952).

4Salzer, Structural Hearing, fig. 478. '5According to Katz: "Therefore, as both harmonic analysis and the

Schenker method were evolved out of the tonal techniques, it is probable that a new system of analysis is needed to understand the new concepts" (Chal- lenge, 293). For a convenient summary of Katz's position see James Baker, "Schenkerian Analysis and Post-Tonal Music," in David Beach, ed., Aspects of Schenkerian Theory (New Haven: Yale University Press, 1983), 154-55.

'6Richard S. Parks, The Music of Claude Debussy (New Haven and Lon- don: Yale University Press, 1989), 4, 18, 20.

where, he also condemned Debussy for pandering to the "me-

diocrity of French taste."12 For the most part, Schenker's followers have accepted the

limitations of their methods for explaining Debussy's music.13

Some, such as Felix Salzer, have seen these limitations as grounds for modifying Schenker's original model and, in so

doing, expanding the notion of tonality in music. For ex-

ample, Salzer claims that, instead of being derived from a Schenkerian Ursatz, Debussy's piano Prelude "Bruyeres" is

generated from a background progression built from a chain of parallel fifths -I-3 in A ."14 Others, such as Adele Katz, acknowledge that only a few of Debussy's pieces follow strict Schenkerian paradigms, and that many of them require some new type of explanation.15 Most recently, Richard Parks has claimed that, with some exceptions, only Debussy's early scores (up to ca. 1889) conform in any consistent way.16 As he puts it:

bemerkbar machen konnen." See Schenker's Erliuterungsausgabe der Sonate Op. 101, Ludwig van Beethoven (Vienna: Universal Edition, 1921), 23. Cited by David Paul Goldman, "Esotericism as a Determinant of Debussy's Har- monic Language," The Musical Quarterly 75 (1991): 146, fn. 20.

'2"Und gar ein Debussy, der ware demnach nicht einmal noch ein Talent, ein Musiker iiberhaupt zu nennen, mag er auch dem Mittelmass in Frankreich geniigen und dort aus Grtinden kunstpolitischer Natur-Frankreich treibt Politik und Ranke auch in den Kiinsten-sogar als ein Uberwinder Wagners, also schon aus diesem Grunde allein als ein Erneuerer nationaler Musik gelten" (Schenker, Das Meisterwerk in der Musik, vol. 3 (1930), 108).

13Adele Katz, Challenge to Musical Tradition (New York: Knopf, 1945), chap. 7, 248-93; Felix Salzer, Structural Hearing (New York: Boni, 1952).

4Salzer, Structural Hearing, fig. 478. '5According to Katz: "Therefore, as both harmonic analysis and the

Schenker method were evolved out of the tonal techniques, it is probable that a new system of analysis is needed to understand the new concepts" (Chal- lenge, 293). For a convenient summary of Katz's position see James Baker, "Schenkerian Analysis and Post-Tonal Music," in David Beach, ed., Aspects of Schenkerian Theory (New Haven: Yale University Press, 1983), 154-55.

'6Richard S. Parks, The Music of Claude Debussy (New Haven and Lon- don: Yale University Press, 1989), 4, 18, 20.

where, he also condemned Debussy for pandering to the "me-

diocrity of French taste."12 For the most part, Schenker's followers have accepted the

limitations of their methods for explaining Debussy's music.13

Some, such as Felix Salzer, have seen these limitations as grounds for modifying Schenker's original model and, in so

doing, expanding the notion of tonality in music. For ex-

ample, Salzer claims that, instead of being derived from a Schenkerian Ursatz, Debussy's piano Prelude "Bruyeres" is

generated from a background progression built from a chain of parallel fifths -I-3 in A ."14 Others, such as Adele Katz, acknowledge that only a few of Debussy's pieces follow strict Schenkerian paradigms, and that many of them require some new type of explanation.15 Most recently, Richard Parks has claimed that, with some exceptions, only Debussy's early scores (up to ca. 1889) conform in any consistent way.16 As he puts it:

bemerkbar machen konnen." See Schenker's Erliuterungsausgabe der Sonate Op. 101, Ludwig van Beethoven (Vienna: Universal Edition, 1921), 23. Cited by David Paul Goldman, "Esotericism as a Determinant of Debussy's Har- monic Language," The Musical Quarterly 75 (1991): 146, fn. 20.

'2"Und gar ein Debussy, der ware demnach nicht einmal noch ein Talent, ein Musiker iiberhaupt zu nennen, mag er auch dem Mittelmass in Frankreich geniigen und dort aus Grtinden kunstpolitischer Natur-Frankreich treibt Politik und Ranke auch in den Kiinsten-sogar als ein Uberwinder Wagners, also schon aus diesem Grunde allein als ein Erneuerer nationaler Musik gelten" (Schenker, Das Meisterwerk in der Musik, vol. 3 (1930), 108).

13Adele Katz, Challenge to Musical Tradition (New York: Knopf, 1945), chap. 7, 248-93; Felix Salzer, Structural Hearing (New York: Boni, 1952).

4Salzer, Structural Hearing, fig. 478. '5According to Katz: "Therefore, as both harmonic analysis and the

Schenker method were evolved out of the tonal techniques, it is probable that a new system of analysis is needed to understand the new concepts" (Chal- lenge, 293). For a convenient summary of Katz's position see James Baker, "Schenkerian Analysis and Post-Tonal Music," in David Beach, ed., Aspects of Schenkerian Theory (New Haven: Yale University Press, 1983), 154-55.

'6Richard S. Parks, The Music of Claude Debussy (New Haven and Lon- don: Yale University Press, 1989), 4, 18, 20.

where, he also condemned Debussy for pandering to the "me-

diocrity of French taste."12 For the most part, Schenker's followers have accepted the

limitations of their methods for explaining Debussy's music.13

Some, such as Felix Salzer, have seen these limitations as grounds for modifying Schenker's original model and, in so

doing, expanding the notion of tonality in music. For ex-

ample, Salzer claims that, instead of being derived from a Schenkerian Ursatz, Debussy's piano Prelude "Bruyeres" is

generated from a background progression built from a chain of parallel fifths -I-3 in A ."14 Others, such as Adele Katz, acknowledge that only a few of Debussy's pieces follow strict Schenkerian paradigms, and that many of them require some new type of explanation.15 Most recently, Richard Parks has claimed that, with some exceptions, only Debussy's early scores (up to ca. 1889) conform in any consistent way.16 As he puts it:

bemerkbar machen konnen." See Schenker's Erliuterungsausgabe der Sonate Op. 101, Ludwig van Beethoven (Vienna: Universal Edition, 1921), 23. Cited by David Paul Goldman, "Esotericism as a Determinant of Debussy's Har- monic Language," The Musical Quarterly 75 (1991): 146, fn. 20.

'2"Und gar ein Debussy, der ware demnach nicht einmal noch ein Talent, ein Musiker iiberhaupt zu nennen, mag er auch dem Mittelmass in Frankreich geniigen und dort aus Grtinden kunstpolitischer Natur-Frankreich treibt Politik und Ranke auch in den Kiinsten-sogar als ein Uberwinder Wagners, also schon aus diesem Grunde allein als ein Erneuerer nationaler Musik gelten" (Schenker, Das Meisterwerk in der Musik, vol. 3 (1930), 108).

13Adele Katz, Challenge to Musical Tradition (New York: Knopf, 1945), chap. 7, 248-93; Felix Salzer, Structural Hearing (New York: Boni, 1952).

4Salzer, Structural Hearing, fig. 478. '5According to Katz: "Therefore, as both harmonic analysis and the

Schenker method were evolved out of the tonal techniques, it is probable that a new system of analysis is needed to understand the new concepts" (Chal- lenge, 293). For a convenient summary of Katz's position see James Baker, "Schenkerian Analysis and Post-Tonal Music," in David Beach, ed., Aspects of Schenkerian Theory (New Haven: Yale University Press, 1983), 154-55.

'6Richard S. Parks, The Music of Claude Debussy (New Haven and Lon- don: Yale University Press, 1989), 4, 18, 20.

where, he also condemned Debussy for pandering to the "me-

diocrity of French taste."12 For the most part, Schenker's followers have accepted the

limitations of their methods for explaining Debussy's music.13

Some, such as Felix Salzer, have seen these limitations as grounds for modifying Schenker's original model and, in so

doing, expanding the notion of tonality in music. For ex-

ample, Salzer claims that, instead of being derived from a Schenkerian Ursatz, Debussy's piano Prelude "Bruyeres" is

generated from a background progression built from a chain of parallel fifths -I-3 in A ."14 Others, such as Adele Katz, acknowledge that only a few of Debussy's pieces follow strict Schenkerian paradigms, and that many of them require some new type of explanation.15 Most recently, Richard Parks has claimed that, with some exceptions, only Debussy's early scores (up to ca. 1889) conform in any consistent way.16 As he puts it:

bemerkbar machen konnen." See Schenker's Erliuterungsausgabe der Sonate Op. 101, Ludwig van Beethoven (Vienna: Universal Edition, 1921), 23. Cited by David Paul Goldman, "Esotericism as a Determinant of Debussy's Har- monic Language," The Musical Quarterly 75 (1991): 146, fn. 20.

'2"Und gar ein Debussy, der ware demnach nicht einmal noch ein Talent, ein Musiker iiberhaupt zu nennen, mag er auch dem Mittelmass in Frankreich geniigen und dort aus Grtinden kunstpolitischer Natur-Frankreich treibt Politik und Ranke auch in den Kiinsten-sogar als ein Uberwinder Wagners, also schon aus diesem Grunde allein als ein Erneuerer nationaler Musik gelten" (Schenker, Das Meisterwerk in der Musik, vol. 3 (1930), 108).

13Adele Katz, Challenge to Musical Tradition (New York: Knopf, 1945), chap. 7, 248-93; Felix Salzer, Structural Hearing (New York: Boni, 1952).

4Salzer, Structural Hearing, fig. 478. '5According to Katz: "Therefore, as both harmonic analysis and the

Schenker method were evolved out of the tonal techniques, it is probable that a new system of analysis is needed to understand the new concepts" (Chal- lenge, 293). For a convenient summary of Katz's position see James Baker, "Schenkerian Analysis and Post-Tonal Music," in David Beach, ed., Aspects of Schenkerian Theory (New Haven: Yale University Press, 1983), 154-55.

'6Richard S. Parks, The Music of Claude Debussy (New Haven and Lon- don: Yale University Press, 1989), 4, 18, 20.

where, he also condemned Debussy for pandering to the "me-

diocrity of French taste."12 For the most part, Schenker's followers have accepted the

limitations of their methods for explaining Debussy's music.13

Some, such as Felix Salzer, have seen these limitations as grounds for modifying Schenker's original model and, in so

doing, expanding the notion of tonality in music. For ex-

ample, Salzer claims that, instead of being derived from a Schenkerian Ursatz, Debussy's piano Prelude "Bruyeres" is

generated from a background progression built from a chain of parallel fifths -I-3 in A ."14 Others, such as Adele Katz, acknowledge that only a few of Debussy's pieces follow strict Schenkerian paradigms, and that many of them require some new type of explanation.15 Most recently, Richard Parks has claimed that, with some exceptions, only Debussy's early scores (up to ca. 1889) conform in any consistent way.16 As he puts it:

bemerkbar machen konnen." See Schenker's Erliuterungsausgabe der Sonate Op. 101, Ludwig van Beethoven (Vienna: Universal Edition, 1921), 23. Cited by David Paul Goldman, "Esotericism as a Determinant of Debussy's Har- monic Language," The Musical Quarterly 75 (1991): 146, fn. 20.

'2"Und gar ein Debussy, der ware demnach nicht einmal noch ein Talent, ein Musiker iiberhaupt zu nennen, mag er auch dem Mittelmass in Frankreich geniigen und dort aus Grtinden kunstpolitischer Natur-Frankreich treibt Politik und Ranke auch in den Kiinsten-sogar als ein Uberwinder Wagners, also schon aus diesem Grunde allein als ein Erneuerer nationaler Musik gelten" (Schenker, Das Meisterwerk in der Musik, vol. 3 (1930), 108).

13Adele Katz, Challenge to Musical Tradition (New York: Knopf, 1945), chap. 7, 248-93; Felix Salzer, Structural Hearing (New York: Boni, 1952).

4Salzer, Structural Hearing, fig. 478. '5According to Katz: "Therefore, as both harmonic analysis and the

Schenker method were evolved out of the tonal techniques, it is probable that a new system of analysis is needed to understand the new concepts" (Chal- lenge, 293). For a convenient summary of Katz's position see James Baker, "Schenkerian Analysis and Post-Tonal Music," in David Beach, ed., Aspects of Schenkerian Theory (New Haven: Yale University Press, 1983), 154-55.

'6Richard S. Parks, The Music of Claude Debussy (New Haven and Lon- don: Yale University Press, 1989), 4, 18, 20.

where, he also condemned Debussy for pandering to the "me-

diocrity of French taste."12 For the most part, Schenker's followers have accepted the

limitations of their methods for explaining Debussy's music.13

Some, such as Felix Salzer, have seen these limitations as grounds for modifying Schenker's original model and, in so

doing, expanding the notion of tonality in music. For ex-

ample, Salzer claims that, instead of being derived from a Schenkerian Ursatz, Debussy's piano Prelude "Bruyeres" is

generated from a background progression built from a chain of parallel fifths -I-3 in A ."14 Others, such as Adele Katz, acknowledge that only a few of Debussy's pieces follow strict Schenkerian paradigms, and that many of them require some new type of explanation.15 Most recently, Richard Parks has claimed that, with some exceptions, only Debussy's early scores (up to ca. 1889) conform in any consistent way.16 As he puts it:

bemerkbar machen konnen." See Schenker's Erliuterungsausgabe der Sonate Op. 101, Ludwig van Beethoven (Vienna: Universal Edition, 1921), 23. Cited by David Paul Goldman, "Esotericism as a Determinant of Debussy's Har- monic Language," The Musical Quarterly 75 (1991): 146, fn. 20.

'2"Und gar ein Debussy, der ware demnach nicht einmal noch ein Talent, ein Musiker iiberhaupt zu nennen, mag er auch dem Mittelmass in Frankreich geniigen und dort aus Grtinden kunstpolitischer Natur-Frankreich treibt Politik und Ranke auch in den Kiinsten-sogar als ein Uberwinder Wagners, also schon aus diesem Grunde allein als ein Erneuerer nationaler Musik gelten" (Schenker, Das Meisterwerk in der Musik, vol. 3 (1930), 108).

13Adele Katz, Challenge to Musical Tradition (New York: Knopf, 1945), chap. 7, 248-93; Felix Salzer, Structural Hearing (New York: Boni, 1952).

4Salzer, Structural Hearing, fig. 478. '5According to Katz: "Therefore, as both harmonic analysis and the

Schenker method were evolved out of the tonal techniques, it is probable that a new system of analysis is needed to understand the new concepts" (Chal- lenge, 293). For a convenient summary of Katz's position see James Baker, "Schenkerian Analysis and Post-Tonal Music," in David Beach, ed., Aspects of Schenkerian Theory (New Haven: Yale University Press, 1983), 154-55.

'6Richard S. Parks, The Music of Claude Debussy (New Haven and Lon- don: Yale University Press, 1989), 4, 18, 20.

After the early works especially, one rarely finds tonic-dominant closure in a structural sense. In Schenkerian terms, this means that bass arpeggiation is not an integral feature of underlying structure. Linear progressions are far less common than in the works of eighteenth- and nineteenth-century masters, as is the multilayered concatenation of contrapuntal-harmonic relationships which nor- mally accompanies them. In Debussy, linear progressions tend to be of the simplest sort and only of local significance.'7

He adds that structural levels are "few and uncomplicated," and that the richness of Debussy's music lies mostly in the foreground. 18

Nevertheless, there are problems with both of these re- sponses. In Salzer's case, his revisions modify Schenkerian theory to such an extent that they erode the entire foundation of the model. For example, by classifying chords according to their degree of dissonance, Salzer contradicts Schenker's claim that in tonal music there is an absolute distinction be- tween the behavior of consonances and that of dissonances. This distinction is crucial to the way in which Schenkerian theory connects the rules of harmony and voice leading; once the distinction is abolished, Schenker's notion of transfor- mation becomes seriously weakened. To quote Edward Laufer:

By and by one asks what is left, as all the specific techniques Schen- ker described must all go by the board or be diluted into an indistinct blur .... [I]f there is no technically consistent, non-speculative ba- sis, then anything goes and likewise nothing.19

Similarly, while Katz and Parks are justified in restricting the scope of Schenkerian theory-to be explanatory, all the- ories must have boundaries-neither they, nor any other Schenkerians, have ever defined these limits in a systematic

17Ibid., 4. s8Ibid. "9Edward Laufer, "Review of Free Composition," Music Theory Spectrum

3 (1981): 161.

After the early works especially, one rarely finds tonic-dominant closure in a structural sense. In Schenkerian terms, this means that bass arpeggiation is not an integral feature of underlying structure. Linear progressions are far less common than in the works of eighteenth- and nineteenth-century masters, as is the multilayered concatenation of contrapuntal-harmonic relationships which nor- mally accompanies them. In Debussy, linear progressions tend to be of the simplest sort and only of local significance.'7

He adds that structural levels are "few and uncomplicated," and that the richness of Debussy's music lies mostly in the foreground. 18

Nevertheless, there are problems with both of these re- sponses. In Salzer's case, his revisions modify Schenkerian theory to such an extent that they erode the entire foundation of the model. For example, by classifying chords according to their degree of dissonance, Salzer contradicts Schenker's claim that in tonal music there is an absolute distinction be- tween the behavior of consonances and that of dissonances. This distinction is crucial to the way in which Schenkerian theory connects the rules of harmony and voice leading; once the distinction is abolished, Schenker's notion of transfor- mation becomes seriously weakened. To quote Edward Laufer:

By and by one asks what is left, as all the specific techniques Schen- ker described must all go by the board or be diluted into an indistinct blur .... [I]f there is no technically consistent, non-speculative ba- sis, then anything goes and likewise nothing.19

Similarly, while Katz and Parks are justified in restricting the scope of Schenkerian theory-to be explanatory, all the- ories must have boundaries-neither they, nor any other Schenkerians, have ever defined these limits in a systematic

17Ibid., 4. s8Ibid. "9Edward Laufer, "Review of Free Composition," Music Theory Spectrum

3 (1981): 161.

After the early works especially, one rarely finds tonic-dominant closure in a structural sense. In Schenkerian terms, this means that bass arpeggiation is not an integral feature of underlying structure. Linear progressions are far less common than in the works of eighteenth- and nineteenth-century masters, as is the multilayered concatenation of contrapuntal-harmonic relationships which nor- mally accompanies them. In Debussy, linear progressions tend to be of the simplest sort and only of local significance.'7

He adds that structural levels are "few and uncomplicated," and that the richness of Debussy's music lies mostly in the foreground. 18

Nevertheless, there are problems with both of these re- sponses. In Salzer's case, his revisions modify Schenkerian theory to such an extent that they erode the entire foundation of the model. For example, by classifying chords according to their degree of dissonance, Salzer contradicts Schenker's claim that in tonal music there is an absolute distinction be- tween the behavior of consonances and that of dissonances. This distinction is crucial to the way in which Schenkerian theory connects the rules of harmony and voice leading; once the distinction is abolished, Schenker's notion of transfor- mation becomes seriously weakened. To quote Edward Laufer:

By and by one asks what is left, as all the specific techniques Schen- ker described must all go by the board or be diluted into an indistinct blur .... [I]f there is no technically consistent, non-speculative ba- sis, then anything goes and likewise nothing.19

Similarly, while Katz and Parks are justified in restricting the scope of Schenkerian theory-to be explanatory, all the- ories must have boundaries-neither they, nor any other Schenkerians, have ever defined these limits in a systematic

17Ibid., 4. s8Ibid. "9Edward Laufer, "Review of Free Composition," Music Theory Spectrum

3 (1981): 161.

After the early works especially, one rarely finds tonic-dominant closure in a structural sense. In Schenkerian terms, this means that bass arpeggiation is not an integral feature of underlying structure. Linear progressions are far less common than in the works of eighteenth- and nineteenth-century masters, as is the multilayered concatenation of contrapuntal-harmonic relationships which nor- mally accompanies them. In Debussy, linear progressions tend to be of the simplest sort and only of local significance.'7

He adds that structural levels are "few and uncomplicated," and that the richness of Debussy's music lies mostly in the foreground. 18

Nevertheless, there are problems with both of these re- sponses. In Salzer's case, his revisions modify Schenkerian theory to such an extent that they erode the entire foundation of the model. For example, by classifying chords according to their degree of dissonance, Salzer contradicts Schenker's claim that in tonal music there is an absolute distinction be- tween the behavior of consonances and that of dissonances. This distinction is crucial to the way in which Schenkerian theory connects the rules of harmony and voice leading; once the distinction is abolished, Schenker's notion of transfor- mation becomes seriously weakened. To quote Edward Laufer:

By and by one asks what is left, as all the specific techniques Schen- ker described must all go by the board or be diluted into an indistinct blur .... [I]f there is no technically consistent, non-speculative ba- sis, then anything goes and likewise nothing.19

Similarly, while Katz and Parks are justified in restricting the scope of Schenkerian theory-to be explanatory, all the- ories must have boundaries-neither they, nor any other Schenkerians, have ever defined these limits in a systematic

17Ibid., 4. s8Ibid. "9Edward Laufer, "Review of Free Composition," Music Theory Spectrum

3 (1981): 161.

After the early works especially, one rarely finds tonic-dominant closure in a structural sense. In Schenkerian terms, this means that bass arpeggiation is not an integral feature of underlying structure. Linear progressions are far less common than in the works of eighteenth- and nineteenth-century masters, as is the multilayered concatenation of contrapuntal-harmonic relationships which nor- mally accompanies them. In Debussy, linear progressions tend to be of the simplest sort and only of local significance.'7

He adds that structural levels are "few and uncomplicated," and that the richness of Debussy's music lies mostly in the foreground. 18

Nevertheless, there are problems with both of these re- sponses. In Salzer's case, his revisions modify Schenkerian theory to such an extent that they erode the entire foundation of the model. For example, by classifying chords according to their degree of dissonance, Salzer contradicts Schenker's claim that in tonal music there is an absolute distinction be- tween the behavior of consonances and that of dissonances. This distinction is crucial to the way in which Schenkerian theory connects the rules of harmony and voice leading; once the distinction is abolished, Schenker's notion of transfor- mation becomes seriously weakened. To quote Edward Laufer:

By and by one asks what is left, as all the specific techniques Schen- ker described must all go by the board or be diluted into an indistinct blur .... [I]f there is no technically consistent, non-speculative ba- sis, then anything goes and likewise nothing.19

Similarly, while Katz and Parks are justified in restricting the scope of Schenkerian theory-to be explanatory, all the- ories must have boundaries-neither they, nor any other Schenkerians, have ever defined these limits in a systematic

17Ibid., 4. s8Ibid. "9Edward Laufer, "Review of Free Composition," Music Theory Spectrum

3 (1981): 161.

After the early works especially, one rarely finds tonic-dominant closure in a structural sense. In Schenkerian terms, this means that bass arpeggiation is not an integral feature of underlying structure. Linear progressions are far less common than in the works of eighteenth- and nineteenth-century masters, as is the multilayered concatenation of contrapuntal-harmonic relationships which nor- mally accompanies them. In Debussy, linear progressions tend to be of the simplest sort and only of local significance.'7

He adds that structural levels are "few and uncomplicated," and that the richness of Debussy's music lies mostly in the foreground. 18

Nevertheless, there are problems with both of these re- sponses. In Salzer's case, his revisions modify Schenkerian theory to such an extent that they erode the entire foundation of the model. For example, by classifying chords according to their degree of dissonance, Salzer contradicts Schenker's claim that in tonal music there is an absolute distinction be- tween the behavior of consonances and that of dissonances. This distinction is crucial to the way in which Schenkerian theory connects the rules of harmony and voice leading; once the distinction is abolished, Schenker's notion of transfor- mation becomes seriously weakened. To quote Edward Laufer:

By and by one asks what is left, as all the specific techniques Schen- ker described must all go by the board or be diluted into an indistinct blur .... [I]f there is no technically consistent, non-speculative ba- sis, then anything goes and likewise nothing.19

Similarly, while Katz and Parks are justified in restricting the scope of Schenkerian theory-to be explanatory, all the- ories must have boundaries-neither they, nor any other Schenkerians, have ever defined these limits in a systematic

17Ibid., 4. s8Ibid. "9Edward Laufer, "Review of Free Composition," Music Theory Spectrum

3 (1981): 161.

After the early works especially, one rarely finds tonic-dominant closure in a structural sense. In Schenkerian terms, this means that bass arpeggiation is not an integral feature of underlying structure. Linear progressions are far less common than in the works of eighteenth- and nineteenth-century masters, as is the multilayered concatenation of contrapuntal-harmonic relationships which nor- mally accompanies them. In Debussy, linear progressions tend to be of the simplest sort and only of local significance.'7

He adds that structural levels are "few and uncomplicated," and that the richness of Debussy's music lies mostly in the foreground. 18

Nevertheless, there are problems with both of these re- sponses. In Salzer's case, his revisions modify Schenkerian theory to such an extent that they erode the entire foundation of the model. For example, by classifying chords according to their degree of dissonance, Salzer contradicts Schenker's claim that in tonal music there is an absolute distinction be- tween the behavior of consonances and that of dissonances. This distinction is crucial to the way in which Schenkerian theory connects the rules of harmony and voice leading; once the distinction is abolished, Schenker's notion of transfor- mation becomes seriously weakened. To quote Edward Laufer:

By and by one asks what is left, as all the specific techniques Schen- ker described must all go by the board or be diluted into an indistinct blur .... [I]f there is no technically consistent, non-speculative ba- sis, then anything goes and likewise nothing.19

Similarly, while Katz and Parks are justified in restricting the scope of Schenkerian theory-to be explanatory, all the- ories must have boundaries-neither they, nor any other Schenkerians, have ever defined these limits in a systematic

17Ibid., 4. s8Ibid. "9Edward Laufer, "Review of Free Composition," Music Theory Spectrum

3 (1981): 161.

After the early works especially, one rarely finds tonic-dominant closure in a structural sense. In Schenkerian terms, this means that bass arpeggiation is not an integral feature of underlying structure. Linear progressions are far less common than in the works of eighteenth- and nineteenth-century masters, as is the multilayered concatenation of contrapuntal-harmonic relationships which nor- mally accompanies them. In Debussy, linear progressions tend to be of the simplest sort and only of local significance.'7

He adds that structural levels are "few and uncomplicated," and that the richness of Debussy's music lies mostly in the foreground. 18

Nevertheless, there are problems with both of these re- sponses. In Salzer's case, his revisions modify Schenkerian theory to such an extent that they erode the entire foundation of the model. For example, by classifying chords according to their degree of dissonance, Salzer contradicts Schenker's claim that in tonal music there is an absolute distinction be- tween the behavior of consonances and that of dissonances. This distinction is crucial to the way in which Schenkerian theory connects the rules of harmony and voice leading; once the distinction is abolished, Schenker's notion of transfor- mation becomes seriously weakened. To quote Edward Laufer:

By and by one asks what is left, as all the specific techniques Schen- ker described must all go by the board or be diluted into an indistinct blur .... [I]f there is no technically consistent, non-speculative ba- sis, then anything goes and likewise nothing.19

Similarly, while Katz and Parks are justified in restricting the scope of Schenkerian theory-to be explanatory, all the- ories must have boundaries-neither they, nor any other Schenkerians, have ever defined these limits in a systematic

17Ibid., 4. s8Ibid. "9Edward Laufer, "Review of Free Composition," Music Theory Spectrum

3 (1981): 161.

After the early works especially, one rarely finds tonic-dominant closure in a structural sense. In Schenkerian terms, this means that bass arpeggiation is not an integral feature of underlying structure. Linear progressions are far less common than in the works of eighteenth- and nineteenth-century masters, as is the multilayered concatenation of contrapuntal-harmonic relationships which nor- mally accompanies them. In Debussy, linear progressions tend to be of the simplest sort and only of local significance.'7

He adds that structural levels are "few and uncomplicated," and that the richness of Debussy's music lies mostly in the foreground. 18

Nevertheless, there are problems with both of these re- sponses. In Salzer's case, his revisions modify Schenkerian theory to such an extent that they erode the entire foundation of the model. For example, by classifying chords according to their degree of dissonance, Salzer contradicts Schenker's claim that in tonal music there is an absolute distinction be- tween the behavior of consonances and that of dissonances. This distinction is crucial to the way in which Schenkerian theory connects the rules of harmony and voice leading; once the distinction is abolished, Schenker's notion of transfor- mation becomes seriously weakened. To quote Edward Laufer:

By and by one asks what is left, as all the specific techniques Schen- ker described must all go by the board or be diluted into an indistinct blur .... [I]f there is no technically consistent, non-speculative ba- sis, then anything goes and likewise nothing.19

Similarly, while Katz and Parks are justified in restricting the scope of Schenkerian theory-to be explanatory, all the- ories must have boundaries-neither they, nor any other Schenkerians, have ever defined these limits in a systematic

17Ibid., 4. s8Ibid. "9Edward Laufer, "Review of Free Composition," Music Theory Spectrum

3 (1981): 161.

After the early works especially, one rarely finds tonic-dominant closure in a structural sense. In Schenkerian terms, this means that bass arpeggiation is not an integral feature of underlying structure. Linear progressions are far less common than in the works of eighteenth- and nineteenth-century masters, as is the multilayered concatenation of contrapuntal-harmonic relationships which nor- mally accompanies them. In Debussy, linear progressions tend to be of the simplest sort and only of local significance.'7

He adds that structural levels are "few and uncomplicated," and that the richness of Debussy's music lies mostly in the foreground. 18

Nevertheless, there are problems with both of these re- sponses. In Salzer's case, his revisions modify Schenkerian theory to such an extent that they erode the entire foundation of the model. For example, by classifying chords according to their degree of dissonance, Salzer contradicts Schenker's claim that in tonal music there is an absolute distinction be- tween the behavior of consonances and that of dissonances. This distinction is crucial to the way in which Schenkerian theory connects the rules of harmony and voice leading; once the distinction is abolished, Schenker's notion of transfor- mation becomes seriously weakened. To quote Edward Laufer:

By and by one asks what is left, as all the specific techniques Schen- ker described must all go by the board or be diluted into an indistinct blur .... [I]f there is no technically consistent, non-speculative ba- sis, then anything goes and likewise nothing.19

Similarly, while Katz and Parks are justified in restricting the scope of Schenkerian theory-to be explanatory, all the- ories must have boundaries-neither they, nor any other Schenkerians, have ever defined these limits in a systematic

17Ibid., 4. s8Ibid. "9Edward Laufer, "Review of Free Composition," Music Theory Spectrum

3 (1981): 161.

After the early works especially, one rarely finds tonic-dominant closure in a structural sense. In Schenkerian terms, this means that bass arpeggiation is not an integral feature of underlying structure. Linear progressions are far less common than in the works of eighteenth- and nineteenth-century masters, as is the multilayered concatenation of contrapuntal-harmonic relationships which nor- mally accompanies them. In Debussy, linear progressions tend to be of the simplest sort and only of local significance.'7

He adds that structural levels are "few and uncomplicated," and that the richness of Debussy's music lies mostly in the foreground. 18

Nevertheless, there are problems with both of these re- sponses. In Salzer's case, his revisions modify Schenkerian theory to such an extent that they erode the entire foundation of the model. For example, by classifying chords according to their degree of dissonance, Salzer contradicts Schenker's claim that in tonal music there is an absolute distinction be- tween the behavior of consonances and that of dissonances. This distinction is crucial to the way in which Schenkerian theory connects the rules of harmony and voice leading; once the distinction is abolished, Schenker's notion of transfor- mation becomes seriously weakened. To quote Edward Laufer:

By and by one asks what is left, as all the specific techniques Schen- ker described must all go by the board or be diluted into an indistinct blur .... [I]f there is no technically consistent, non-speculative ba- sis, then anything goes and likewise nothing.19

Similarly, while Katz and Parks are justified in restricting the scope of Schenkerian theory-to be explanatory, all the- ories must have boundaries-neither they, nor any other Schenkerians, have ever defined these limits in a systematic

17Ibid., 4. s8Ibid. "9Edward Laufer, "Review of Free Composition," Music Theory Spectrum

3 (1981): 161.

130 Music Theory Spectrum 130 Music Theory Spectrum 130 Music Theory Spectrum 130 Music Theory Spectrum 130 Music Theory Spectrum 130 Music Theory Spectrum 130 Music Theory Spectrum 130 Music Theory Spectrum 130 Music Theory Spectrum 130 Music Theory Spectrum 130 Music Theory Spectrum

manner. In fact, both of them consistently underestimate not only the extent to which Debussy's mature music contains orthodox tonal material, but also the degree to which Schen- kerian theory can cope with extreme chromaticism, modal or exotic harmonies, free dissonances, parallel chords and many other anomalies in Debussy's style.20 Of course, this does not mean that Schenkerian theory can explain every aspect of all works by Debussy; it simply means that the model can help us determine, case by case, how and why partially, or even

marginally, tonal pieces sometimes sound tonal and some- times do not.

To show how Schenkerian theory helps us understand the tonality of Debussy's music, this paper will examine the Pre- lude a "L'Apres-midi d'un faune" (1891-94). The work is an

appropriate test case for several reasons. On the one hand, Debussy specifically drew attention to the novel tonal and formal properties of the Prelude. In a letter to Henri Gauthier-Villars (10 October 1896) he observed:

The Prelude a "L'Apres-midi d'un faune," cher Monsieur, is it per- haps the dream left over at the bottom of the faun's flute? . . . It also demonstrates a disdain for the 'constructional knowhow' which is a burden upon our finest intellects. Then again, it has no respect for tonality! Rather, it's in a mode which is intended to contain all the nuances-I can give you a perfectly logical demonstration of this.21

20For further details, see Matthew Brown, "A Rational Reconstruction of Schenkerian Theory," (Ph.D. diss., Cornell University, 1989).

21Lesure ed., Lettres, 79; Lesure and Nichols, 84-85. It is hard to imagine what this demonstration would have looked like because Debussy was ex-

tremely skeptical about the value of musical analysis. For example, in an essay for La Revue blanche, 1 April 1901, he wrote: "Grown ups tend to forget that as children they were forbidden to open the insides of their dolls-a crime of high treason against the cause of mystery. . . . And yet they still insist on

poking their aesthetic noses into things that don't concern them! Without their dolls to break open, they still try to explain things, dismantle them and quite heartlessly kill all their mystery" (Lesure, ed., Monsieur Croche, 23-24; Lesure and Smith, Debussy on Music, 13). He especially abhorred "theme

manner. In fact, both of them consistently underestimate not only the extent to which Debussy's mature music contains orthodox tonal material, but also the degree to which Schen- kerian theory can cope with extreme chromaticism, modal or exotic harmonies, free dissonances, parallel chords and many other anomalies in Debussy's style.20 Of course, this does not mean that Schenkerian theory can explain every aspect of all works by Debussy; it simply means that the model can help us determine, case by case, how and why partially, or even

marginally, tonal pieces sometimes sound tonal and some- times do not.

To show how Schenkerian theory helps us understand the tonality of Debussy's music, this paper will examine the Pre- lude a "L'Apres-midi d'un faune" (1891-94). The work is an

appropriate test case for several reasons. On the one hand, Debussy specifically drew attention to the novel tonal and formal properties of the Prelude. In a letter to Henri Gauthier-Villars (10 October 1896) he observed:

The Prelude a "L'Apres-midi d'un faune," cher Monsieur, is it per- haps the dream left over at the bottom of the faun's flute? . . . It also demonstrates a disdain for the 'constructional knowhow' which is a burden upon our finest intellects. Then again, it has no respect for tonality! Rather, it's in a mode which is intended to contain all the nuances-I can give you a perfectly logical demonstration of this.21

20For further details, see Matthew Brown, "A Rational Reconstruction of Schenkerian Theory," (Ph.D. diss., Cornell University, 1989).

21Lesure ed., Lettres, 79; Lesure and Nichols, 84-85. It is hard to imagine what this demonstration would have looked like because Debussy was ex-

tremely skeptical about the value of musical analysis. For example, in an essay for La Revue blanche, 1 April 1901, he wrote: "Grown ups tend to forget that as children they were forbidden to open the insides of their dolls-a crime of high treason against the cause of mystery. . . . And yet they still insist on

poking their aesthetic noses into things that don't concern them! Without their dolls to break open, they still try to explain things, dismantle them and quite heartlessly kill all their mystery" (Lesure, ed., Monsieur Croche, 23-24; Lesure and Smith, Debussy on Music, 13). He especially abhorred "theme

manner. In fact, both of them consistently underestimate not only the extent to which Debussy's mature music contains orthodox tonal material, but also the degree to which Schen- kerian theory can cope with extreme chromaticism, modal or exotic harmonies, free dissonances, parallel chords and many other anomalies in Debussy's style.20 Of course, this does not mean that Schenkerian theory can explain every aspect of all works by Debussy; it simply means that the model can help us determine, case by case, how and why partially, or even

marginally, tonal pieces sometimes sound tonal and some- times do not.

To show how Schenkerian theory helps us understand the tonality of Debussy's music, this paper will examine the Pre- lude a "L'Apres-midi d'un faune" (1891-94). The work is an

appropriate test case for several reasons. On the one hand, Debussy specifically drew attention to the novel tonal and formal properties of the Prelude. In a letter to Henri Gauthier-Villars (10 October 1896) he observed:

The Prelude a "L'Apres-midi d'un faune," cher Monsieur, is it per- haps the dream left over at the bottom of the faun's flute? . . . It also demonstrates a disdain for the 'constructional knowhow' which is a burden upon our finest intellects. Then again, it has no respect for tonality! Rather, it's in a mode which is intended to contain all the nuances-I can give you a perfectly logical demonstration of this.21

20For further details, see Matthew Brown, "A Rational Reconstruction of Schenkerian Theory," (Ph.D. diss., Cornell University, 1989).

21Lesure ed., Lettres, 79; Lesure and Nichols, 84-85. It is hard to imagine what this demonstration would have looked like because Debussy was ex-

tremely skeptical about the value of musical analysis. For example, in an essay for La Revue blanche, 1 April 1901, he wrote: "Grown ups tend to forget that as children they were forbidden to open the insides of their dolls-a crime of high treason against the cause of mystery. . . . And yet they still insist on

poking their aesthetic noses into things that don't concern them! Without their dolls to break open, they still try to explain things, dismantle them and quite heartlessly kill all their mystery" (Lesure, ed., Monsieur Croche, 23-24; Lesure and Smith, Debussy on Music, 13). He especially abhorred "theme

manner. In fact, both of them consistently underestimate not only the extent to which Debussy's mature music contains orthodox tonal material, but also the degree to which Schen- kerian theory can cope with extreme chromaticism, modal or exotic harmonies, free dissonances, parallel chords and many other anomalies in Debussy's style.20 Of course, this does not mean that Schenkerian theory can explain every aspect of all works by Debussy; it simply means that the model can help us determine, case by case, how and why partially, or even

marginally, tonal pieces sometimes sound tonal and some- times do not.

To show how Schenkerian theory helps us understand the tonality of Debussy's music, this paper will examine the Pre- lude a "L'Apres-midi d'un faune" (1891-94). The work is an

appropriate test case for several reasons. On the one hand, Debussy specifically drew attention to the novel tonal and formal properties of the Prelude. In a letter to Henri Gauthier-Villars (10 October 1896) he observed:

The Prelude a "L'Apres-midi d'un faune," cher Monsieur, is it per- haps the dream left over at the bottom of the faun's flute? . . . It also demonstrates a disdain for the 'constructional knowhow' which is a burden upon our finest intellects. Then again, it has no respect for tonality! Rather, it's in a mode which is intended to contain all the nuances-I can give you a perfectly logical demonstration of this.21

20For further details, see Matthew Brown, "A Rational Reconstruction of Schenkerian Theory," (Ph.D. diss., Cornell University, 1989).

21Lesure ed., Lettres, 79; Lesure and Nichols, 84-85. It is hard to imagine what this demonstration would have looked like because Debussy was ex-

tremely skeptical about the value of musical analysis. For example, in an essay for La Revue blanche, 1 April 1901, he wrote: "Grown ups tend to forget that as children they were forbidden to open the insides of their dolls-a crime of high treason against the cause of mystery. . . . And yet they still insist on

poking their aesthetic noses into things that don't concern them! Without their dolls to break open, they still try to explain things, dismantle them and quite heartlessly kill all their mystery" (Lesure, ed., Monsieur Croche, 23-24; Lesure and Smith, Debussy on Music, 13). He especially abhorred "theme

manner. In fact, both of them consistently underestimate not only the extent to which Debussy's mature music contains orthodox tonal material, but also the degree to which Schen- kerian theory can cope with extreme chromaticism, modal or exotic harmonies, free dissonances, parallel chords and many other anomalies in Debussy's style.20 Of course, this does not mean that Schenkerian theory can explain every aspect of all works by Debussy; it simply means that the model can help us determine, case by case, how and why partially, or even

marginally, tonal pieces sometimes sound tonal and some- times do not.

To show how Schenkerian theory helps us understand the tonality of Debussy's music, this paper will examine the Pre- lude a "L'Apres-midi d'un faune" (1891-94). The work is an

appropriate test case for several reasons. On the one hand, Debussy specifically drew attention to the novel tonal and formal properties of the Prelude. In a letter to Henri Gauthier-Villars (10 October 1896) he observed:

The Prelude a "L'Apres-midi d'un faune," cher Monsieur, is it per- haps the dream left over at the bottom of the faun's flute? . . . It also demonstrates a disdain for the 'constructional knowhow' which is a burden upon our finest intellects. Then again, it has no respect for tonality! Rather, it's in a mode which is intended to contain all the nuances-I can give you a perfectly logical demonstration of this.21

20For further details, see Matthew Brown, "A Rational Reconstruction of Schenkerian Theory," (Ph.D. diss., Cornell University, 1989).

21Lesure ed., Lettres, 79; Lesure and Nichols, 84-85. It is hard to imagine what this demonstration would have looked like because Debussy was ex-

tremely skeptical about the value of musical analysis. For example, in an essay for La Revue blanche, 1 April 1901, he wrote: "Grown ups tend to forget that as children they were forbidden to open the insides of their dolls-a crime of high treason against the cause of mystery. . . . And yet they still insist on

poking their aesthetic noses into things that don't concern them! Without their dolls to break open, they still try to explain things, dismantle them and quite heartlessly kill all their mystery" (Lesure, ed., Monsieur Croche, 23-24; Lesure and Smith, Debussy on Music, 13). He especially abhorred "theme

manner. In fact, both of them consistently underestimate not only the extent to which Debussy's mature music contains orthodox tonal material, but also the degree to which Schen- kerian theory can cope with extreme chromaticism, modal or exotic harmonies, free dissonances, parallel chords and many other anomalies in Debussy's style.20 Of course, this does not mean that Schenkerian theory can explain every aspect of all works by Debussy; it simply means that the model can help us determine, case by case, how and why partially, or even

marginally, tonal pieces sometimes sound tonal and some- times do not.

To show how Schenkerian theory helps us understand the tonality of Debussy's music, this paper will examine the Pre- lude a "L'Apres-midi d'un faune" (1891-94). The work is an

appropriate test case for several reasons. On the one hand, Debussy specifically drew attention to the novel tonal and formal properties of the Prelude. In a letter to Henri Gauthier-Villars (10 October 1896) he observed:

The Prelude a "L'Apres-midi d'un faune," cher Monsieur, is it per- haps the dream left over at the bottom of the faun's flute? . . . It also demonstrates a disdain for the 'constructional knowhow' which is a burden upon our finest intellects. Then again, it has no respect for tonality! Rather, it's in a mode which is intended to contain all the nuances-I can give you a perfectly logical demonstration of this.21

20For further details, see Matthew Brown, "A Rational Reconstruction of Schenkerian Theory," (Ph.D. diss., Cornell University, 1989).

21Lesure ed., Lettres, 79; Lesure and Nichols, 84-85. It is hard to imagine what this demonstration would have looked like because Debussy was ex-

tremely skeptical about the value of musical analysis. For example, in an essay for La Revue blanche, 1 April 1901, he wrote: "Grown ups tend to forget that as children they were forbidden to open the insides of their dolls-a crime of high treason against the cause of mystery. . . . And yet they still insist on

poking their aesthetic noses into things that don't concern them! Without their dolls to break open, they still try to explain things, dismantle them and quite heartlessly kill all their mystery" (Lesure, ed., Monsieur Croche, 23-24; Lesure and Smith, Debussy on Music, 13). He especially abhorred "theme

manner. In fact, both of them consistently underestimate not only the extent to which Debussy's mature music contains orthodox tonal material, but also the degree to which Schen- kerian theory can cope with extreme chromaticism, modal or exotic harmonies, free dissonances, parallel chords and many other anomalies in Debussy's style.20 Of course, this does not mean that Schenkerian theory can explain every aspect of all works by Debussy; it simply means that the model can help us determine, case by case, how and why partially, or even

marginally, tonal pieces sometimes sound tonal and some- times do not.

To show how Schenkerian theory helps us understand the tonality of Debussy's music, this paper will examine the Pre- lude a "L'Apres-midi d'un faune" (1891-94). The work is an

appropriate test case for several reasons. On the one hand, Debussy specifically drew attention to the novel tonal and formal properties of the Prelude. In a letter to Henri Gauthier-Villars (10 October 1896) he observed:

The Prelude a "L'Apres-midi d'un faune," cher Monsieur, is it per- haps the dream left over at the bottom of the faun's flute? . . . It also demonstrates a disdain for the 'constructional knowhow' which is a burden upon our finest intellects. Then again, it has no respect for tonality! Rather, it's in a mode which is intended to contain all the nuances-I can give you a perfectly logical demonstration of this.21

20For further details, see Matthew Brown, "A Rational Reconstruction of Schenkerian Theory," (Ph.D. diss., Cornell University, 1989).

21Lesure ed., Lettres, 79; Lesure and Nichols, 84-85. It is hard to imagine what this demonstration would have looked like because Debussy was ex-

tremely skeptical about the value of musical analysis. For example, in an essay for La Revue blanche, 1 April 1901, he wrote: "Grown ups tend to forget that as children they were forbidden to open the insides of their dolls-a crime of high treason against the cause of mystery. . . . And yet they still insist on

poking their aesthetic noses into things that don't concern them! Without their dolls to break open, they still try to explain things, dismantle them and quite heartlessly kill all their mystery" (Lesure, ed., Monsieur Croche, 23-24; Lesure and Smith, Debussy on Music, 13). He especially abhorred "theme

manner. In fact, both of them consistently underestimate not only the extent to which Debussy's mature music contains orthodox tonal material, but also the degree to which Schen- kerian theory can cope with extreme chromaticism, modal or exotic harmonies, free dissonances, parallel chords and many other anomalies in Debussy's style.20 Of course, this does not mean that Schenkerian theory can explain every aspect of all works by Debussy; it simply means that the model can help us determine, case by case, how and why partially, or even

marginally, tonal pieces sometimes sound tonal and some- times do not.

To show how Schenkerian theory helps us understand the tonality of Debussy's music, this paper will examine the Pre- lude a "L'Apres-midi d'un faune" (1891-94). The work is an

appropriate test case for several reasons. On the one hand, Debussy specifically drew attention to the novel tonal and formal properties of the Prelude. In a letter to Henri Gauthier-Villars (10 October 1896) he observed:

The Prelude a "L'Apres-midi d'un faune," cher Monsieur, is it per- haps the dream left over at the bottom of the faun's flute? . . . It also demonstrates a disdain for the 'constructional knowhow' which is a burden upon our finest intellects. Then again, it has no respect for tonality! Rather, it's in a mode which is intended to contain all the nuances-I can give you a perfectly logical demonstration of this.21

20For further details, see Matthew Brown, "A Rational Reconstruction of Schenkerian Theory," (Ph.D. diss., Cornell University, 1989).

21Lesure ed., Lettres, 79; Lesure and Nichols, 84-85. It is hard to imagine what this demonstration would have looked like because Debussy was ex-

tremely skeptical about the value of musical analysis. For example, in an essay for La Revue blanche, 1 April 1901, he wrote: "Grown ups tend to forget that as children they were forbidden to open the insides of their dolls-a crime of high treason against the cause of mystery. . . . And yet they still insist on

poking their aesthetic noses into things that don't concern them! Without their dolls to break open, they still try to explain things, dismantle them and quite heartlessly kill all their mystery" (Lesure, ed., Monsieur Croche, 23-24; Lesure and Smith, Debussy on Music, 13). He especially abhorred "theme

manner. In fact, both of them consistently underestimate not only the extent to which Debussy's mature music contains orthodox tonal material, but also the degree to which Schen- kerian theory can cope with extreme chromaticism, modal or exotic harmonies, free dissonances, parallel chords and many other anomalies in Debussy's style.20 Of course, this does not mean that Schenkerian theory can explain every aspect of all works by Debussy; it simply means that the model can help us determine, case by case, how and why partially, or even

marginally, tonal pieces sometimes sound tonal and some- times do not.

To show how Schenkerian theory helps us understand the tonality of Debussy's music, this paper will examine the Pre- lude a "L'Apres-midi d'un faune" (1891-94). The work is an

appropriate test case for several reasons. On the one hand, Debussy specifically drew attention to the novel tonal and formal properties of the Prelude. In a letter to Henri Gauthier-Villars (10 October 1896) he observed:

The Prelude a "L'Apres-midi d'un faune," cher Monsieur, is it per- haps the dream left over at the bottom of the faun's flute? . . . It also demonstrates a disdain for the 'constructional knowhow' which is a burden upon our finest intellects. Then again, it has no respect for tonality! Rather, it's in a mode which is intended to contain all the nuances-I can give you a perfectly logical demonstration of this.21

20For further details, see Matthew Brown, "A Rational Reconstruction of Schenkerian Theory," (Ph.D. diss., Cornell University, 1989).

21Lesure ed., Lettres, 79; Lesure and Nichols, 84-85. It is hard to imagine what this demonstration would have looked like because Debussy was ex-

tremely skeptical about the value of musical analysis. For example, in an essay for La Revue blanche, 1 April 1901, he wrote: "Grown ups tend to forget that as children they were forbidden to open the insides of their dolls-a crime of high treason against the cause of mystery. . . . And yet they still insist on

poking their aesthetic noses into things that don't concern them! Without their dolls to break open, they still try to explain things, dismantle them and quite heartlessly kill all their mystery" (Lesure, ed., Monsieur Croche, 23-24; Lesure and Smith, Debussy on Music, 13). He especially abhorred "theme

manner. In fact, both of them consistently underestimate not only the extent to which Debussy's mature music contains orthodox tonal material, but also the degree to which Schen- kerian theory can cope with extreme chromaticism, modal or exotic harmonies, free dissonances, parallel chords and many other anomalies in Debussy's style.20 Of course, this does not mean that Schenkerian theory can explain every aspect of all works by Debussy; it simply means that the model can help us determine, case by case, how and why partially, or even

marginally, tonal pieces sometimes sound tonal and some- times do not.

To show how Schenkerian theory helps us understand the tonality of Debussy's music, this paper will examine the Pre- lude a "L'Apres-midi d'un faune" (1891-94). The work is an

appropriate test case for several reasons. On the one hand, Debussy specifically drew attention to the novel tonal and formal properties of the Prelude. In a letter to Henri Gauthier-Villars (10 October 1896) he observed:

The Prelude a "L'Apres-midi d'un faune," cher Monsieur, is it per- haps the dream left over at the bottom of the faun's flute? . . . It also demonstrates a disdain for the 'constructional knowhow' which is a burden upon our finest intellects. Then again, it has no respect for tonality! Rather, it's in a mode which is intended to contain all the nuances-I can give you a perfectly logical demonstration of this.21

20For further details, see Matthew Brown, "A Rational Reconstruction of Schenkerian Theory," (Ph.D. diss., Cornell University, 1989).

21Lesure ed., Lettres, 79; Lesure and Nichols, 84-85. It is hard to imagine what this demonstration would have looked like because Debussy was ex-

tremely skeptical about the value of musical analysis. For example, in an essay for La Revue blanche, 1 April 1901, he wrote: "Grown ups tend to forget that as children they were forbidden to open the insides of their dolls-a crime of high treason against the cause of mystery. . . . And yet they still insist on

poking their aesthetic noses into things that don't concern them! Without their dolls to break open, they still try to explain things, dismantle them and quite heartlessly kill all their mystery" (Lesure, ed., Monsieur Croche, 23-24; Lesure and Smith, Debussy on Music, 13). He especially abhorred "theme

manner. In fact, both of them consistently underestimate not only the extent to which Debussy's mature music contains orthodox tonal material, but also the degree to which Schen- kerian theory can cope with extreme chromaticism, modal or exotic harmonies, free dissonances, parallel chords and many other anomalies in Debussy's style.20 Of course, this does not mean that Schenkerian theory can explain every aspect of all works by Debussy; it simply means that the model can help us determine, case by case, how and why partially, or even

marginally, tonal pieces sometimes sound tonal and some- times do not.

To show how Schenkerian theory helps us understand the tonality of Debussy's music, this paper will examine the Pre- lude a "L'Apres-midi d'un faune" (1891-94). The work is an

appropriate test case for several reasons. On the one hand, Debussy specifically drew attention to the novel tonal and formal properties of the Prelude. In a letter to Henri Gauthier-Villars (10 October 1896) he observed:

The Prelude a "L'Apres-midi d'un faune," cher Monsieur, is it per- haps the dream left over at the bottom of the faun's flute? . . . It also demonstrates a disdain for the 'constructional knowhow' which is a burden upon our finest intellects. Then again, it has no respect for tonality! Rather, it's in a mode which is intended to contain all the nuances-I can give you a perfectly logical demonstration of this.21

20For further details, see Matthew Brown, "A Rational Reconstruction of Schenkerian Theory," (Ph.D. diss., Cornell University, 1989).

21Lesure ed., Lettres, 79; Lesure and Nichols, 84-85. It is hard to imagine what this demonstration would have looked like because Debussy was ex-

tremely skeptical about the value of musical analysis. For example, in an essay for La Revue blanche, 1 April 1901, he wrote: "Grown ups tend to forget that as children they were forbidden to open the insides of their dolls-a crime of high treason against the cause of mystery. . . . And yet they still insist on

poking their aesthetic noses into things that don't concern them! Without their dolls to break open, they still try to explain things, dismantle them and quite heartlessly kill all their mystery" (Lesure, ed., Monsieur Croche, 23-24; Lesure and Smith, Debussy on Music, 13). He especially abhorred "theme

On the other hand, by graphing the Prelude, we can answer some of the intriguing formal questions posed by Debussy's orchestral music. In particular, we will see how he developed four techniques-incomplete progressions, parenthetical epi- sodes, motivic compression, and tonal modeling-that fea- ture prominently in the Nocturnes (1897-99), La Mer (1903- 5), and the Images for orchestra (1905-13), and that allowed him to move away from nineteenth-century formal models.

It is hard to imagine a single work that captures the spirit of Debussy's style more obviously than the Prelude a "L'Apres-midi d'un faune"; ever since its premiere at the Societe nationale on 22 December 1894, musicians have tried to explain the elusive logic alluded to by Debussy.22 These

spotting," as he made clear in an essay for Gil bias, 23 February 1903 (see Lesure, ed., Monsieur Croche, 102-4; Lesure and Smith, Debussy on Music, 126-27). Debussy occasionally rebuked specific theorists: Riemann (Lesure, ed., Lettres, 165; Lesure and Nichols, eds., Letters, 183); Louis (Lesure, ed., Lettres, 118; Lesure and Nichols, eds., Letters, 128-30); Lenormand (Lesure, ed., Lettres, 227; Lesure and Nichols, ed., Letters, 259-60); Dubois (Lesure, ed., Monsieur Croche, 212; Lesure and Smith, Debussy on Music, 268-69); and Emile Durand (Lesure, ed., Monsieur Croche, 29-30; Lesure and Smith, Debussy on Music, 21).

22For analyses of the Prelude see: William Austin, "Toward an Analytical Appreciation," in Debussy: Prelude to "The Afternoon of a Faun," ed. Aus- tin, 71-96; Barraque, Debussy (Paris: Seuil, 1962), 85-91; Laurence Berman, "Prelude to the Afternoon of a Faun and Jeux: Debussy's Summer Rites," Nineteenth-Century Music 3 (1980): 225-38; Leonard Bernstein, The Unan- swered Question (Cambridge: Harvard University Press, 1976), 238-59; Charles Burkhart, "Schenker's 'Motivic Parallelisms,' " Journal of Music

Theory 22 (1978): 155-58; John Crotty, "Symbolist Influences in Debussy's "Prelude to the Afternoon of a Faun," In Theory Only 11 (1982): 17-30; David Cox, Debussy's Orchestral Music (London: BBC, 1974), 9-18; Denijs Dille, "Inleiding tot het vormbegrip bij Debussy," in Melanges: Homage a Charles van den Borren (Anvers: De Nederlandsche Boekhandel, 1945), 145ff.; Christian Goubault, Claude Debussy (Paris: Champion, 1986), 136- 40; Peter Gilke, "Musik aus dem Bannkreis einer literarischen Aesthetik:

Debussys 'Prelude a l'Apres-midi d'un Faune,' "Jahrbuch Peters 1978, Auf- satze zur Musik 1, ed. E. Klemm (Leipzig: Peters, 1979), 103-46; James

Hepokoski, "Formulaic Openings in Debussy," Nineteenth-Century Music 8

On the other hand, by graphing the Prelude, we can answer some of the intriguing formal questions posed by Debussy's orchestral music. In particular, we will see how he developed four techniques-incomplete progressions, parenthetical epi- sodes, motivic compression, and tonal modeling-that fea- ture prominently in the Nocturnes (1897-99), La Mer (1903- 5), and the Images for orchestra (1905-13), and that allowed him to move away from nineteenth-century formal models.

It is hard to imagine a single work that captures the spirit of Debussy's style more obviously than the Prelude a "L'Apres-midi d'un faune"; ever since its premiere at the Societe nationale on 22 December 1894, musicians have tried to explain the elusive logic alluded to by Debussy.22 These

spotting," as he made clear in an essay for Gil bias, 23 February 1903 (see Lesure, ed., Monsieur Croche, 102-4; Lesure and Smith, Debussy on Music, 126-27). Debussy occasionally rebuked specific theorists: Riemann (Lesure, ed., Lettres, 165; Lesure and Nichols, eds., Letters, 183); Louis (Lesure, ed., Lettres, 118; Lesure and Nichols, eds., Letters, 128-30); Lenormand (Lesure, ed., Lettres, 227; Lesure and Nichols, ed., Letters, 259-60); Dubois (Lesure, ed., Monsieur Croche, 212; Lesure and Smith, Debussy on Music, 268-69); and Emile Durand (Lesure, ed., Monsieur Croche, 29-30; Lesure and Smith, Debussy on Music, 21).

22For analyses of the Prelude see: William Austin, "Toward an Analytical Appreciation," in Debussy: Prelude to "The Afternoon of a Faun," ed. Aus- tin, 71-96; Barraque, Debussy (Paris: Seuil, 1962), 85-91; Laurence Berman, "Prelude to the Afternoon of a Faun and Jeux: Debussy's Summer Rites," Nineteenth-Century Music 3 (1980): 225-38; Leonard Bernstein, The Unan- swered Question (Cambridge: Harvard University Press, 1976), 238-59; Charles Burkhart, "Schenker's 'Motivic Parallelisms,' " Journal of Music

Theory 22 (1978): 155-58; John Crotty, "Symbolist Influences in Debussy's "Prelude to the Afternoon of a Faun," In Theory Only 11 (1982): 17-30; David Cox, Debussy's Orchestral Music (London: BBC, 1974), 9-18; Denijs Dille, "Inleiding tot het vormbegrip bij Debussy," in Melanges: Homage a Charles van den Borren (Anvers: De Nederlandsche Boekhandel, 1945), 145ff.; Christian Goubault, Claude Debussy (Paris: Champion, 1986), 136- 40; Peter Gilke, "Musik aus dem Bannkreis einer literarischen Aesthetik:

Debussys 'Prelude a l'Apres-midi d'un Faune,' "Jahrbuch Peters 1978, Auf- satze zur Musik 1, ed. E. Klemm (Leipzig: Peters, 1979), 103-46; James

Hepokoski, "Formulaic Openings in Debussy," Nineteenth-Century Music 8

On the other hand, by graphing the Prelude, we can answer some of the intriguing formal questions posed by Debussy's orchestral music. In particular, we will see how he developed four techniques-incomplete progressions, parenthetical epi- sodes, motivic compression, and tonal modeling-that fea- ture prominently in the Nocturnes (1897-99), La Mer (1903- 5), and the Images for orchestra (1905-13), and that allowed him to move away from nineteenth-century formal models.

It is hard to imagine a single work that captures the spirit of Debussy's style more obviously than the Prelude a "L'Apres-midi d'un faune"; ever since its premiere at the Societe nationale on 22 December 1894, musicians have tried to explain the elusive logic alluded to by Debussy.22 These

spotting," as he made clear in an essay for Gil bias, 23 February 1903 (see Lesure, ed., Monsieur Croche, 102-4; Lesure and Smith, Debussy on Music, 126-27). Debussy occasionally rebuked specific theorists: Riemann (Lesure, ed., Lettres, 165; Lesure and Nichols, eds., Letters, 183); Louis (Lesure, ed., Lettres, 118; Lesure and Nichols, eds., Letters, 128-30); Lenormand (Lesure, ed., Lettres, 227; Lesure and Nichols, ed., Letters, 259-60); Dubois (Lesure, ed., Monsieur Croche, 212; Lesure and Smith, Debussy on Music, 268-69); and Emile Durand (Lesure, ed., Monsieur Croche, 29-30; Lesure and Smith, Debussy on Music, 21).

22For analyses of the Prelude see: William Austin, "Toward an Analytical Appreciation," in Debussy: Prelude to "The Afternoon of a Faun," ed. Aus- tin, 71-96; Barraque, Debussy (Paris: Seuil, 1962), 85-91; Laurence Berman, "Prelude to the Afternoon of a Faun and Jeux: Debussy's Summer Rites," Nineteenth-Century Music 3 (1980): 225-38; Leonard Bernstein, The Unan- swered Question (Cambridge: Harvard University Press, 1976), 238-59; Charles Burkhart, "Schenker's 'Motivic Parallelisms,' " Journal of Music

Theory 22 (1978): 155-58; John Crotty, "Symbolist Influences in Debussy's "Prelude to the Afternoon of a Faun," In Theory Only 11 (1982): 17-30; David Cox, Debussy's Orchestral Music (London: BBC, 1974), 9-18; Denijs Dille, "Inleiding tot het vormbegrip bij Debussy," in Melanges: Homage a Charles van den Borren (Anvers: De Nederlandsche Boekhandel, 1945), 145ff.; Christian Goubault, Claude Debussy (Paris: Champion, 1986), 136- 40; Peter Gilke, "Musik aus dem Bannkreis einer literarischen Aesthetik:

Debussys 'Prelude a l'Apres-midi d'un Faune,' "Jahrbuch Peters 1978, Auf- satze zur Musik 1, ed. E. Klemm (Leipzig: Peters, 1979), 103-46; James

Hepokoski, "Formulaic Openings in Debussy," Nineteenth-Century Music 8

On the other hand, by graphing the Prelude, we can answer some of the intriguing formal questions posed by Debussy's orchestral music. In particular, we will see how he developed four techniques-incomplete progressions, parenthetical epi- sodes, motivic compression, and tonal modeling-that fea- ture prominently in the Nocturnes (1897-99), La Mer (1903- 5), and the Images for orchestra (1905-13), and that allowed him to move away from nineteenth-century formal models.

It is hard to imagine a single work that captures the spirit of Debussy's style more obviously than the Prelude a "L'Apres-midi d'un faune"; ever since its premiere at the Societe nationale on 22 December 1894, musicians have tried to explain the elusive logic alluded to by Debussy.22 These

spotting," as he made clear in an essay for Gil bias, 23 February 1903 (see Lesure, ed., Monsieur Croche, 102-4; Lesure and Smith, Debussy on Music, 126-27). Debussy occasionally rebuked specific theorists: Riemann (Lesure, ed., Lettres, 165; Lesure and Nichols, eds., Letters, 183); Louis (Lesure, ed., Lettres, 118; Lesure and Nichols, eds., Letters, 128-30); Lenormand (Lesure, ed., Lettres, 227; Lesure and Nichols, ed., Letters, 259-60); Dubois (Lesure, ed., Monsieur Croche, 212; Lesure and Smith, Debussy on Music, 268-69); and Emile Durand (Lesure, ed., Monsieur Croche, 29-30; Lesure and Smith, Debussy on Music, 21).

22For analyses of the Prelude see: William Austin, "Toward an Analytical Appreciation," in Debussy: Prelude to "The Afternoon of a Faun," ed. Aus- tin, 71-96; Barraque, Debussy (Paris: Seuil, 1962), 85-91; Laurence Berman, "Prelude to the Afternoon of a Faun and Jeux: Debussy's Summer Rites," Nineteenth-Century Music 3 (1980): 225-38; Leonard Bernstein, The Unan- swered Question (Cambridge: Harvard University Press, 1976), 238-59; Charles Burkhart, "Schenker's 'Motivic Parallelisms,' " Journal of Music

Theory 22 (1978): 155-58; John Crotty, "Symbolist Influences in Debussy's "Prelude to the Afternoon of a Faun," In Theory Only 11 (1982): 17-30; David Cox, Debussy's Orchestral Music (London: BBC, 1974), 9-18; Denijs Dille, "Inleiding tot het vormbegrip bij Debussy," in Melanges: Homage a Charles van den Borren (Anvers: De Nederlandsche Boekhandel, 1945), 145ff.; Christian Goubault, Claude Debussy (Paris: Champion, 1986), 136- 40; Peter Gilke, "Musik aus dem Bannkreis einer literarischen Aesthetik:

Debussys 'Prelude a l'Apres-midi d'un Faune,' "Jahrbuch Peters 1978, Auf- satze zur Musik 1, ed. E. Klemm (Leipzig: Peters, 1979), 103-46; James

Hepokoski, "Formulaic Openings in Debussy," Nineteenth-Century Music 8

On the other hand, by graphing the Prelude, we can answer some of the intriguing formal questions posed by Debussy's orchestral music. In particular, we will see how he developed four techniques-incomplete progressions, parenthetical epi- sodes, motivic compression, and tonal modeling-that fea- ture prominently in the Nocturnes (1897-99), La Mer (1903- 5), and the Images for orchestra (1905-13), and that allowed him to move away from nineteenth-century formal models.

It is hard to imagine a single work that captures the spirit of Debussy's style more obviously than the Prelude a "L'Apres-midi d'un faune"; ever since its premiere at the Societe nationale on 22 December 1894, musicians have tried to explain the elusive logic alluded to by Debussy.22 These

spotting," as he made clear in an essay for Gil bias, 23 February 1903 (see Lesure, ed., Monsieur Croche, 102-4; Lesure and Smith, Debussy on Music, 126-27). Debussy occasionally rebuked specific theorists: Riemann (Lesure, ed., Lettres, 165; Lesure and Nichols, eds., Letters, 183); Louis (Lesure, ed., Lettres, 118; Lesure and Nichols, eds., Letters, 128-30); Lenormand (Lesure, ed., Lettres, 227; Lesure and Nichols, ed., Letters, 259-60); Dubois (Lesure, ed., Monsieur Croche, 212; Lesure and Smith, Debussy on Music, 268-69); and Emile Durand (Lesure, ed., Monsieur Croche, 29-30; Lesure and Smith, Debussy on Music, 21).

22For analyses of the Prelude see: William Austin, "Toward an Analytical Appreciation," in Debussy: Prelude to "The Afternoon of a Faun," ed. Aus- tin, 71-96; Barraque, Debussy (Paris: Seuil, 1962), 85-91; Laurence Berman, "Prelude to the Afternoon of a Faun and Jeux: Debussy's Summer Rites," Nineteenth-Century Music 3 (1980): 225-38; Leonard Bernstein, The Unan- swered Question (Cambridge: Harvard University Press, 1976), 238-59; Charles Burkhart, "Schenker's 'Motivic Parallelisms,' " Journal of Music

Theory 22 (1978): 155-58; John Crotty, "Symbolist Influences in Debussy's "Prelude to the Afternoon of a Faun," In Theory Only 11 (1982): 17-30; David Cox, Debussy's Orchestral Music (London: BBC, 1974), 9-18; Denijs Dille, "Inleiding tot het vormbegrip bij Debussy," in Melanges: Homage a Charles van den Borren (Anvers: De Nederlandsche Boekhandel, 1945), 145ff.; Christian Goubault, Claude Debussy (Paris: Champion, 1986), 136- 40; Peter Gilke, "Musik aus dem Bannkreis einer literarischen Aesthetik:

Debussys 'Prelude a l'Apres-midi d'un Faune,' "Jahrbuch Peters 1978, Auf- satze zur Musik 1, ed. E. Klemm (Leipzig: Peters, 1979), 103-46; James

Hepokoski, "Formulaic Openings in Debussy," Nineteenth-Century Music 8

On the other hand, by graphing the Prelude, we can answer some of the intriguing formal questions posed by Debussy's orchestral music. In particular, we will see how he developed four techniques-incomplete progressions, parenthetical epi- sodes, motivic compression, and tonal modeling-that fea- ture prominently in the Nocturnes (1897-99), La Mer (1903- 5), and the Images for orchestra (1905-13), and that allowed him to move away from nineteenth-century formal models.

It is hard to imagine a single work that captures the spirit of Debussy's style more obviously than the Prelude a "L'Apres-midi d'un faune"; ever since its premiere at the Societe nationale on 22 December 1894, musicians have tried to explain the elusive logic alluded to by Debussy.22 These

spotting," as he made clear in an essay for Gil bias, 23 February 1903 (see Lesure, ed., Monsieur Croche, 102-4; Lesure and Smith, Debussy on Music, 126-27). Debussy occasionally rebuked specific theorists: Riemann (Lesure, ed., Lettres, 165; Lesure and Nichols, eds., Letters, 183); Louis (Lesure, ed., Lettres, 118; Lesure and Nichols, eds., Letters, 128-30); Lenormand (Lesure, ed., Lettres, 227; Lesure and Nichols, ed., Letters, 259-60); Dubois (Lesure, ed., Monsieur Croche, 212; Lesure and Smith, Debussy on Music, 268-69); and Emile Durand (Lesure, ed., Monsieur Croche, 29-30; Lesure and Smith, Debussy on Music, 21).

22For analyses of the Prelude see: William Austin, "Toward an Analytical Appreciation," in Debussy: Prelude to "The Afternoon of a Faun," ed. Aus- tin, 71-96; Barraque, Debussy (Paris: Seuil, 1962), 85-91; Laurence Berman, "Prelude to the Afternoon of a Faun and Jeux: Debussy's Summer Rites," Nineteenth-Century Music 3 (1980): 225-38; Leonard Bernstein, The Unan- swered Question (Cambridge: Harvard University Press, 1976), 238-59; Charles Burkhart, "Schenker's 'Motivic Parallelisms,' " Journal of Music

Theory 22 (1978): 155-58; John Crotty, "Symbolist Influences in Debussy's "Prelude to the Afternoon of a Faun," In Theory Only 11 (1982): 17-30; David Cox, Debussy's Orchestral Music (London: BBC, 1974), 9-18; Denijs Dille, "Inleiding tot het vormbegrip bij Debussy," in Melanges: Homage a Charles van den Borren (Anvers: De Nederlandsche Boekhandel, 1945), 145ff.; Christian Goubault, Claude Debussy (Paris: Champion, 1986), 136- 40; Peter Gilke, "Musik aus dem Bannkreis einer literarischen Aesthetik:

Debussys 'Prelude a l'Apres-midi d'un Faune,' "Jahrbuch Peters 1978, Auf- satze zur Musik 1, ed. E. Klemm (Leipzig: Peters, 1979), 103-46; James

Hepokoski, "Formulaic Openings in Debussy," Nineteenth-Century Music 8

On the other hand, by graphing the Prelude, we can answer some of the intriguing formal questions posed by Debussy's orchestral music. In particular, we will see how he developed four techniques-incomplete progressions, parenthetical epi- sodes, motivic compression, and tonal modeling-that fea- ture prominently in the Nocturnes (1897-99), La Mer (1903- 5), and the Images for orchestra (1905-13), and that allowed him to move away from nineteenth-century formal models.

It is hard to imagine a single work that captures the spirit of Debussy's style more obviously than the Prelude a "L'Apres-midi d'un faune"; ever since its premiere at the Societe nationale on 22 December 1894, musicians have tried to explain the elusive logic alluded to by Debussy.22 These

spotting," as he made clear in an essay for Gil bias, 23 February 1903 (see Lesure, ed., Monsieur Croche, 102-4; Lesure and Smith, Debussy on Music, 126-27). Debussy occasionally rebuked specific theorists: Riemann (Lesure, ed., Lettres, 165; Lesure and Nichols, eds., Letters, 183); Louis (Lesure, ed., Lettres, 118; Lesure and Nichols, eds., Letters, 128-30); Lenormand (Lesure, ed., Lettres, 227; Lesure and Nichols, ed., Letters, 259-60); Dubois (Lesure, ed., Monsieur Croche, 212; Lesure and Smith, Debussy on Music, 268-69); and Emile Durand (Lesure, ed., Monsieur Croche, 29-30; Lesure and Smith, Debussy on Music, 21).

22For analyses of the Prelude see: William Austin, "Toward an Analytical Appreciation," in Debussy: Prelude to "The Afternoon of a Faun," ed. Aus- tin, 71-96; Barraque, Debussy (Paris: Seuil, 1962), 85-91; Laurence Berman, "Prelude to the Afternoon of a Faun and Jeux: Debussy's Summer Rites," Nineteenth-Century Music 3 (1980): 225-38; Leonard Bernstein, The Unan- swered Question (Cambridge: Harvard University Press, 1976), 238-59; Charles Burkhart, "Schenker's 'Motivic Parallelisms,' " Journal of Music

Theory 22 (1978): 155-58; John Crotty, "Symbolist Influences in Debussy's "Prelude to the Afternoon of a Faun," In Theory Only 11 (1982): 17-30; David Cox, Debussy's Orchestral Music (London: BBC, 1974), 9-18; Denijs Dille, "Inleiding tot het vormbegrip bij Debussy," in Melanges: Homage a Charles van den Borren (Anvers: De Nederlandsche Boekhandel, 1945), 145ff.; Christian Goubault, Claude Debussy (Paris: Champion, 1986), 136- 40; Peter Gilke, "Musik aus dem Bannkreis einer literarischen Aesthetik:

Debussys 'Prelude a l'Apres-midi d'un Faune,' "Jahrbuch Peters 1978, Auf- satze zur Musik 1, ed. E. Klemm (Leipzig: Peters, 1979), 103-46; James

Hepokoski, "Formulaic Openings in Debussy," Nineteenth-Century Music 8

On the other hand, by graphing the Prelude, we can answer some of the intriguing formal questions posed by Debussy's orchestral music. In particular, we will see how he developed four techniques-incomplete progressions, parenthetical epi- sodes, motivic compression, and tonal modeling-that fea- ture prominently in the Nocturnes (1897-99), La Mer (1903- 5), and the Images for orchestra (1905-13), and that allowed him to move away from nineteenth-century formal models.

It is hard to imagine a single work that captures the spirit of Debussy's style more obviously than the Prelude a "L'Apres-midi d'un faune"; ever since its premiere at the Societe nationale on 22 December 1894, musicians have tried to explain the elusive logic alluded to by Debussy.22 These

spotting," as he made clear in an essay for Gil bias, 23 February 1903 (see Lesure, ed., Monsieur Croche, 102-4; Lesure and Smith, Debussy on Music, 126-27). Debussy occasionally rebuked specific theorists: Riemann (Lesure, ed., Lettres, 165; Lesure and Nichols, eds., Letters, 183); Louis (Lesure, ed., Lettres, 118; Lesure and Nichols, eds., Letters, 128-30); Lenormand (Lesure, ed., Lettres, 227; Lesure and Nichols, ed., Letters, 259-60); Dubois (Lesure, ed., Monsieur Croche, 212; Lesure and Smith, Debussy on Music, 268-69); and Emile Durand (Lesure, ed., Monsieur Croche, 29-30; Lesure and Smith, Debussy on Music, 21).

22For analyses of the Prelude see: William Austin, "Toward an Analytical Appreciation," in Debussy: Prelude to "The Afternoon of a Faun," ed. Aus- tin, 71-96; Barraque, Debussy (Paris: Seuil, 1962), 85-91; Laurence Berman, "Prelude to the Afternoon of a Faun and Jeux: Debussy's Summer Rites," Nineteenth-Century Music 3 (1980): 225-38; Leonard Bernstein, The Unan- swered Question (Cambridge: Harvard University Press, 1976), 238-59; Charles Burkhart, "Schenker's 'Motivic Parallelisms,' " Journal of Music

Theory 22 (1978): 155-58; John Crotty, "Symbolist Influences in Debussy's "Prelude to the Afternoon of a Faun," In Theory Only 11 (1982): 17-30; David Cox, Debussy's Orchestral Music (London: BBC, 1974), 9-18; Denijs Dille, "Inleiding tot het vormbegrip bij Debussy," in Melanges: Homage a Charles van den Borren (Anvers: De Nederlandsche Boekhandel, 1945), 145ff.; Christian Goubault, Claude Debussy (Paris: Champion, 1986), 136- 40; Peter Gilke, "Musik aus dem Bannkreis einer literarischen Aesthetik:

Debussys 'Prelude a l'Apres-midi d'un Faune,' "Jahrbuch Peters 1978, Auf- satze zur Musik 1, ed. E. Klemm (Leipzig: Peters, 1979), 103-46; James

Hepokoski, "Formulaic Openings in Debussy," Nineteenth-Century Music 8

On the other hand, by graphing the Prelude, we can answer some of the intriguing formal questions posed by Debussy's orchestral music. In particular, we will see how he developed four techniques-incomplete progressions, parenthetical epi- sodes, motivic compression, and tonal modeling-that fea- ture prominently in the Nocturnes (1897-99), La Mer (1903- 5), and the Images for orchestra (1905-13), and that allowed him to move away from nineteenth-century formal models.

It is hard to imagine a single work that captures the spirit of Debussy's style more obviously than the Prelude a "L'Apres-midi d'un faune"; ever since its premiere at the Societe nationale on 22 December 1894, musicians have tried to explain the elusive logic alluded to by Debussy.22 These

spotting," as he made clear in an essay for Gil bias, 23 February 1903 (see Lesure, ed., Monsieur Croche, 102-4; Lesure and Smith, Debussy on Music, 126-27). Debussy occasionally rebuked specific theorists: Riemann (Lesure, ed., Lettres, 165; Lesure and Nichols, eds., Letters, 183); Louis (Lesure, ed., Lettres, 118; Lesure and Nichols, eds., Letters, 128-30); Lenormand (Lesure, ed., Lettres, 227; Lesure and Nichols, ed., Letters, 259-60); Dubois (Lesure, ed., Monsieur Croche, 212; Lesure and Smith, Debussy on Music, 268-69); and Emile Durand (Lesure, ed., Monsieur Croche, 29-30; Lesure and Smith, Debussy on Music, 21).

22For analyses of the Prelude see: William Austin, "Toward an Analytical Appreciation," in Debussy: Prelude to "The Afternoon of a Faun," ed. Aus- tin, 71-96; Barraque, Debussy (Paris: Seuil, 1962), 85-91; Laurence Berman, "Prelude to the Afternoon of a Faun and Jeux: Debussy's Summer Rites," Nineteenth-Century Music 3 (1980): 225-38; Leonard Bernstein, The Unan- swered Question (Cambridge: Harvard University Press, 1976), 238-59; Charles Burkhart, "Schenker's 'Motivic Parallelisms,' " Journal of Music

Theory 22 (1978): 155-58; John Crotty, "Symbolist Influences in Debussy's "Prelude to the Afternoon of a Faun," In Theory Only 11 (1982): 17-30; David Cox, Debussy's Orchestral Music (London: BBC, 1974), 9-18; Denijs Dille, "Inleiding tot het vormbegrip bij Debussy," in Melanges: Homage a Charles van den Borren (Anvers: De Nederlandsche Boekhandel, 1945), 145ff.; Christian Goubault, Claude Debussy (Paris: Champion, 1986), 136- 40; Peter Gilke, "Musik aus dem Bannkreis einer literarischen Aesthetik:

Debussys 'Prelude a l'Apres-midi d'un Faune,' "Jahrbuch Peters 1978, Auf- satze zur Musik 1, ed. E. Klemm (Leipzig: Peters, 1979), 103-46; James

Hepokoski, "Formulaic Openings in Debussy," Nineteenth-Century Music 8

On the other hand, by graphing the Prelude, we can answer some of the intriguing formal questions posed by Debussy's orchestral music. In particular, we will see how he developed four techniques-incomplete progressions, parenthetical epi- sodes, motivic compression, and tonal modeling-that fea- ture prominently in the Nocturnes (1897-99), La Mer (1903- 5), and the Images for orchestra (1905-13), and that allowed him to move away from nineteenth-century formal models.

It is hard to imagine a single work that captures the spirit of Debussy's style more obviously than the Prelude a "L'Apres-midi d'un faune"; ever since its premiere at the Societe nationale on 22 December 1894, musicians have tried to explain the elusive logic alluded to by Debussy.22 These

spotting," as he made clear in an essay for Gil bias, 23 February 1903 (see Lesure, ed., Monsieur Croche, 102-4; Lesure and Smith, Debussy on Music, 126-27). Debussy occasionally rebuked specific theorists: Riemann (Lesure, ed., Lettres, 165; Lesure and Nichols, eds., Letters, 183); Louis (Lesure, ed., Lettres, 118; Lesure and Nichols, eds., Letters, 128-30); Lenormand (Lesure, ed., Lettres, 227; Lesure and Nichols, ed., Letters, 259-60); Dubois (Lesure, ed., Monsieur Croche, 212; Lesure and Smith, Debussy on Music, 268-69); and Emile Durand (Lesure, ed., Monsieur Croche, 29-30; Lesure and Smith, Debussy on Music, 21).

22For analyses of the Prelude see: William Austin, "Toward an Analytical Appreciation," in Debussy: Prelude to "The Afternoon of a Faun," ed. Aus- tin, 71-96; Barraque, Debussy (Paris: Seuil, 1962), 85-91; Laurence Berman, "Prelude to the Afternoon of a Faun and Jeux: Debussy's Summer Rites," Nineteenth-Century Music 3 (1980): 225-38; Leonard Bernstein, The Unan- swered Question (Cambridge: Harvard University Press, 1976), 238-59; Charles Burkhart, "Schenker's 'Motivic Parallelisms,' " Journal of Music

Theory 22 (1978): 155-58; John Crotty, "Symbolist Influences in Debussy's "Prelude to the Afternoon of a Faun," In Theory Only 11 (1982): 17-30; David Cox, Debussy's Orchestral Music (London: BBC, 1974), 9-18; Denijs Dille, "Inleiding tot het vormbegrip bij Debussy," in Melanges: Homage a Charles van den Borren (Anvers: De Nederlandsche Boekhandel, 1945), 145ff.; Christian Goubault, Claude Debussy (Paris: Champion, 1986), 136- 40; Peter Gilke, "Musik aus dem Bannkreis einer literarischen Aesthetik:

Debussys 'Prelude a l'Apres-midi d'un Faune,' "Jahrbuch Peters 1978, Auf- satze zur Musik 1, ed. E. Klemm (Leipzig: Peters, 1979), 103-46; James

Hepokoski, "Formulaic Openings in Debussy," Nineteenth-Century Music 8

On the other hand, by graphing the Prelude, we can answer some of the intriguing formal questions posed by Debussy's orchestral music. In particular, we will see how he developed four techniques-incomplete progressions, parenthetical epi- sodes, motivic compression, and tonal modeling-that fea- ture prominently in the Nocturnes (1897-99), La Mer (1903- 5), and the Images for orchestra (1905-13), and that allowed him to move away from nineteenth-century formal models.

It is hard to imagine a single work that captures the spirit of Debussy's style more obviously than the Prelude a "L'Apres-midi d'un faune"; ever since its premiere at the Societe nationale on 22 December 1894, musicians have tried to explain the elusive logic alluded to by Debussy.22 These

spotting," as he made clear in an essay for Gil bias, 23 February 1903 (see Lesure, ed., Monsieur Croche, 102-4; Lesure and Smith, Debussy on Music, 126-27). Debussy occasionally rebuked specific theorists: Riemann (Lesure, ed., Lettres, 165; Lesure and Nichols, eds., Letters, 183); Louis (Lesure, ed., Lettres, 118; Lesure and Nichols, eds., Letters, 128-30); Lenormand (Lesure, ed., Lettres, 227; Lesure and Nichols, ed., Letters, 259-60); Dubois (Lesure, ed., Monsieur Croche, 212; Lesure and Smith, Debussy on Music, 268-69); and Emile Durand (Lesure, ed., Monsieur Croche, 29-30; Lesure and Smith, Debussy on Music, 21).

22For analyses of the Prelude see: William Austin, "Toward an Analytical Appreciation," in Debussy: Prelude to "The Afternoon of a Faun," ed. Aus- tin, 71-96; Barraque, Debussy (Paris: Seuil, 1962), 85-91; Laurence Berman, "Prelude to the Afternoon of a Faun and Jeux: Debussy's Summer Rites," Nineteenth-Century Music 3 (1980): 225-38; Leonard Bernstein, The Unan- swered Question (Cambridge: Harvard University Press, 1976), 238-59; Charles Burkhart, "Schenker's 'Motivic Parallelisms,' " Journal of Music

Theory 22 (1978): 155-58; John Crotty, "Symbolist Influences in Debussy's "Prelude to the Afternoon of a Faun," In Theory Only 11 (1982): 17-30; David Cox, Debussy's Orchestral Music (London: BBC, 1974), 9-18; Denijs Dille, "Inleiding tot het vormbegrip bij Debussy," in Melanges: Homage a Charles van den Borren (Anvers: De Nederlandsche Boekhandel, 1945), 145ff.; Christian Goubault, Claude Debussy (Paris: Champion, 1986), 136- 40; Peter Gilke, "Musik aus dem Bannkreis einer literarischen Aesthetik:

Debussys 'Prelude a l'Apres-midi d'un Faune,' "Jahrbuch Peters 1978, Auf- satze zur Musik 1, ed. E. Klemm (Leipzig: Peters, 1979), 103-46; James

Hepokoski, "Formulaic Openings in Debussy," Nineteenth-Century Music 8

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 131 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 131 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 131 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 131 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 131 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 131 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 131 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 131 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 131 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 131 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 131

analyses generally agree about the location of the work's main formal divisions. As shown in Example 1, the piece is clearly articulated at mm. 30, 37, 55, 79, 94, and 106. The famous flute theme is presented in mm. 1-30 and 94-106 on Cf in E major (mm. 1- 30 end in V of E). Measures 30-37 contain whole-tone diminutions of the flute theme, and mm. 79-93 present sequential statements on E (mm. 79-85) and Eb (mm. 86-93). The coda presents a simplified version of the flute theme, again in E. A contrasting theme in the new key of Db is developed in mm. 55-78, while mm. 37-54 serve both as a transition to the D b theme and as a development of the flute theme.

Debates arise, however, when we try to explain the mo- tivic significance and tonal properties of each section.23 Four problems stand out: (1) Although mm. 1-30 center on E, the opening phrases are extremely abstruse tonally; the tonic E

(1984): 56-57; Roy Howat, Debussy in Proportion (Cambridge: Cambridge University Press, 1983), 149-53; Albert Jakobik, Debussy oder der lautlose Revolution in der Musik (Wirzburg: Konrad Triltsch, 1977), 30-44; Parks, Music of Debussy, especially 36-38, 224-25, 240-43, 263-67; Leonard B.

Meyer, Style and Music (Philadelphia: University of Pennsylvania Press, 1989), 223-25; David Neumeyer and Susan Tepping, A Guide to Schenkerian Analysis (Englewood Cliffs, NJ: Prentice-Hall, 1992), 39-40; Walter Piston and Mark DeVoto, Harmony, 4th ed., rev. (New York: Norton, 1976), 518- 20; Salzer, Structural Hearing, vol. 1, pp. 209-10 and vol. 2, Ex. 455; Arthur Wenk, Claude Debussy and the Poets (Berkeley: University of California Press, 1976), 148-70; and Wenk, Debussy and Twentieth-Century Music, 57-61.

23Berman, Dille, and Goubault claim that the Prelude is best treated as a continuous ternary form: A (mm. 1-30), transition (mm. 30-54), B (mm. 55-78), A' (mm. 79-106), Coda (mm. 106-10). Barraque and Howat regard the work as an arch form: A (mm. 1-30), A development (mm. 30-54), B (mm. 55-78), A' development (mm. 79-93), A' (mm. 94-106), Coda (mm. 106-10). Crotty offers a two-part reading: A (mm. 1-30, 30-37, 37-54); A' (mm. 55-78, 79-94, 94-106); Coda (mm. 106-10). Parks treats the Prelude as a variation form: Theme (mm. 1-10), Variation 1 (mm. 11-20), Var. 2 (mm. 21-30), Var. 3 (mm. 31-54), Var. 4 (mm. 55-78), Var. 5 (mm. 79-93), Var. 6 (mm. 94-99), Var. 7 (mm. 100-105), Var. 8 (mm. 106-10).

analyses generally agree about the location of the work's main formal divisions. As shown in Example 1, the piece is clearly articulated at mm. 30, 37, 55, 79, 94, and 106. The famous flute theme is presented in mm. 1-30 and 94-106 on Cf in E major (mm. 1- 30 end in V of E). Measures 30-37 contain whole-tone diminutions of the flute theme, and mm. 79-93 present sequential statements on E (mm. 79-85) and Eb (mm. 86-93). The coda presents a simplified version of the flute theme, again in E. A contrasting theme in the new key of Db is developed in mm. 55-78, while mm. 37-54 serve both as a transition to the D b theme and as a development of the flute theme.

Debates arise, however, when we try to explain the mo- tivic significance and tonal properties of each section.23 Four problems stand out: (1) Although mm. 1-30 center on E, the opening phrases are extremely abstruse tonally; the tonic E

(1984): 56-57; Roy Howat, Debussy in Proportion (Cambridge: Cambridge University Press, 1983), 149-53; Albert Jakobik, Debussy oder der lautlose Revolution in der Musik (Wirzburg: Konrad Triltsch, 1977), 30-44; Parks, Music of Debussy, especially 36-38, 224-25, 240-43, 263-67; Leonard B.

Meyer, Style and Music (Philadelphia: University of Pennsylvania Press, 1989), 223-25; David Neumeyer and Susan Tepping, A Guide to Schenkerian Analysis (Englewood Cliffs, NJ: Prentice-Hall, 1992), 39-40; Walter Piston and Mark DeVoto, Harmony, 4th ed., rev. (New York: Norton, 1976), 518- 20; Salzer, Structural Hearing, vol. 1, pp. 209-10 and vol. 2, Ex. 455; Arthur Wenk, Claude Debussy and the Poets (Berkeley: University of California Press, 1976), 148-70; and Wenk, Debussy and Twentieth-Century Music, 57-61.

23Berman, Dille, and Goubault claim that the Prelude is best treated as a continuous ternary form: A (mm. 1-30), transition (mm. 30-54), B (mm. 55-78), A' (mm. 79-106), Coda (mm. 106-10). Barraque and Howat regard the work as an arch form: A (mm. 1-30), A development (mm. 30-54), B (mm. 55-78), A' development (mm. 79-93), A' (mm. 94-106), Coda (mm. 106-10). Crotty offers a two-part reading: A (mm. 1-30, 30-37, 37-54); A' (mm. 55-78, 79-94, 94-106); Coda (mm. 106-10). Parks treats the Prelude as a variation form: Theme (mm. 1-10), Variation 1 (mm. 11-20), Var. 2 (mm. 21-30), Var. 3 (mm. 31-54), Var. 4 (mm. 55-78), Var. 5 (mm. 79-93), Var. 6 (mm. 94-99), Var. 7 (mm. 100-105), Var. 8 (mm. 106-10).

analyses generally agree about the location of the work's main formal divisions. As shown in Example 1, the piece is clearly articulated at mm. 30, 37, 55, 79, 94, and 106. The famous flute theme is presented in mm. 1-30 and 94-106 on Cf in E major (mm. 1- 30 end in V of E). Measures 30-37 contain whole-tone diminutions of the flute theme, and mm. 79-93 present sequential statements on E (mm. 79-85) and Eb (mm. 86-93). The coda presents a simplified version of the flute theme, again in E. A contrasting theme in the new key of Db is developed in mm. 55-78, while mm. 37-54 serve both as a transition to the D b theme and as a development of the flute theme.

Debates arise, however, when we try to explain the mo- tivic significance and tonal properties of each section.23 Four problems stand out: (1) Although mm. 1-30 center on E, the opening phrases are extremely abstruse tonally; the tonic E

(1984): 56-57; Roy Howat, Debussy in Proportion (Cambridge: Cambridge University Press, 1983), 149-53; Albert Jakobik, Debussy oder der lautlose Revolution in der Musik (Wirzburg: Konrad Triltsch, 1977), 30-44; Parks, Music of Debussy, especially 36-38, 224-25, 240-43, 263-67; Leonard B.

Meyer, Style and Music (Philadelphia: University of Pennsylvania Press, 1989), 223-25; David Neumeyer and Susan Tepping, A Guide to Schenkerian Analysis (Englewood Cliffs, NJ: Prentice-Hall, 1992), 39-40; Walter Piston and Mark DeVoto, Harmony, 4th ed., rev. (New York: Norton, 1976), 518- 20; Salzer, Structural Hearing, vol. 1, pp. 209-10 and vol. 2, Ex. 455; Arthur Wenk, Claude Debussy and the Poets (Berkeley: University of California Press, 1976), 148-70; and Wenk, Debussy and Twentieth-Century Music, 57-61.

23Berman, Dille, and Goubault claim that the Prelude is best treated as a continuous ternary form: A (mm. 1-30), transition (mm. 30-54), B (mm. 55-78), A' (mm. 79-106), Coda (mm. 106-10). Barraque and Howat regard the work as an arch form: A (mm. 1-30), A development (mm. 30-54), B (mm. 55-78), A' development (mm. 79-93), A' (mm. 94-106), Coda (mm. 106-10). Crotty offers a two-part reading: A (mm. 1-30, 30-37, 37-54); A' (mm. 55-78, 79-94, 94-106); Coda (mm. 106-10). Parks treats the Prelude as a variation form: Theme (mm. 1-10), Variation 1 (mm. 11-20), Var. 2 (mm. 21-30), Var. 3 (mm. 31-54), Var. 4 (mm. 55-78), Var. 5 (mm. 79-93), Var. 6 (mm. 94-99), Var. 7 (mm. 100-105), Var. 8 (mm. 106-10).

analyses generally agree about the location of the work's main formal divisions. As shown in Example 1, the piece is clearly articulated at mm. 30, 37, 55, 79, 94, and 106. The famous flute theme is presented in mm. 1-30 and 94-106 on Cf in E major (mm. 1- 30 end in V of E). Measures 30-37 contain whole-tone diminutions of the flute theme, and mm. 79-93 present sequential statements on E (mm. 79-85) and Eb (mm. 86-93). The coda presents a simplified version of the flute theme, again in E. A contrasting theme in the new key of Db is developed in mm. 55-78, while mm. 37-54 serve both as a transition to the D b theme and as a development of the flute theme.

Debates arise, however, when we try to explain the mo- tivic significance and tonal properties of each section.23 Four problems stand out: (1) Although mm. 1-30 center on E, the opening phrases are extremely abstruse tonally; the tonic E

(1984): 56-57; Roy Howat, Debussy in Proportion (Cambridge: Cambridge University Press, 1983), 149-53; Albert Jakobik, Debussy oder der lautlose Revolution in der Musik (Wirzburg: Konrad Triltsch, 1977), 30-44; Parks, Music of Debussy, especially 36-38, 224-25, 240-43, 263-67; Leonard B.

Meyer, Style and Music (Philadelphia: University of Pennsylvania Press, 1989), 223-25; David Neumeyer and Susan Tepping, A Guide to Schenkerian Analysis (Englewood Cliffs, NJ: Prentice-Hall, 1992), 39-40; Walter Piston and Mark DeVoto, Harmony, 4th ed., rev. (New York: Norton, 1976), 518- 20; Salzer, Structural Hearing, vol. 1, pp. 209-10 and vol. 2, Ex. 455; Arthur Wenk, Claude Debussy and the Poets (Berkeley: University of California Press, 1976), 148-70; and Wenk, Debussy and Twentieth-Century Music, 57-61.

23Berman, Dille, and Goubault claim that the Prelude is best treated as a continuous ternary form: A (mm. 1-30), transition (mm. 30-54), B (mm. 55-78), A' (mm. 79-106), Coda (mm. 106-10). Barraque and Howat regard the work as an arch form: A (mm. 1-30), A development (mm. 30-54), B (mm. 55-78), A' development (mm. 79-93), A' (mm. 94-106), Coda (mm. 106-10). Crotty offers a two-part reading: A (mm. 1-30, 30-37, 37-54); A' (mm. 55-78, 79-94, 94-106); Coda (mm. 106-10). Parks treats the Prelude as a variation form: Theme (mm. 1-10), Variation 1 (mm. 11-20), Var. 2 (mm. 21-30), Var. 3 (mm. 31-54), Var. 4 (mm. 55-78), Var. 5 (mm. 79-93), Var. 6 (mm. 94-99), Var. 7 (mm. 100-105), Var. 8 (mm. 106-10).

analyses generally agree about the location of the work's main formal divisions. As shown in Example 1, the piece is clearly articulated at mm. 30, 37, 55, 79, 94, and 106. The famous flute theme is presented in mm. 1-30 and 94-106 on Cf in E major (mm. 1- 30 end in V of E). Measures 30-37 contain whole-tone diminutions of the flute theme, and mm. 79-93 present sequential statements on E (mm. 79-85) and Eb (mm. 86-93). The coda presents a simplified version of the flute theme, again in E. A contrasting theme in the new key of Db is developed in mm. 55-78, while mm. 37-54 serve both as a transition to the D b theme and as a development of the flute theme.

Debates arise, however, when we try to explain the mo- tivic significance and tonal properties of each section.23 Four problems stand out: (1) Although mm. 1-30 center on E, the opening phrases are extremely abstruse tonally; the tonic E

(1984): 56-57; Roy Howat, Debussy in Proportion (Cambridge: Cambridge University Press, 1983), 149-53; Albert Jakobik, Debussy oder der lautlose Revolution in der Musik (Wirzburg: Konrad Triltsch, 1977), 30-44; Parks, Music of Debussy, especially 36-38, 224-25, 240-43, 263-67; Leonard B.

Meyer, Style and Music (Philadelphia: University of Pennsylvania Press, 1989), 223-25; David Neumeyer and Susan Tepping, A Guide to Schenkerian Analysis (Englewood Cliffs, NJ: Prentice-Hall, 1992), 39-40; Walter Piston and Mark DeVoto, Harmony, 4th ed., rev. (New York: Norton, 1976), 518- 20; Salzer, Structural Hearing, vol. 1, pp. 209-10 and vol. 2, Ex. 455; Arthur Wenk, Claude Debussy and the Poets (Berkeley: University of California Press, 1976), 148-70; and Wenk, Debussy and Twentieth-Century Music, 57-61.

23Berman, Dille, and Goubault claim that the Prelude is best treated as a continuous ternary form: A (mm. 1-30), transition (mm. 30-54), B (mm. 55-78), A' (mm. 79-106), Coda (mm. 106-10). Barraque and Howat regard the work as an arch form: A (mm. 1-30), A development (mm. 30-54), B (mm. 55-78), A' development (mm. 79-93), A' (mm. 94-106), Coda (mm. 106-10). Crotty offers a two-part reading: A (mm. 1-30, 30-37, 37-54); A' (mm. 55-78, 79-94, 94-106); Coda (mm. 106-10). Parks treats the Prelude as a variation form: Theme (mm. 1-10), Variation 1 (mm. 11-20), Var. 2 (mm. 21-30), Var. 3 (mm. 31-54), Var. 4 (mm. 55-78), Var. 5 (mm. 79-93), Var. 6 (mm. 94-99), Var. 7 (mm. 100-105), Var. 8 (mm. 106-10).

analyses generally agree about the location of the work's main formal divisions. As shown in Example 1, the piece is clearly articulated at mm. 30, 37, 55, 79, 94, and 106. The famous flute theme is presented in mm. 1-30 and 94-106 on Cf in E major (mm. 1- 30 end in V of E). Measures 30-37 contain whole-tone diminutions of the flute theme, and mm. 79-93 present sequential statements on E (mm. 79-85) and Eb (mm. 86-93). The coda presents a simplified version of the flute theme, again in E. A contrasting theme in the new key of Db is developed in mm. 55-78, while mm. 37-54 serve both as a transition to the D b theme and as a development of the flute theme.

Debates arise, however, when we try to explain the mo- tivic significance and tonal properties of each section.23 Four problems stand out: (1) Although mm. 1-30 center on E, the opening phrases are extremely abstruse tonally; the tonic E

(1984): 56-57; Roy Howat, Debussy in Proportion (Cambridge: Cambridge University Press, 1983), 149-53; Albert Jakobik, Debussy oder der lautlose Revolution in der Musik (Wirzburg: Konrad Triltsch, 1977), 30-44; Parks, Music of Debussy, especially 36-38, 224-25, 240-43, 263-67; Leonard B.

Meyer, Style and Music (Philadelphia: University of Pennsylvania Press, 1989), 223-25; David Neumeyer and Susan Tepping, A Guide to Schenkerian Analysis (Englewood Cliffs, NJ: Prentice-Hall, 1992), 39-40; Walter Piston and Mark DeVoto, Harmony, 4th ed., rev. (New York: Norton, 1976), 518- 20; Salzer, Structural Hearing, vol. 1, pp. 209-10 and vol. 2, Ex. 455; Arthur Wenk, Claude Debussy and the Poets (Berkeley: University of California Press, 1976), 148-70; and Wenk, Debussy and Twentieth-Century Music, 57-61.

23Berman, Dille, and Goubault claim that the Prelude is best treated as a continuous ternary form: A (mm. 1-30), transition (mm. 30-54), B (mm. 55-78), A' (mm. 79-106), Coda (mm. 106-10). Barraque and Howat regard the work as an arch form: A (mm. 1-30), A development (mm. 30-54), B (mm. 55-78), A' development (mm. 79-93), A' (mm. 94-106), Coda (mm. 106-10). Crotty offers a two-part reading: A (mm. 1-30, 30-37, 37-54); A' (mm. 55-78, 79-94, 94-106); Coda (mm. 106-10). Parks treats the Prelude as a variation form: Theme (mm. 1-10), Variation 1 (mm. 11-20), Var. 2 (mm. 21-30), Var. 3 (mm. 31-54), Var. 4 (mm. 55-78), Var. 5 (mm. 79-93), Var. 6 (mm. 94-99), Var. 7 (mm. 100-105), Var. 8 (mm. 106-10).

analyses generally agree about the location of the work's main formal divisions. As shown in Example 1, the piece is clearly articulated at mm. 30, 37, 55, 79, 94, and 106. The famous flute theme is presented in mm. 1-30 and 94-106 on Cf in E major (mm. 1- 30 end in V of E). Measures 30-37 contain whole-tone diminutions of the flute theme, and mm. 79-93 present sequential statements on E (mm. 79-85) and Eb (mm. 86-93). The coda presents a simplified version of the flute theme, again in E. A contrasting theme in the new key of Db is developed in mm. 55-78, while mm. 37-54 serve both as a transition to the D b theme and as a development of the flute theme.

Debates arise, however, when we try to explain the mo- tivic significance and tonal properties of each section.23 Four problems stand out: (1) Although mm. 1-30 center on E, the opening phrases are extremely abstruse tonally; the tonic E

(1984): 56-57; Roy Howat, Debussy in Proportion (Cambridge: Cambridge University Press, 1983), 149-53; Albert Jakobik, Debussy oder der lautlose Revolution in der Musik (Wirzburg: Konrad Triltsch, 1977), 30-44; Parks, Music of Debussy, especially 36-38, 224-25, 240-43, 263-67; Leonard B.

Meyer, Style and Music (Philadelphia: University of Pennsylvania Press, 1989), 223-25; David Neumeyer and Susan Tepping, A Guide to Schenkerian Analysis (Englewood Cliffs, NJ: Prentice-Hall, 1992), 39-40; Walter Piston and Mark DeVoto, Harmony, 4th ed., rev. (New York: Norton, 1976), 518- 20; Salzer, Structural Hearing, vol. 1, pp. 209-10 and vol. 2, Ex. 455; Arthur Wenk, Claude Debussy and the Poets (Berkeley: University of California Press, 1976), 148-70; and Wenk, Debussy and Twentieth-Century Music, 57-61.

23Berman, Dille, and Goubault claim that the Prelude is best treated as a continuous ternary form: A (mm. 1-30), transition (mm. 30-54), B (mm. 55-78), A' (mm. 79-106), Coda (mm. 106-10). Barraque and Howat regard the work as an arch form: A (mm. 1-30), A development (mm. 30-54), B (mm. 55-78), A' development (mm. 79-93), A' (mm. 94-106), Coda (mm. 106-10). Crotty offers a two-part reading: A (mm. 1-30, 30-37, 37-54); A' (mm. 55-78, 79-94, 94-106); Coda (mm. 106-10). Parks treats the Prelude as a variation form: Theme (mm. 1-10), Variation 1 (mm. 11-20), Var. 2 (mm. 21-30), Var. 3 (mm. 31-54), Var. 4 (mm. 55-78), Var. 5 (mm. 79-93), Var. 6 (mm. 94-99), Var. 7 (mm. 100-105), Var. 8 (mm. 106-10).

analyses generally agree about the location of the work's main formal divisions. As shown in Example 1, the piece is clearly articulated at mm. 30, 37, 55, 79, 94, and 106. The famous flute theme is presented in mm. 1-30 and 94-106 on Cf in E major (mm. 1- 30 end in V of E). Measures 30-37 contain whole-tone diminutions of the flute theme, and mm. 79-93 present sequential statements on E (mm. 79-85) and Eb (mm. 86-93). The coda presents a simplified version of the flute theme, again in E. A contrasting theme in the new key of Db is developed in mm. 55-78, while mm. 37-54 serve both as a transition to the D b theme and as a development of the flute theme.

Debates arise, however, when we try to explain the mo- tivic significance and tonal properties of each section.23 Four problems stand out: (1) Although mm. 1-30 center on E, the opening phrases are extremely abstruse tonally; the tonic E

(1984): 56-57; Roy Howat, Debussy in Proportion (Cambridge: Cambridge University Press, 1983), 149-53; Albert Jakobik, Debussy oder der lautlose Revolution in der Musik (Wirzburg: Konrad Triltsch, 1977), 30-44; Parks, Music of Debussy, especially 36-38, 224-25, 240-43, 263-67; Leonard B.

Meyer, Style and Music (Philadelphia: University of Pennsylvania Press, 1989), 223-25; David Neumeyer and Susan Tepping, A Guide to Schenkerian Analysis (Englewood Cliffs, NJ: Prentice-Hall, 1992), 39-40; Walter Piston and Mark DeVoto, Harmony, 4th ed., rev. (New York: Norton, 1976), 518- 20; Salzer, Structural Hearing, vol. 1, pp. 209-10 and vol. 2, Ex. 455; Arthur Wenk, Claude Debussy and the Poets (Berkeley: University of California Press, 1976), 148-70; and Wenk, Debussy and Twentieth-Century Music, 57-61.

23Berman, Dille, and Goubault claim that the Prelude is best treated as a continuous ternary form: A (mm. 1-30), transition (mm. 30-54), B (mm. 55-78), A' (mm. 79-106), Coda (mm. 106-10). Barraque and Howat regard the work as an arch form: A (mm. 1-30), A development (mm. 30-54), B (mm. 55-78), A' development (mm. 79-93), A' (mm. 94-106), Coda (mm. 106-10). Crotty offers a two-part reading: A (mm. 1-30, 30-37, 37-54); A' (mm. 55-78, 79-94, 94-106); Coda (mm. 106-10). Parks treats the Prelude as a variation form: Theme (mm. 1-10), Variation 1 (mm. 11-20), Var. 2 (mm. 21-30), Var. 3 (mm. 31-54), Var. 4 (mm. 55-78), Var. 5 (mm. 79-93), Var. 6 (mm. 94-99), Var. 7 (mm. 100-105), Var. 8 (mm. 106-10).

analyses generally agree about the location of the work's main formal divisions. As shown in Example 1, the piece is clearly articulated at mm. 30, 37, 55, 79, 94, and 106. The famous flute theme is presented in mm. 1-30 and 94-106 on Cf in E major (mm. 1- 30 end in V of E). Measures 30-37 contain whole-tone diminutions of the flute theme, and mm. 79-93 present sequential statements on E (mm. 79-85) and Eb (mm. 86-93). The coda presents a simplified version of the flute theme, again in E. A contrasting theme in the new key of Db is developed in mm. 55-78, while mm. 37-54 serve both as a transition to the D b theme and as a development of the flute theme.

Debates arise, however, when we try to explain the mo- tivic significance and tonal properties of each section.23 Four problems stand out: (1) Although mm. 1-30 center on E, the opening phrases are extremely abstruse tonally; the tonic E

(1984): 56-57; Roy Howat, Debussy in Proportion (Cambridge: Cambridge University Press, 1983), 149-53; Albert Jakobik, Debussy oder der lautlose Revolution in der Musik (Wirzburg: Konrad Triltsch, 1977), 30-44; Parks, Music of Debussy, especially 36-38, 224-25, 240-43, 263-67; Leonard B.

Meyer, Style and Music (Philadelphia: University of Pennsylvania Press, 1989), 223-25; David Neumeyer and Susan Tepping, A Guide to Schenkerian Analysis (Englewood Cliffs, NJ: Prentice-Hall, 1992), 39-40; Walter Piston and Mark DeVoto, Harmony, 4th ed., rev. (New York: Norton, 1976), 518- 20; Salzer, Structural Hearing, vol. 1, pp. 209-10 and vol. 2, Ex. 455; Arthur Wenk, Claude Debussy and the Poets (Berkeley: University of California Press, 1976), 148-70; and Wenk, Debussy and Twentieth-Century Music, 57-61.

23Berman, Dille, and Goubault claim that the Prelude is best treated as a continuous ternary form: A (mm. 1-30), transition (mm. 30-54), B (mm. 55-78), A' (mm. 79-106), Coda (mm. 106-10). Barraque and Howat regard the work as an arch form: A (mm. 1-30), A development (mm. 30-54), B (mm. 55-78), A' development (mm. 79-93), A' (mm. 94-106), Coda (mm. 106-10). Crotty offers a two-part reading: A (mm. 1-30, 30-37, 37-54); A' (mm. 55-78, 79-94, 94-106); Coda (mm. 106-10). Parks treats the Prelude as a variation form: Theme (mm. 1-10), Variation 1 (mm. 11-20), Var. 2 (mm. 21-30), Var. 3 (mm. 31-54), Var. 4 (mm. 55-78), Var. 5 (mm. 79-93), Var. 6 (mm. 94-99), Var. 7 (mm. 100-105), Var. 8 (mm. 106-10).

analyses generally agree about the location of the work's main formal divisions. As shown in Example 1, the piece is clearly articulated at mm. 30, 37, 55, 79, 94, and 106. The famous flute theme is presented in mm. 1-30 and 94-106 on Cf in E major (mm. 1- 30 end in V of E). Measures 30-37 contain whole-tone diminutions of the flute theme, and mm. 79-93 present sequential statements on E (mm. 79-85) and Eb (mm. 86-93). The coda presents a simplified version of the flute theme, again in E. A contrasting theme in the new key of Db is developed in mm. 55-78, while mm. 37-54 serve both as a transition to the D b theme and as a development of the flute theme.

Debates arise, however, when we try to explain the mo- tivic significance and tonal properties of each section.23 Four problems stand out: (1) Although mm. 1-30 center on E, the opening phrases are extremely abstruse tonally; the tonic E

(1984): 56-57; Roy Howat, Debussy in Proportion (Cambridge: Cambridge University Press, 1983), 149-53; Albert Jakobik, Debussy oder der lautlose Revolution in der Musik (Wirzburg: Konrad Triltsch, 1977), 30-44; Parks, Music of Debussy, especially 36-38, 224-25, 240-43, 263-67; Leonard B.

Meyer, Style and Music (Philadelphia: University of Pennsylvania Press, 1989), 223-25; David Neumeyer and Susan Tepping, A Guide to Schenkerian Analysis (Englewood Cliffs, NJ: Prentice-Hall, 1992), 39-40; Walter Piston and Mark DeVoto, Harmony, 4th ed., rev. (New York: Norton, 1976), 518- 20; Salzer, Structural Hearing, vol. 1, pp. 209-10 and vol. 2, Ex. 455; Arthur Wenk, Claude Debussy and the Poets (Berkeley: University of California Press, 1976), 148-70; and Wenk, Debussy and Twentieth-Century Music, 57-61.

23Berman, Dille, and Goubault claim that the Prelude is best treated as a continuous ternary form: A (mm. 1-30), transition (mm. 30-54), B (mm. 55-78), A' (mm. 79-106), Coda (mm. 106-10). Barraque and Howat regard the work as an arch form: A (mm. 1-30), A development (mm. 30-54), B (mm. 55-78), A' development (mm. 79-93), A' (mm. 94-106), Coda (mm. 106-10). Crotty offers a two-part reading: A (mm. 1-30, 30-37, 37-54); A' (mm. 55-78, 79-94, 94-106); Coda (mm. 106-10). Parks treats the Prelude as a variation form: Theme (mm. 1-10), Variation 1 (mm. 11-20), Var. 2 (mm. 21-30), Var. 3 (mm. 31-54), Var. 4 (mm. 55-78), Var. 5 (mm. 79-93), Var. 6 (mm. 94-99), Var. 7 (mm. 100-105), Var. 8 (mm. 106-10).

analyses generally agree about the location of the work's main formal divisions. As shown in Example 1, the piece is clearly articulated at mm. 30, 37, 55, 79, 94, and 106. The famous flute theme is presented in mm. 1-30 and 94-106 on Cf in E major (mm. 1- 30 end in V of E). Measures 30-37 contain whole-tone diminutions of the flute theme, and mm. 79-93 present sequential statements on E (mm. 79-85) and Eb (mm. 86-93). The coda presents a simplified version of the flute theme, again in E. A contrasting theme in the new key of Db is developed in mm. 55-78, while mm. 37-54 serve both as a transition to the D b theme and as a development of the flute theme.

Debates arise, however, when we try to explain the mo- tivic significance and tonal properties of each section.23 Four problems stand out: (1) Although mm. 1-30 center on E, the opening phrases are extremely abstruse tonally; the tonic E

(1984): 56-57; Roy Howat, Debussy in Proportion (Cambridge: Cambridge University Press, 1983), 149-53; Albert Jakobik, Debussy oder der lautlose Revolution in der Musik (Wirzburg: Konrad Triltsch, 1977), 30-44; Parks, Music of Debussy, especially 36-38, 224-25, 240-43, 263-67; Leonard B.

Meyer, Style and Music (Philadelphia: University of Pennsylvania Press, 1989), 223-25; David Neumeyer and Susan Tepping, A Guide to Schenkerian Analysis (Englewood Cliffs, NJ: Prentice-Hall, 1992), 39-40; Walter Piston and Mark DeVoto, Harmony, 4th ed., rev. (New York: Norton, 1976), 518- 20; Salzer, Structural Hearing, vol. 1, pp. 209-10 and vol. 2, Ex. 455; Arthur Wenk, Claude Debussy and the Poets (Berkeley: University of California Press, 1976), 148-70; and Wenk, Debussy and Twentieth-Century Music, 57-61.

23Berman, Dille, and Goubault claim that the Prelude is best treated as a continuous ternary form: A (mm. 1-30), transition (mm. 30-54), B (mm. 55-78), A' (mm. 79-106), Coda (mm. 106-10). Barraque and Howat regard the work as an arch form: A (mm. 1-30), A development (mm. 30-54), B (mm. 55-78), A' development (mm. 79-93), A' (mm. 94-106), Coda (mm. 106-10). Crotty offers a two-part reading: A (mm. 1-30, 30-37, 37-54); A' (mm. 55-78, 79-94, 94-106); Coda (mm. 106-10). Parks treats the Prelude as a variation form: Theme (mm. 1-10), Variation 1 (mm. 11-20), Var. 2 (mm. 21-30), Var. 3 (mm. 31-54), Var. 4 (mm. 55-78), Var. 5 (mm. 79-93), Var. 6 (mm. 94-99), Var. 7 (mm. 100-105), Var. 8 (mm. 106-10).

does not appear until m. 13, and is not confirmed by a closed progression until mm. 21-26. (2) It is not obvious how mm. 30-54 relate to their surroundings; the whole-tone chords (mm. 30-37) are particularly hard to fathom from a tonal perspective. (3) While the B section (mm. 55-78) establishes a new theme and key area, the precise layout of this passage is far from obvious. (4) It is hard to decide whether mm. 79-106 are better regarded as two segments (mm. 79-93 and 94-106) or as a single span. To resolve these dilemmas, let us examine the four sections in depth.

Few passages in the standard repertory are more obscure than the opening of the Prelude. At first sight, the sinuous flute theme and its shimmering accompaniment seem quite removed from the familiar world of common-practice tonal- ity. Eventually E emerges as tonic in m. 13, but it is unclear how the seventh chords on At, Bb, and D (mm. 4-12) pre- pare the tonic. Opinions differ widely about the tonal func- tion of these harmonies. Some, such as Felix Salzer and James Hepokoski, propose that the tonic chord is implied from m. 1. Salzer's graph of mm. 1-30 adds a virtual tonic chord in parentheses and treats the opening Ct of the melody as a neighbor tone to the following B (m. 1). Although Salzer marks very few roman numerals (the V-I progression at m. 13 is a notable exception), he adds two small arrows in mm. 4 and 5. These suggest that the A# and Bb sevenths arise contrapuntally and link the virtual tonic of m. 1 to the D seventh in m. 11. Hepokoski likewise marks a tonic at the opening, and suggests that the opening flute arabesque ex- pands the apparent "contradiction" between A#07 (VII of V in E) and B,7 (V7 of D# or V7 of V in Gt). The latter apparently acts as a German sixth to the D7 in m. 11, pre- sumably with an elision to its normal resolution (V7 of D). Hepokoski then proposes that the bass tones D (m. 11) and DO (m. 13) are neighbors to the root E (m. 13).

Other writers, however, have been reluctant to make func- tional ascriptions of any sort. John Crotty regards mm. 1-13

does not appear until m. 13, and is not confirmed by a closed progression until mm. 21-26. (2) It is not obvious how mm. 30-54 relate to their surroundings; the whole-tone chords (mm. 30-37) are particularly hard to fathom from a tonal perspective. (3) While the B section (mm. 55-78) establishes a new theme and key area, the precise layout of this passage is far from obvious. (4) It is hard to decide whether mm. 79-106 are better regarded as two segments (mm. 79-93 and 94-106) or as a single span. To resolve these dilemmas, let us examine the four sections in depth.

Few passages in the standard repertory are more obscure than the opening of the Prelude. At first sight, the sinuous flute theme and its shimmering accompaniment seem quite removed from the familiar world of common-practice tonal- ity. Eventually E emerges as tonic in m. 13, but it is unclear how the seventh chords on At, Bb, and D (mm. 4-12) pre- pare the tonic. Opinions differ widely about the tonal func- tion of these harmonies. Some, such as Felix Salzer and James Hepokoski, propose that the tonic chord is implied from m. 1. Salzer's graph of mm. 1-30 adds a virtual tonic chord in parentheses and treats the opening Ct of the melody as a neighbor tone to the following B (m. 1). Although Salzer marks very few roman numerals (the V-I progression at m. 13 is a notable exception), he adds two small arrows in mm. 4 and 5. These suggest that the A# and Bb sevenths arise contrapuntally and link the virtual tonic of m. 1 to the D seventh in m. 11. Hepokoski likewise marks a tonic at the opening, and suggests that the opening flute arabesque ex- pands the apparent "contradiction" between A#07 (VII of V in E) and B,7 (V7 of D# or V7 of V in Gt). The latter apparently acts as a German sixth to the D7 in m. 11, pre- sumably with an elision to its normal resolution (V7 of D). Hepokoski then proposes that the bass tones D (m. 11) and DO (m. 13) are neighbors to the root E (m. 13).

Other writers, however, have been reluctant to make func- tional ascriptions of any sort. John Crotty regards mm. 1-13

does not appear until m. 13, and is not confirmed by a closed progression until mm. 21-26. (2) It is not obvious how mm. 30-54 relate to their surroundings; the whole-tone chords (mm. 30-37) are particularly hard to fathom from a tonal perspective. (3) While the B section (mm. 55-78) establishes a new theme and key area, the precise layout of this passage is far from obvious. (4) It is hard to decide whether mm. 79-106 are better regarded as two segments (mm. 79-93 and 94-106) or as a single span. To resolve these dilemmas, let us examine the four sections in depth.

Few passages in the standard repertory are more obscure than the opening of the Prelude. At first sight, the sinuous flute theme and its shimmering accompaniment seem quite removed from the familiar world of common-practice tonal- ity. Eventually E emerges as tonic in m. 13, but it is unclear how the seventh chords on At, Bb, and D (mm. 4-12) pre- pare the tonic. Opinions differ widely about the tonal func- tion of these harmonies. Some, such as Felix Salzer and James Hepokoski, propose that the tonic chord is implied from m. 1. Salzer's graph of mm. 1-30 adds a virtual tonic chord in parentheses and treats the opening Ct of the melody as a neighbor tone to the following B (m. 1). Although Salzer marks very few roman numerals (the V-I progression at m. 13 is a notable exception), he adds two small arrows in mm. 4 and 5. These suggest that the A# and Bb sevenths arise contrapuntally and link the virtual tonic of m. 1 to the D seventh in m. 11. Hepokoski likewise marks a tonic at the opening, and suggests that the opening flute arabesque ex- pands the apparent "contradiction" between A#07 (VII of V in E) and B,7 (V7 of D# or V7 of V in Gt). The latter apparently acts as a German sixth to the D7 in m. 11, pre- sumably with an elision to its normal resolution (V7 of D). Hepokoski then proposes that the bass tones D (m. 11) and DO (m. 13) are neighbors to the root E (m. 13).

Other writers, however, have been reluctant to make func- tional ascriptions of any sort. John Crotty regards mm. 1-13

does not appear until m. 13, and is not confirmed by a closed progression until mm. 21-26. (2) It is not obvious how mm. 30-54 relate to their surroundings; the whole-tone chords (mm. 30-37) are particularly hard to fathom from a tonal perspective. (3) While the B section (mm. 55-78) establishes a new theme and key area, the precise layout of this passage is far from obvious. (4) It is hard to decide whether mm. 79-106 are better regarded as two segments (mm. 79-93 and 94-106) or as a single span. To resolve these dilemmas, let us examine the four sections in depth.

Few passages in the standard repertory are more obscure than the opening of the Prelude. At first sight, the sinuous flute theme and its shimmering accompaniment seem quite removed from the familiar world of common-practice tonal- ity. Eventually E emerges as tonic in m. 13, but it is unclear how the seventh chords on At, Bb, and D (mm. 4-12) pre- pare the tonic. Opinions differ widely about the tonal func- tion of these harmonies. Some, such as Felix Salzer and James Hepokoski, propose that the tonic chord is implied from m. 1. Salzer's graph of mm. 1-30 adds a virtual tonic chord in parentheses and treats the opening Ct of the melody as a neighbor tone to the following B (m. 1). Although Salzer marks very few roman numerals (the V-I progression at m. 13 is a notable exception), he adds two small arrows in mm. 4 and 5. These suggest that the A# and Bb sevenths arise contrapuntally and link the virtual tonic of m. 1 to the D seventh in m. 11. Hepokoski likewise marks a tonic at the opening, and suggests that the opening flute arabesque ex- pands the apparent "contradiction" between A#07 (VII of V in E) and B,7 (V7 of D# or V7 of V in Gt). The latter apparently acts as a German sixth to the D7 in m. 11, pre- sumably with an elision to its normal resolution (V7 of D). Hepokoski then proposes that the bass tones D (m. 11) and DO (m. 13) are neighbors to the root E (m. 13).

Other writers, however, have been reluctant to make func- tional ascriptions of any sort. John Crotty regards mm. 1-13

does not appear until m. 13, and is not confirmed by a closed progression until mm. 21-26. (2) It is not obvious how mm. 30-54 relate to their surroundings; the whole-tone chords (mm. 30-37) are particularly hard to fathom from a tonal perspective. (3) While the B section (mm. 55-78) establishes a new theme and key area, the precise layout of this passage is far from obvious. (4) It is hard to decide whether mm. 79-106 are better regarded as two segments (mm. 79-93 and 94-106) or as a single span. To resolve these dilemmas, let us examine the four sections in depth.

Few passages in the standard repertory are more obscure than the opening of the Prelude. At first sight, the sinuous flute theme and its shimmering accompaniment seem quite removed from the familiar world of common-practice tonal- ity. Eventually E emerges as tonic in m. 13, but it is unclear how the seventh chords on At, Bb, and D (mm. 4-12) pre- pare the tonic. Opinions differ widely about the tonal func- tion of these harmonies. Some, such as Felix Salzer and James Hepokoski, propose that the tonic chord is implied from m. 1. Salzer's graph of mm. 1-30 adds a virtual tonic chord in parentheses and treats the opening Ct of the melody as a neighbor tone to the following B (m. 1). Although Salzer marks very few roman numerals (the V-I progression at m. 13 is a notable exception), he adds two small arrows in mm. 4 and 5. These suggest that the A# and Bb sevenths arise contrapuntally and link the virtual tonic of m. 1 to the D seventh in m. 11. Hepokoski likewise marks a tonic at the opening, and suggests that the opening flute arabesque ex- pands the apparent "contradiction" between A#07 (VII of V in E) and B,7 (V7 of D# or V7 of V in Gt). The latter apparently acts as a German sixth to the D7 in m. 11, pre- sumably with an elision to its normal resolution (V7 of D). Hepokoski then proposes that the bass tones D (m. 11) and DO (m. 13) are neighbors to the root E (m. 13).

Other writers, however, have been reluctant to make func- tional ascriptions of any sort. John Crotty regards mm. 1-13

does not appear until m. 13, and is not confirmed by a closed progression until mm. 21-26. (2) It is not obvious how mm. 30-54 relate to their surroundings; the whole-tone chords (mm. 30-37) are particularly hard to fathom from a tonal perspective. (3) While the B section (mm. 55-78) establishes a new theme and key area, the precise layout of this passage is far from obvious. (4) It is hard to decide whether mm. 79-106 are better regarded as two segments (mm. 79-93 and 94-106) or as a single span. To resolve these dilemmas, let us examine the four sections in depth.

Few passages in the standard repertory are more obscure than the opening of the Prelude. At first sight, the sinuous flute theme and its shimmering accompaniment seem quite removed from the familiar world of common-practice tonal- ity. Eventually E emerges as tonic in m. 13, but it is unclear how the seventh chords on At, Bb, and D (mm. 4-12) pre- pare the tonic. Opinions differ widely about the tonal func- tion of these harmonies. Some, such as Felix Salzer and James Hepokoski, propose that the tonic chord is implied from m. 1. Salzer's graph of mm. 1-30 adds a virtual tonic chord in parentheses and treats the opening Ct of the melody as a neighbor tone to the following B (m. 1). Although Salzer marks very few roman numerals (the V-I progression at m. 13 is a notable exception), he adds two small arrows in mm. 4 and 5. These suggest that the A# and Bb sevenths arise contrapuntally and link the virtual tonic of m. 1 to the D seventh in m. 11. Hepokoski likewise marks a tonic at the opening, and suggests that the opening flute arabesque ex- pands the apparent "contradiction" between A#07 (VII of V in E) and B,7 (V7 of D# or V7 of V in Gt). The latter apparently acts as a German sixth to the D7 in m. 11, pre- sumably with an elision to its normal resolution (V7 of D). Hepokoski then proposes that the bass tones D (m. 11) and DO (m. 13) are neighbors to the root E (m. 13).

Other writers, however, have been reluctant to make func- tional ascriptions of any sort. John Crotty regards mm. 1-13

does not appear until m. 13, and is not confirmed by a closed progression until mm. 21-26. (2) It is not obvious how mm. 30-54 relate to their surroundings; the whole-tone chords (mm. 30-37) are particularly hard to fathom from a tonal perspective. (3) While the B section (mm. 55-78) establishes a new theme and key area, the precise layout of this passage is far from obvious. (4) It is hard to decide whether mm. 79-106 are better regarded as two segments (mm. 79-93 and 94-106) or as a single span. To resolve these dilemmas, let us examine the four sections in depth.

Few passages in the standard repertory are more obscure than the opening of the Prelude. At first sight, the sinuous flute theme and its shimmering accompaniment seem quite removed from the familiar world of common-practice tonal- ity. Eventually E emerges as tonic in m. 13, but it is unclear how the seventh chords on At, Bb, and D (mm. 4-12) pre- pare the tonic. Opinions differ widely about the tonal func- tion of these harmonies. Some, such as Felix Salzer and James Hepokoski, propose that the tonic chord is implied from m. 1. Salzer's graph of mm. 1-30 adds a virtual tonic chord in parentheses and treats the opening Ct of the melody as a neighbor tone to the following B (m. 1). Although Salzer marks very few roman numerals (the V-I progression at m. 13 is a notable exception), he adds two small arrows in mm. 4 and 5. These suggest that the A# and Bb sevenths arise contrapuntally and link the virtual tonic of m. 1 to the D seventh in m. 11. Hepokoski likewise marks a tonic at the opening, and suggests that the opening flute arabesque ex- pands the apparent "contradiction" between A#07 (VII of V in E) and B,7 (V7 of D# or V7 of V in Gt). The latter apparently acts as a German sixth to the D7 in m. 11, pre- sumably with an elision to its normal resolution (V7 of D). Hepokoski then proposes that the bass tones D (m. 11) and DO (m. 13) are neighbors to the root E (m. 13).

Other writers, however, have been reluctant to make func- tional ascriptions of any sort. John Crotty regards mm. 1-13

does not appear until m. 13, and is not confirmed by a closed progression until mm. 21-26. (2) It is not obvious how mm. 30-54 relate to their surroundings; the whole-tone chords (mm. 30-37) are particularly hard to fathom from a tonal perspective. (3) While the B section (mm. 55-78) establishes a new theme and key area, the precise layout of this passage is far from obvious. (4) It is hard to decide whether mm. 79-106 are better regarded as two segments (mm. 79-93 and 94-106) or as a single span. To resolve these dilemmas, let us examine the four sections in depth.

Few passages in the standard repertory are more obscure than the opening of the Prelude. At first sight, the sinuous flute theme and its shimmering accompaniment seem quite removed from the familiar world of common-practice tonal- ity. Eventually E emerges as tonic in m. 13, but it is unclear how the seventh chords on At, Bb, and D (mm. 4-12) pre- pare the tonic. Opinions differ widely about the tonal func- tion of these harmonies. Some, such as Felix Salzer and James Hepokoski, propose that the tonic chord is implied from m. 1. Salzer's graph of mm. 1-30 adds a virtual tonic chord in parentheses and treats the opening Ct of the melody as a neighbor tone to the following B (m. 1). Although Salzer marks very few roman numerals (the V-I progression at m. 13 is a notable exception), he adds two small arrows in mm. 4 and 5. These suggest that the A# and Bb sevenths arise contrapuntally and link the virtual tonic of m. 1 to the D seventh in m. 11. Hepokoski likewise marks a tonic at the opening, and suggests that the opening flute arabesque ex- pands the apparent "contradiction" between A#07 (VII of V in E) and B,7 (V7 of D# or V7 of V in Gt). The latter apparently acts as a German sixth to the D7 in m. 11, pre- sumably with an elision to its normal resolution (V7 of D). Hepokoski then proposes that the bass tones D (m. 11) and DO (m. 13) are neighbors to the root E (m. 13).

Other writers, however, have been reluctant to make func- tional ascriptions of any sort. John Crotty regards mm. 1-13

does not appear until m. 13, and is not confirmed by a closed progression until mm. 21-26. (2) It is not obvious how mm. 30-54 relate to their surroundings; the whole-tone chords (mm. 30-37) are particularly hard to fathom from a tonal perspective. (3) While the B section (mm. 55-78) establishes a new theme and key area, the precise layout of this passage is far from obvious. (4) It is hard to decide whether mm. 79-106 are better regarded as two segments (mm. 79-93 and 94-106) or as a single span. To resolve these dilemmas, let us examine the four sections in depth.

Few passages in the standard repertory are more obscure than the opening of the Prelude. At first sight, the sinuous flute theme and its shimmering accompaniment seem quite removed from the familiar world of common-practice tonal- ity. Eventually E emerges as tonic in m. 13, but it is unclear how the seventh chords on At, Bb, and D (mm. 4-12) pre- pare the tonic. Opinions differ widely about the tonal func- tion of these harmonies. Some, such as Felix Salzer and James Hepokoski, propose that the tonic chord is implied from m. 1. Salzer's graph of mm. 1-30 adds a virtual tonic chord in parentheses and treats the opening Ct of the melody as a neighbor tone to the following B (m. 1). Although Salzer marks very few roman numerals (the V-I progression at m. 13 is a notable exception), he adds two small arrows in mm. 4 and 5. These suggest that the A# and Bb sevenths arise contrapuntally and link the virtual tonic of m. 1 to the D seventh in m. 11. Hepokoski likewise marks a tonic at the opening, and suggests that the opening flute arabesque ex- pands the apparent "contradiction" between A#07 (VII of V in E) and B,7 (V7 of D# or V7 of V in Gt). The latter apparently acts as a German sixth to the D7 in m. 11, pre- sumably with an elision to its normal resolution (V7 of D). Hepokoski then proposes that the bass tones D (m. 11) and DO (m. 13) are neighbors to the root E (m. 13).

Other writers, however, have been reluctant to make func- tional ascriptions of any sort. John Crotty regards mm. 1-13

does not appear until m. 13, and is not confirmed by a closed progression until mm. 21-26. (2) It is not obvious how mm. 30-54 relate to their surroundings; the whole-tone chords (mm. 30-37) are particularly hard to fathom from a tonal perspective. (3) While the B section (mm. 55-78) establishes a new theme and key area, the precise layout of this passage is far from obvious. (4) It is hard to decide whether mm. 79-106 are better regarded as two segments (mm. 79-93 and 94-106) or as a single span. To resolve these dilemmas, let us examine the four sections in depth.

Few passages in the standard repertory are more obscure than the opening of the Prelude. At first sight, the sinuous flute theme and its shimmering accompaniment seem quite removed from the familiar world of common-practice tonal- ity. Eventually E emerges as tonic in m. 13, but it is unclear how the seventh chords on At, Bb, and D (mm. 4-12) pre- pare the tonic. Opinions differ widely about the tonal func- tion of these harmonies. Some, such as Felix Salzer and James Hepokoski, propose that the tonic chord is implied from m. 1. Salzer's graph of mm. 1-30 adds a virtual tonic chord in parentheses and treats the opening Ct of the melody as a neighbor tone to the following B (m. 1). Although Salzer marks very few roman numerals (the V-I progression at m. 13 is a notable exception), he adds two small arrows in mm. 4 and 5. These suggest that the A# and Bb sevenths arise contrapuntally and link the virtual tonic of m. 1 to the D seventh in m. 11. Hepokoski likewise marks a tonic at the opening, and suggests that the opening flute arabesque ex- pands the apparent "contradiction" between A#07 (VII of V in E) and B,7 (V7 of D# or V7 of V in Gt). The latter apparently acts as a German sixth to the D7 in m. 11, pre- sumably with an elision to its normal resolution (V7 of D). Hepokoski then proposes that the bass tones D (m. 11) and DO (m. 13) are neighbors to the root E (m. 13).

Other writers, however, have been reluctant to make func- tional ascriptions of any sort. John Crotty regards mm. 1-13

does not appear until m. 13, and is not confirmed by a closed progression until mm. 21-26. (2) It is not obvious how mm. 30-54 relate to their surroundings; the whole-tone chords (mm. 30-37) are particularly hard to fathom from a tonal perspective. (3) While the B section (mm. 55-78) establishes a new theme and key area, the precise layout of this passage is far from obvious. (4) It is hard to decide whether mm. 79-106 are better regarded as two segments (mm. 79-93 and 94-106) or as a single span. To resolve these dilemmas, let us examine the four sections in depth.

Few passages in the standard repertory are more obscure than the opening of the Prelude. At first sight, the sinuous flute theme and its shimmering accompaniment seem quite removed from the familiar world of common-practice tonal- ity. Eventually E emerges as tonic in m. 13, but it is unclear how the seventh chords on At, Bb, and D (mm. 4-12) pre- pare the tonic. Opinions differ widely about the tonal func- tion of these harmonies. Some, such as Felix Salzer and James Hepokoski, propose that the tonic chord is implied from m. 1. Salzer's graph of mm. 1-30 adds a virtual tonic chord in parentheses and treats the opening Ct of the melody as a neighbor tone to the following B (m. 1). Although Salzer marks very few roman numerals (the V-I progression at m. 13 is a notable exception), he adds two small arrows in mm. 4 and 5. These suggest that the A# and Bb sevenths arise contrapuntally and link the virtual tonic of m. 1 to the D seventh in m. 11. Hepokoski likewise marks a tonic at the opening, and suggests that the opening flute arabesque ex- pands the apparent "contradiction" between A#07 (VII of V in E) and B,7 (V7 of D# or V7 of V in Gt). The latter apparently acts as a German sixth to the D7 in m. 11, pre- sumably with an elision to its normal resolution (V7 of D). Hepokoski then proposes that the bass tones D (m. 11) and DO (m. 13) are neighbors to the root E (m. 13).

Other writers, however, have been reluctant to make func- tional ascriptions of any sort. John Crotty regards mm. 1-13

132 Music Theory Spectrum

Example 1. Debussy, Prelude a "L'Apres-midi d'un faune": main formal divisions

_--__ _----_-_ ___ . --___ _____________ _________________-__ A

(mm. 1-30) r

Whole-tone episode (

(min. 31 -36) _ _ _ _ _ _ _ _ _ _ _ _ _ _'-- _ _ _ _ _ _ _ _ _J--__ _ _ _ . _ _ _ _ _ _ _ _ _

Transition

(mm. 37- 54)

(mm. 55-78) VP l ri - r .. ...:,

----~ _- -- -- --

of- -- -- -- -- -- -- -- - - - - ---- - --------------------- -- _ - v~~

A' (D

Coda ( ,

(mm.,o16-,o) ^A^ ^ ^.^ i

r

-

rt

132 Music Theory Spectrum

Example 1. Debussy, Prelude a "L'Apres-midi d'un faune": main formal divisions

_--__ _----_-_ ___ . --___ _____________ _________________-__ A

(mm. 1-30) r

Whole-tone episode (

(min. 31 -36) _ _ _ _ _ _ _ _ _ _ _ _ _ _'-- _ _ _ _ _ _ _ _ _J--__ _ _ _ . _ _ _ _ _ _ _ _ _

Transition

(mm. 37- 54)

(mm. 55-78) VP l ri - r .. ...:,

----~ _- -- -- --

of- -- -- -- -- -- -- -- - - - - ---- - --------------------- -- _ - v~~

A' (D

Coda ( ,

(mm.,o16-,o) ^A^ ^ ^.^ i

r

-

rt

132 Music Theory Spectrum

Example 1. Debussy, Prelude a "L'Apres-midi d'un faune": main formal divisions

_--__ _----_-_ ___ . --___ _____________ _________________-__ A

(mm. 1-30) r

Whole-tone episode (

(min. 31 -36) _ _ _ _ _ _ _ _ _ _ _ _ _ _'-- _ _ _ _ _ _ _ _ _J--__ _ _ _ . _ _ _ _ _ _ _ _ _

Transition

(mm. 37- 54)

(mm. 55-78) VP l ri - r .. ...:,

----~ _- -- -- --

of- -- -- -- -- -- -- -- - - - - ---- - --------------------- -- _ - v~~

A' (D

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(mm.,o16-,o) ^A^ ^ ^.^ i

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-

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132 Music Theory Spectrum

Example 1. Debussy, Prelude a "L'Apres-midi d'un faune": main formal divisions

_--__ _----_-_ ___ . --___ _____________ _________________-__ A

(mm. 1-30) r

Whole-tone episode (

(min. 31 -36) _ _ _ _ _ _ _ _ _ _ _ _ _ _'-- _ _ _ _ _ _ _ _ _J--__ _ _ _ . _ _ _ _ _ _ _ _ _

Transition

(mm. 37- 54)

(mm. 55-78) VP l ri - r .. ...:,

----~ _- -- -- --

of- -- -- -- -- -- -- -- - - - - ---- - --------------------- -- _ - v~~

A' (D

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(mm.,o16-,o) ^A^ ^ ^.^ i

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132 Music Theory Spectrum

Example 1. Debussy, Prelude a "L'Apres-midi d'un faune": main formal divisions

_--__ _----_-_ ___ . --___ _____________ _________________-__ A

(mm. 1-30) r

Whole-tone episode (

(min. 31 -36) _ _ _ _ _ _ _ _ _ _ _ _ _ _'-- _ _ _ _ _ _ _ _ _J--__ _ _ _ . _ _ _ _ _ _ _ _ _

Transition

(mm. 37- 54)

(mm. 55-78) VP l ri - r .. ...:,

----~ _- -- -- --

of- -- -- -- -- -- -- -- - - - - ---- - --------------------- -- _ - v~~

A' (D

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(mm.,o16-,o) ^A^ ^ ^.^ i

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132 Music Theory Spectrum

Example 1. Debussy, Prelude a "L'Apres-midi d'un faune": main formal divisions

_--__ _----_-_ ___ . --___ _____________ _________________-__ A

(mm. 1-30) r

Whole-tone episode (

(min. 31 -36) _ _ _ _ _ _ _ _ _ _ _ _ _ _'-- _ _ _ _ _ _ _ _ _J--__ _ _ _ . _ _ _ _ _ _ _ _ _

Transition

(mm. 37- 54)

(mm. 55-78) VP l ri - r .. ...:,

----~ _- -- -- --

of- -- -- -- -- -- -- -- - - - - ---- - --------------------- -- _ - v~~

A' (D

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(mm.,o16-,o) ^A^ ^ ^.^ i

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132 Music Theory Spectrum

Example 1. Debussy, Prelude a "L'Apres-midi d'un faune": main formal divisions

_--__ _----_-_ ___ . --___ _____________ _________________-__ A

(mm. 1-30) r

Whole-tone episode (

(min. 31 -36) _ _ _ _ _ _ _ _ _ _ _ _ _ _'-- _ _ _ _ _ _ _ _ _J--__ _ _ _ . _ _ _ _ _ _ _ _ _

Transition

(mm. 37- 54)

(mm. 55-78) VP l ri - r .. ...:,

----~ _- -- -- --

of- -- -- -- -- -- -- -- - - - - ---- - --------------------- -- _ - v~~

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(mm.,o16-,o) ^A^ ^ ^.^ i

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132 Music Theory Spectrum

Example 1. Debussy, Prelude a "L'Apres-midi d'un faune": main formal divisions

_--__ _----_-_ ___ . --___ _____________ _________________-__ A

(mm. 1-30) r

Whole-tone episode (

(min. 31 -36) _ _ _ _ _ _ _ _ _ _ _ _ _ _'-- _ _ _ _ _ _ _ _ _J--__ _ _ _ . _ _ _ _ _ _ _ _ _

Transition

(mm. 37- 54)

(mm. 55-78) VP l ri - r .. ...:,

----~ _- -- -- --

of- -- -- -- -- -- -- -- - - - - ---- - --------------------- -- _ - v~~

A' (D

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(mm.,o16-,o) ^A^ ^ ^.^ i

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132 Music Theory Spectrum

Example 1. Debussy, Prelude a "L'Apres-midi d'un faune": main formal divisions

_--__ _----_-_ ___ . --___ _____________ _________________-__ A

(mm. 1-30) r

Whole-tone episode (

(min. 31 -36) _ _ _ _ _ _ _ _ _ _ _ _ _ _'-- _ _ _ _ _ _ _ _ _J--__ _ _ _ . _ _ _ _ _ _ _ _ _

Transition

(mm. 37- 54)

(mm. 55-78) VP l ri - r .. ...:,

----~ _- -- -- --

of- -- -- -- -- -- -- -- - - - - ---- - --------------------- -- _ - v~~

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(mm.,o16-,o) ^A^ ^ ^.^ i

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132 Music Theory Spectrum

Example 1. Debussy, Prelude a "L'Apres-midi d'un faune": main formal divisions

_--__ _----_-_ ___ . --___ _____________ _________________-__ A

(mm. 1-30) r

Whole-tone episode (

(min. 31 -36) _ _ _ _ _ _ _ _ _ _ _ _ _ _'-- _ _ _ _ _ _ _ _ _J--__ _ _ _ . _ _ _ _ _ _ _ _ _

Transition

(mm. 37- 54)

(mm. 55-78) VP l ri - r .. ...:,

----~ _- -- -- --

of- -- -- -- -- -- -- -- - - - - ---- - --------------------- -- _ - v~~

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(mm.,o16-,o) ^A^ ^ ^.^ i

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132 Music Theory Spectrum

Example 1. Debussy, Prelude a "L'Apres-midi d'un faune": main formal divisions

_--__ _----_-_ ___ . --___ _____________ _________________-__ A

(mm. 1-30) r

Whole-tone episode (

(min. 31 -36) _ _ _ _ _ _ _ _ _ _ _ _ _ _'-- _ _ _ _ _ _ _ _ _J--__ _ _ _ . _ _ _ _ _ _ _ _ _

Transition

(mm. 37- 54)

(mm. 55-78) VP l ri - r .. ...:,

----~ _- -- -- --

of- -- -- -- -- -- -- -- - - - - ---- - --------------------- -- _ - v~~

A' (D

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(mm.,o16-,o) ^A^ ^ ^.^ i

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Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 133 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 133 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 133 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 133 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 133 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 133 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 133 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 133 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 133 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 133 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 133

as part of a double-tonic complex E-C# that Debussy worked out during the rest of the Prelude. William Austin simply shows the bass motion A#-Bb-D-B-E, and notes that al-

though roman numerals could be added to some progres- sions, "the effort to label every chord seems out of proportion with any resulting insight."24 Arthur Wenk takes a similar tack, claiming that the passage reflects Debussy's shift away from functional harmony to "static" or "circular" succes- sions.25 Richard Parks, meanwhile, dispenses with tonal con-

cepts altogether and asserts that the Prelude "opens with a

complement relation: the flute melody's pcs form set 7-1, while 5-1 is embedded prominently within the sixteenths that descend to pc 7."26

Obviously, the differences between these interpretations are partly matters of emphasis or context, and partly results of the anomalies inherent to Debussy's score. It is perhaps testimony to the work's ambiguity that so many readings have been advanced. Example 2, however, presents an alternative Schenkerian analysis of mm. 1-13. Here, the passage is in- terpreted as a transformation of the progression VII7 of V-V9-I in E.27 This progression is given in Example 2a. Example 2b shows how the dominant is arpeggiated in the bass through its mixed third, D, and how the Ct in the upper voice in m. 4 is suspended over the D and B to form seventh and ninth chords in mm. 11-13. The resulting progression

VII7-V9 is very similar to those described by Schenker in

24Austin, "Toward an Analytical Appreciation," 84-85. 25Wenk, Debussy and Twentieth-Century Music, 56-61.

26Parks, Music of Debussy, 156-57.

27It might seem that this sonority might be more conveniently labeled lIV7. However, as Dave Headlam and I showed in our paper "Schenkerian Theory and the Limits of Tonality: The Problem of fIV" (Annual Meeting of the Society for Music Theory, Oakland, 1990), Schenkerian theory assumes that #IV Stufen cannot be generated directly from I in tonal contexts; instead, they can only be derived indirectly either from transformations of other Stufen (for example, III of III, IV of II, VII of V, etc.), or from interpolations.

as part of a double-tonic complex E-C# that Debussy worked out during the rest of the Prelude. William Austin simply shows the bass motion A#-Bb-D-B-E, and notes that al-

though roman numerals could be added to some progres- sions, "the effort to label every chord seems out of proportion with any resulting insight."24 Arthur Wenk takes a similar tack, claiming that the passage reflects Debussy's shift away from functional harmony to "static" or "circular" succes- sions.25 Richard Parks, meanwhile, dispenses with tonal con-

cepts altogether and asserts that the Prelude "opens with a

complement relation: the flute melody's pcs form set 7-1, while 5-1 is embedded prominently within the sixteenths that descend to pc 7."26

Obviously, the differences between these interpretations are partly matters of emphasis or context, and partly results of the anomalies inherent to Debussy's score. It is perhaps testimony to the work's ambiguity that so many readings have been advanced. Example 2, however, presents an alternative Schenkerian analysis of mm. 1-13. Here, the passage is in- terpreted as a transformation of the progression VII7 of V-V9-I in E.27 This progression is given in Example 2a. Example 2b shows how the dominant is arpeggiated in the bass through its mixed third, D, and how the Ct in the upper voice in m. 4 is suspended over the D and B to form seventh and ninth chords in mm. 11-13. The resulting progression

VII7-V9 is very similar to those described by Schenker in

24Austin, "Toward an Analytical Appreciation," 84-85. 25Wenk, Debussy and Twentieth-Century Music, 56-61.

26Parks, Music of Debussy, 156-57.

27It might seem that this sonority might be more conveniently labeled lIV7. However, as Dave Headlam and I showed in our paper "Schenkerian Theory and the Limits of Tonality: The Problem of fIV" (Annual Meeting of the Society for Music Theory, Oakland, 1990), Schenkerian theory assumes that #IV Stufen cannot be generated directly from I in tonal contexts; instead, they can only be derived indirectly either from transformations of other Stufen (for example, III of III, IV of II, VII of V, etc.), or from interpolations.

as part of a double-tonic complex E-C# that Debussy worked out during the rest of the Prelude. William Austin simply shows the bass motion A#-Bb-D-B-E, and notes that al-

though roman numerals could be added to some progres- sions, "the effort to label every chord seems out of proportion with any resulting insight."24 Arthur Wenk takes a similar tack, claiming that the passage reflects Debussy's shift away from functional harmony to "static" or "circular" succes- sions.25 Richard Parks, meanwhile, dispenses with tonal con-

cepts altogether and asserts that the Prelude "opens with a

complement relation: the flute melody's pcs form set 7-1, while 5-1 is embedded prominently within the sixteenths that descend to pc 7."26

Obviously, the differences between these interpretations are partly matters of emphasis or context, and partly results of the anomalies inherent to Debussy's score. It is perhaps testimony to the work's ambiguity that so many readings have been advanced. Example 2, however, presents an alternative Schenkerian analysis of mm. 1-13. Here, the passage is in- terpreted as a transformation of the progression VII7 of V-V9-I in E.27 This progression is given in Example 2a. Example 2b shows how the dominant is arpeggiated in the bass through its mixed third, D, and how the Ct in the upper voice in m. 4 is suspended over the D and B to form seventh and ninth chords in mm. 11-13. The resulting progression

VII7-V9 is very similar to those described by Schenker in

24Austin, "Toward an Analytical Appreciation," 84-85. 25Wenk, Debussy and Twentieth-Century Music, 56-61.

26Parks, Music of Debussy, 156-57.

27It might seem that this sonority might be more conveniently labeled lIV7. However, as Dave Headlam and I showed in our paper "Schenkerian Theory and the Limits of Tonality: The Problem of fIV" (Annual Meeting of the Society for Music Theory, Oakland, 1990), Schenkerian theory assumes that #IV Stufen cannot be generated directly from I in tonal contexts; instead, they can only be derived indirectly either from transformations of other Stufen (for example, III of III, IV of II, VII of V, etc.), or from interpolations.

as part of a double-tonic complex E-C# that Debussy worked out during the rest of the Prelude. William Austin simply shows the bass motion A#-Bb-D-B-E, and notes that al-

though roman numerals could be added to some progres- sions, "the effort to label every chord seems out of proportion with any resulting insight."24 Arthur Wenk takes a similar tack, claiming that the passage reflects Debussy's shift away from functional harmony to "static" or "circular" succes- sions.25 Richard Parks, meanwhile, dispenses with tonal con-

cepts altogether and asserts that the Prelude "opens with a

complement relation: the flute melody's pcs form set 7-1, while 5-1 is embedded prominently within the sixteenths that descend to pc 7."26

Obviously, the differences between these interpretations are partly matters of emphasis or context, and partly results of the anomalies inherent to Debussy's score. It is perhaps testimony to the work's ambiguity that so many readings have been advanced. Example 2, however, presents an alternative Schenkerian analysis of mm. 1-13. Here, the passage is in- terpreted as a transformation of the progression VII7 of V-V9-I in E.27 This progression is given in Example 2a. Example 2b shows how the dominant is arpeggiated in the bass through its mixed third, D, and how the Ct in the upper voice in m. 4 is suspended over the D and B to form seventh and ninth chords in mm. 11-13. The resulting progression

VII7-V9 is very similar to those described by Schenker in

24Austin, "Toward an Analytical Appreciation," 84-85. 25Wenk, Debussy and Twentieth-Century Music, 56-61.

26Parks, Music of Debussy, 156-57.

27It might seem that this sonority might be more conveniently labeled lIV7. However, as Dave Headlam and I showed in our paper "Schenkerian Theory and the Limits of Tonality: The Problem of fIV" (Annual Meeting of the Society for Music Theory, Oakland, 1990), Schenkerian theory assumes that #IV Stufen cannot be generated directly from I in tonal contexts; instead, they can only be derived indirectly either from transformations of other Stufen (for example, III of III, IV of II, VII of V, etc.), or from interpolations.

as part of a double-tonic complex E-C# that Debussy worked out during the rest of the Prelude. William Austin simply shows the bass motion A#-Bb-D-B-E, and notes that al-

though roman numerals could be added to some progres- sions, "the effort to label every chord seems out of proportion with any resulting insight."24 Arthur Wenk takes a similar tack, claiming that the passage reflects Debussy's shift away from functional harmony to "static" or "circular" succes- sions.25 Richard Parks, meanwhile, dispenses with tonal con-

cepts altogether and asserts that the Prelude "opens with a

complement relation: the flute melody's pcs form set 7-1, while 5-1 is embedded prominently within the sixteenths that descend to pc 7."26

Obviously, the differences between these interpretations are partly matters of emphasis or context, and partly results of the anomalies inherent to Debussy's score. It is perhaps testimony to the work's ambiguity that so many readings have been advanced. Example 2, however, presents an alternative Schenkerian analysis of mm. 1-13. Here, the passage is in- terpreted as a transformation of the progression VII7 of V-V9-I in E.27 This progression is given in Example 2a. Example 2b shows how the dominant is arpeggiated in the bass through its mixed third, D, and how the Ct in the upper voice in m. 4 is suspended over the D and B to form seventh and ninth chords in mm. 11-13. The resulting progression

VII7-V9 is very similar to those described by Schenker in

24Austin, "Toward an Analytical Appreciation," 84-85. 25Wenk, Debussy and Twentieth-Century Music, 56-61.

26Parks, Music of Debussy, 156-57.

27It might seem that this sonority might be more conveniently labeled lIV7. However, as Dave Headlam and I showed in our paper "Schenkerian Theory and the Limits of Tonality: The Problem of fIV" (Annual Meeting of the Society for Music Theory, Oakland, 1990), Schenkerian theory assumes that #IV Stufen cannot be generated directly from I in tonal contexts; instead, they can only be derived indirectly either from transformations of other Stufen (for example, III of III, IV of II, VII of V, etc.), or from interpolations.

as part of a double-tonic complex E-C# that Debussy worked out during the rest of the Prelude. William Austin simply shows the bass motion A#-Bb-D-B-E, and notes that al-

though roman numerals could be added to some progres- sions, "the effort to label every chord seems out of proportion with any resulting insight."24 Arthur Wenk takes a similar tack, claiming that the passage reflects Debussy's shift away from functional harmony to "static" or "circular" succes- sions.25 Richard Parks, meanwhile, dispenses with tonal con-

cepts altogether and asserts that the Prelude "opens with a

complement relation: the flute melody's pcs form set 7-1, while 5-1 is embedded prominently within the sixteenths that descend to pc 7."26

Obviously, the differences between these interpretations are partly matters of emphasis or context, and partly results of the anomalies inherent to Debussy's score. It is perhaps testimony to the work's ambiguity that so many readings have been advanced. Example 2, however, presents an alternative Schenkerian analysis of mm. 1-13. Here, the passage is in- terpreted as a transformation of the progression VII7 of V-V9-I in E.27 This progression is given in Example 2a. Example 2b shows how the dominant is arpeggiated in the bass through its mixed third, D, and how the Ct in the upper voice in m. 4 is suspended over the D and B to form seventh and ninth chords in mm. 11-13. The resulting progression

VII7-V9 is very similar to those described by Schenker in

24Austin, "Toward an Analytical Appreciation," 84-85. 25Wenk, Debussy and Twentieth-Century Music, 56-61.

26Parks, Music of Debussy, 156-57.

27It might seem that this sonority might be more conveniently labeled lIV7. However, as Dave Headlam and I showed in our paper "Schenkerian Theory and the Limits of Tonality: The Problem of fIV" (Annual Meeting of the Society for Music Theory, Oakland, 1990), Schenkerian theory assumes that #IV Stufen cannot be generated directly from I in tonal contexts; instead, they can only be derived indirectly either from transformations of other Stufen (for example, III of III, IV of II, VII of V, etc.), or from interpolations.

as part of a double-tonic complex E-C# that Debussy worked out during the rest of the Prelude. William Austin simply shows the bass motion A#-Bb-D-B-E, and notes that al-

though roman numerals could be added to some progres- sions, "the effort to label every chord seems out of proportion with any resulting insight."24 Arthur Wenk takes a similar tack, claiming that the passage reflects Debussy's shift away from functional harmony to "static" or "circular" succes- sions.25 Richard Parks, meanwhile, dispenses with tonal con-

cepts altogether and asserts that the Prelude "opens with a

complement relation: the flute melody's pcs form set 7-1, while 5-1 is embedded prominently within the sixteenths that descend to pc 7."26

Obviously, the differences between these interpretations are partly matters of emphasis or context, and partly results of the anomalies inherent to Debussy's score. It is perhaps testimony to the work's ambiguity that so many readings have been advanced. Example 2, however, presents an alternative Schenkerian analysis of mm. 1-13. Here, the passage is in- terpreted as a transformation of the progression VII7 of V-V9-I in E.27 This progression is given in Example 2a. Example 2b shows how the dominant is arpeggiated in the bass through its mixed third, D, and how the Ct in the upper voice in m. 4 is suspended over the D and B to form seventh and ninth chords in mm. 11-13. The resulting progression

VII7-V9 is very similar to those described by Schenker in

24Austin, "Toward an Analytical Appreciation," 84-85. 25Wenk, Debussy and Twentieth-Century Music, 56-61.

26Parks, Music of Debussy, 156-57.

27It might seem that this sonority might be more conveniently labeled lIV7. However, as Dave Headlam and I showed in our paper "Schenkerian Theory and the Limits of Tonality: The Problem of fIV" (Annual Meeting of the Society for Music Theory, Oakland, 1990), Schenkerian theory assumes that #IV Stufen cannot be generated directly from I in tonal contexts; instead, they can only be derived indirectly either from transformations of other Stufen (for example, III of III, IV of II, VII of V, etc.), or from interpolations.

as part of a double-tonic complex E-C# that Debussy worked out during the rest of the Prelude. William Austin simply shows the bass motion A#-Bb-D-B-E, and notes that al-

though roman numerals could be added to some progres- sions, "the effort to label every chord seems out of proportion with any resulting insight."24 Arthur Wenk takes a similar tack, claiming that the passage reflects Debussy's shift away from functional harmony to "static" or "circular" succes- sions.25 Richard Parks, meanwhile, dispenses with tonal con-

cepts altogether and asserts that the Prelude "opens with a

complement relation: the flute melody's pcs form set 7-1, while 5-1 is embedded prominently within the sixteenths that descend to pc 7."26

Obviously, the differences between these interpretations are partly matters of emphasis or context, and partly results of the anomalies inherent to Debussy's score. It is perhaps testimony to the work's ambiguity that so many readings have been advanced. Example 2, however, presents an alternative Schenkerian analysis of mm. 1-13. Here, the passage is in- terpreted as a transformation of the progression VII7 of V-V9-I in E.27 This progression is given in Example 2a. Example 2b shows how the dominant is arpeggiated in the bass through its mixed third, D, and how the Ct in the upper voice in m. 4 is suspended over the D and B to form seventh and ninth chords in mm. 11-13. The resulting progression

VII7-V9 is very similar to those described by Schenker in

24Austin, "Toward an Analytical Appreciation," 84-85. 25Wenk, Debussy and Twentieth-Century Music, 56-61.

26Parks, Music of Debussy, 156-57.

27It might seem that this sonority might be more conveniently labeled lIV7. However, as Dave Headlam and I showed in our paper "Schenkerian Theory and the Limits of Tonality: The Problem of fIV" (Annual Meeting of the Society for Music Theory, Oakland, 1990), Schenkerian theory assumes that #IV Stufen cannot be generated directly from I in tonal contexts; instead, they can only be derived indirectly either from transformations of other Stufen (for example, III of III, IV of II, VII of V, etc.), or from interpolations.

as part of a double-tonic complex E-C# that Debussy worked out during the rest of the Prelude. William Austin simply shows the bass motion A#-Bb-D-B-E, and notes that al-

though roman numerals could be added to some progres- sions, "the effort to label every chord seems out of proportion with any resulting insight."24 Arthur Wenk takes a similar tack, claiming that the passage reflects Debussy's shift away from functional harmony to "static" or "circular" succes- sions.25 Richard Parks, meanwhile, dispenses with tonal con-

cepts altogether and asserts that the Prelude "opens with a

complement relation: the flute melody's pcs form set 7-1, while 5-1 is embedded prominently within the sixteenths that descend to pc 7."26

Obviously, the differences between these interpretations are partly matters of emphasis or context, and partly results of the anomalies inherent to Debussy's score. It is perhaps testimony to the work's ambiguity that so many readings have been advanced. Example 2, however, presents an alternative Schenkerian analysis of mm. 1-13. Here, the passage is in- terpreted as a transformation of the progression VII7 of V-V9-I in E.27 This progression is given in Example 2a. Example 2b shows how the dominant is arpeggiated in the bass through its mixed third, D, and how the Ct in the upper voice in m. 4 is suspended over the D and B to form seventh and ninth chords in mm. 11-13. The resulting progression

VII7-V9 is very similar to those described by Schenker in

24Austin, "Toward an Analytical Appreciation," 84-85. 25Wenk, Debussy and Twentieth-Century Music, 56-61.

26Parks, Music of Debussy, 156-57.

27It might seem that this sonority might be more conveniently labeled lIV7. However, as Dave Headlam and I showed in our paper "Schenkerian Theory and the Limits of Tonality: The Problem of fIV" (Annual Meeting of the Society for Music Theory, Oakland, 1990), Schenkerian theory assumes that #IV Stufen cannot be generated directly from I in tonal contexts; instead, they can only be derived indirectly either from transformations of other Stufen (for example, III of III, IV of II, VII of V, etc.), or from interpolations.

as part of a double-tonic complex E-C# that Debussy worked out during the rest of the Prelude. William Austin simply shows the bass motion A#-Bb-D-B-E, and notes that al-

though roman numerals could be added to some progres- sions, "the effort to label every chord seems out of proportion with any resulting insight."24 Arthur Wenk takes a similar tack, claiming that the passage reflects Debussy's shift away from functional harmony to "static" or "circular" succes- sions.25 Richard Parks, meanwhile, dispenses with tonal con-

cepts altogether and asserts that the Prelude "opens with a

complement relation: the flute melody's pcs form set 7-1, while 5-1 is embedded prominently within the sixteenths that descend to pc 7."26

Obviously, the differences between these interpretations are partly matters of emphasis or context, and partly results of the anomalies inherent to Debussy's score. It is perhaps testimony to the work's ambiguity that so many readings have been advanced. Example 2, however, presents an alternative Schenkerian analysis of mm. 1-13. Here, the passage is in- terpreted as a transformation of the progression VII7 of V-V9-I in E.27 This progression is given in Example 2a. Example 2b shows how the dominant is arpeggiated in the bass through its mixed third, D, and how the Ct in the upper voice in m. 4 is suspended over the D and B to form seventh and ninth chords in mm. 11-13. The resulting progression

VII7-V9 is very similar to those described by Schenker in

24Austin, "Toward an Analytical Appreciation," 84-85. 25Wenk, Debussy and Twentieth-Century Music, 56-61.

26Parks, Music of Debussy, 156-57.

27It might seem that this sonority might be more conveniently labeled lIV7. However, as Dave Headlam and I showed in our paper "Schenkerian Theory and the Limits of Tonality: The Problem of fIV" (Annual Meeting of the Society for Music Theory, Oakland, 1990), Schenkerian theory assumes that #IV Stufen cannot be generated directly from I in tonal contexts; instead, they can only be derived indirectly either from transformations of other Stufen (for example, III of III, IV of II, VII of V, etc.), or from interpolations.

as part of a double-tonic complex E-C# that Debussy worked out during the rest of the Prelude. William Austin simply shows the bass motion A#-Bb-D-B-E, and notes that al-

though roman numerals could be added to some progres- sions, "the effort to label every chord seems out of proportion with any resulting insight."24 Arthur Wenk takes a similar tack, claiming that the passage reflects Debussy's shift away from functional harmony to "static" or "circular" succes- sions.25 Richard Parks, meanwhile, dispenses with tonal con-

cepts altogether and asserts that the Prelude "opens with a

complement relation: the flute melody's pcs form set 7-1, while 5-1 is embedded prominently within the sixteenths that descend to pc 7."26

Obviously, the differences between these interpretations are partly matters of emphasis or context, and partly results of the anomalies inherent to Debussy's score. It is perhaps testimony to the work's ambiguity that so many readings have been advanced. Example 2, however, presents an alternative Schenkerian analysis of mm. 1-13. Here, the passage is in- terpreted as a transformation of the progression VII7 of V-V9-I in E.27 This progression is given in Example 2a. Example 2b shows how the dominant is arpeggiated in the bass through its mixed third, D, and how the Ct in the upper voice in m. 4 is suspended over the D and B to form seventh and ninth chords in mm. 11-13. The resulting progression

VII7-V9 is very similar to those described by Schenker in

24Austin, "Toward an Analytical Appreciation," 84-85. 25Wenk, Debussy and Twentieth-Century Music, 56-61.

26Parks, Music of Debussy, 156-57.

27It might seem that this sonority might be more conveniently labeled lIV7. However, as Dave Headlam and I showed in our paper "Schenkerian Theory and the Limits of Tonality: The Problem of fIV" (Annual Meeting of the Society for Music Theory, Oakland, 1990), Schenkerian theory assumes that #IV Stufen cannot be generated directly from I in tonal contexts; instead, they can only be derived indirectly either from transformations of other Stufen (for example, III of III, IV of II, VII of V, etc.), or from interpolations.

Example 2. Tonal analysis of the Prelude, mm. 1-13 Example 2. Tonal analysis of the Prelude, mm. 1-13 Example 2. Tonal analysis of the Prelude, mm. 1-13 Example 2. Tonal analysis of the Prelude, mm. 1-13 Example 2. Tonal analysis of the Prelude, mm. 1-13 Example 2. Tonal analysis of the Prelude, mm. 1-13 Example 2. Tonal analysis of the Prelude, mm. 1-13 Example 2. Tonal analysis of the Prelude, mm. 1-13 Example 2. Tonal analysis of the Prelude, mm. 1-13 Example 2. Tonal analysis of the Prelude, mm. 1-13 Example 2. Tonal analysis of the Prelude, mm. 1-13

5

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5

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5

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6

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6

k

6

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6

k

6

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6

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6

k

6

k

6

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6

k A ii H. A ii H. A ii H. A ii H. A ii H. A ii H. A ii H. A ii H. A ii H. A ii H. A ii H. f ""'f 1r o

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00 0

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A1 ^

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f ""'f 1r o

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00 0 113 0)()

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f ""'f 1r o

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00 0 113 0)()

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f ""'f 1r o

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f ""'f 1r o

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b ^ 6 5

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A1 ^

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00 0 113 0)()

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f ""'f 1r o

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b ^ 6 5

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VII of V V I

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VII of V V I

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VII of V V I

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VII of V V I

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VII of V V I

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VII of V V I

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VII of V V I

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VII of V V I

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VII of V V I

a a a a a a a a a a a

134 Music Theory Spectrum 134 Music Theory Spectrum 134 Music Theory Spectrum 134 Music Theory Spectrum 134 Music Theory Spectrum 134 Music Theory Spectrum 134 Music Theory Spectrum 134 Music Theory Spectrum 134 Music Theory Spectrum 134 Music Theory Spectrum 134 Music Theory Spectrum

Der freie Satz.28 Example 2c then shows how the initial VII7 of V in m. 4 is joined to the VII chord in m. 11 by a passing Bb 7. The latter chord arises contrapuntally; the alto and tenor parts F complete a chain of parallel thirds extending from E

(m. 4) to E (m. 13). This chain is perhaps more obvious in

Debussy's draft and two-piano reduction than in the finished score. Finally, Example 2d adds the overall motion--C -

B-AO -of the opening tune, along with the expansion of the dominant Dt-B in m. 13.

Example 2 clarifies several important issues. First, the

graphs suggest that the tonal function of the opening four bars is indeterminant; although the pitch Ct is clearly emphasized, its role is obscure. In fact, the G (mm. 1-2) implies that the harmonies probably change in these bars; such a change al-

ways occurs when the theme is harmonized, even when it raised to GO (mm. 100-101). To complicate matters further, the goal of the opening phrase seems to be A# rather than B. In m. 3, B seems to pass between C# and At, and only in later statements do CK and AO serve as neighbors to B. Second, whereas mm. 1-3 are ambiguous, mm. 4-13 can be derived by orthodox tonal transformations. Indeed, the rather striking progression bVII-V is actually quite common in Debussy's early compositions, and even controls the mid-

dleground of entire works such as the song "C'est l'extase" (Ariettes oubliees, 1887).29 Third, the chromatic inner lines found in Example 2c recur later in the Prelude. As we will see, both mm. 20-30 and 79-106 are bound together by anal-

28Schenker discussed VII-V progressions in various places in Der freie Satz, especially par. 246, fig. 111 (fig. 1llc shows how VII7 can occur with

V9). See Heinrich Schenker, Derfreie Satz (Vienna: Universal, 1935); trans- lated by Ernst Oster under the title Free Composition (New York, Longman, 1979). See also Matthew Brown, "The Diatonic and the Chromatic in Schen- ker's Theory of Harmonic Relations," Journal of Music Theory 30 (1986): 1-33.

29For a different analysis of this song, see Wallace Berry, Musical Structure and Performance (New Haven: Yale University Press, 1989), 144-216.

Der freie Satz.28 Example 2c then shows how the initial VII7 of V in m. 4 is joined to the VII chord in m. 11 by a passing Bb 7. The latter chord arises contrapuntally; the alto and tenor parts F complete a chain of parallel thirds extending from E

(m. 4) to E (m. 13). This chain is perhaps more obvious in

Debussy's draft and two-piano reduction than in the finished score. Finally, Example 2d adds the overall motion--C -

B-AO -of the opening tune, along with the expansion of the dominant Dt-B in m. 13.

Example 2 clarifies several important issues. First, the

graphs suggest that the tonal function of the opening four bars is indeterminant; although the pitch Ct is clearly emphasized, its role is obscure. In fact, the G (mm. 1-2) implies that the harmonies probably change in these bars; such a change al-

ways occurs when the theme is harmonized, even when it raised to GO (mm. 100-101). To complicate matters further, the goal of the opening phrase seems to be A# rather than B. In m. 3, B seems to pass between C# and At, and only in later statements do CK and AO serve as neighbors to B. Second, whereas mm. 1-3 are ambiguous, mm. 4-13 can be derived by orthodox tonal transformations. Indeed, the rather striking progression bVII-V is actually quite common in Debussy's early compositions, and even controls the mid-

dleground of entire works such as the song "C'est l'extase" (Ariettes oubliees, 1887).29 Third, the chromatic inner lines found in Example 2c recur later in the Prelude. As we will see, both mm. 20-30 and 79-106 are bound together by anal-

28Schenker discussed VII-V progressions in various places in Der freie Satz, especially par. 246, fig. 111 (fig. 1llc shows how VII7 can occur with

V9). See Heinrich Schenker, Derfreie Satz (Vienna: Universal, 1935); trans- lated by Ernst Oster under the title Free Composition (New York, Longman, 1979). See also Matthew Brown, "The Diatonic and the Chromatic in Schen- ker's Theory of Harmonic Relations," Journal of Music Theory 30 (1986): 1-33.

29For a different analysis of this song, see Wallace Berry, Musical Structure and Performance (New Haven: Yale University Press, 1989), 144-216.

Der freie Satz.28 Example 2c then shows how the initial VII7 of V in m. 4 is joined to the VII chord in m. 11 by a passing Bb 7. The latter chord arises contrapuntally; the alto and tenor parts F complete a chain of parallel thirds extending from E

(m. 4) to E (m. 13). This chain is perhaps more obvious in

Debussy's draft and two-piano reduction than in the finished score. Finally, Example 2d adds the overall motion--C -

B-AO -of the opening tune, along with the expansion of the dominant Dt-B in m. 13.

Example 2 clarifies several important issues. First, the

graphs suggest that the tonal function of the opening four bars is indeterminant; although the pitch Ct is clearly emphasized, its role is obscure. In fact, the G (mm. 1-2) implies that the harmonies probably change in these bars; such a change al-

ways occurs when the theme is harmonized, even when it raised to GO (mm. 100-101). To complicate matters further, the goal of the opening phrase seems to be A# rather than B. In m. 3, B seems to pass between C# and At, and only in later statements do CK and AO serve as neighbors to B. Second, whereas mm. 1-3 are ambiguous, mm. 4-13 can be derived by orthodox tonal transformations. Indeed, the rather striking progression bVII-V is actually quite common in Debussy's early compositions, and even controls the mid-

dleground of entire works such as the song "C'est l'extase" (Ariettes oubliees, 1887).29 Third, the chromatic inner lines found in Example 2c recur later in the Prelude. As we will see, both mm. 20-30 and 79-106 are bound together by anal-

28Schenker discussed VII-V progressions in various places in Der freie Satz, especially par. 246, fig. 111 (fig. 1llc shows how VII7 can occur with

V9). See Heinrich Schenker, Derfreie Satz (Vienna: Universal, 1935); trans- lated by Ernst Oster under the title Free Composition (New York, Longman, 1979). See also Matthew Brown, "The Diatonic and the Chromatic in Schen- ker's Theory of Harmonic Relations," Journal of Music Theory 30 (1986): 1-33.

29For a different analysis of this song, see Wallace Berry, Musical Structure and Performance (New Haven: Yale University Press, 1989), 144-216.

Der freie Satz.28 Example 2c then shows how the initial VII7 of V in m. 4 is joined to the VII chord in m. 11 by a passing Bb 7. The latter chord arises contrapuntally; the alto and tenor parts F complete a chain of parallel thirds extending from E

(m. 4) to E (m. 13). This chain is perhaps more obvious in

Debussy's draft and two-piano reduction than in the finished score. Finally, Example 2d adds the overall motion--C -

B-AO -of the opening tune, along with the expansion of the dominant Dt-B in m. 13.

Example 2 clarifies several important issues. First, the

graphs suggest that the tonal function of the opening four bars is indeterminant; although the pitch Ct is clearly emphasized, its role is obscure. In fact, the G (mm. 1-2) implies that the harmonies probably change in these bars; such a change al-

ways occurs when the theme is harmonized, even when it raised to GO (mm. 100-101). To complicate matters further, the goal of the opening phrase seems to be A# rather than B. In m. 3, B seems to pass between C# and At, and only in later statements do CK and AO serve as neighbors to B. Second, whereas mm. 1-3 are ambiguous, mm. 4-13 can be derived by orthodox tonal transformations. Indeed, the rather striking progression bVII-V is actually quite common in Debussy's early compositions, and even controls the mid-

dleground of entire works such as the song "C'est l'extase" (Ariettes oubliees, 1887).29 Third, the chromatic inner lines found in Example 2c recur later in the Prelude. As we will see, both mm. 20-30 and 79-106 are bound together by anal-

28Schenker discussed VII-V progressions in various places in Der freie Satz, especially par. 246, fig. 111 (fig. 1llc shows how VII7 can occur with

V9). See Heinrich Schenker, Derfreie Satz (Vienna: Universal, 1935); trans- lated by Ernst Oster under the title Free Composition (New York, Longman, 1979). See also Matthew Brown, "The Diatonic and the Chromatic in Schen- ker's Theory of Harmonic Relations," Journal of Music Theory 30 (1986): 1-33.

29For a different analysis of this song, see Wallace Berry, Musical Structure and Performance (New Haven: Yale University Press, 1989), 144-216.

Der freie Satz.28 Example 2c then shows how the initial VII7 of V in m. 4 is joined to the VII chord in m. 11 by a passing Bb 7. The latter chord arises contrapuntally; the alto and tenor parts F complete a chain of parallel thirds extending from E

(m. 4) to E (m. 13). This chain is perhaps more obvious in

Debussy's draft and two-piano reduction than in the finished score. Finally, Example 2d adds the overall motion--C -

B-AO -of the opening tune, along with the expansion of the dominant Dt-B in m. 13.

Example 2 clarifies several important issues. First, the

graphs suggest that the tonal function of the opening four bars is indeterminant; although the pitch Ct is clearly emphasized, its role is obscure. In fact, the G (mm. 1-2) implies that the harmonies probably change in these bars; such a change al-

ways occurs when the theme is harmonized, even when it raised to GO (mm. 100-101). To complicate matters further, the goal of the opening phrase seems to be A# rather than B. In m. 3, B seems to pass between C# and At, and only in later statements do CK and AO serve as neighbors to B. Second, whereas mm. 1-3 are ambiguous, mm. 4-13 can be derived by orthodox tonal transformations. Indeed, the rather striking progression bVII-V is actually quite common in Debussy's early compositions, and even controls the mid-

dleground of entire works such as the song "C'est l'extase" (Ariettes oubliees, 1887).29 Third, the chromatic inner lines found in Example 2c recur later in the Prelude. As we will see, both mm. 20-30 and 79-106 are bound together by anal-

28Schenker discussed VII-V progressions in various places in Der freie Satz, especially par. 246, fig. 111 (fig. 1llc shows how VII7 can occur with

V9). See Heinrich Schenker, Derfreie Satz (Vienna: Universal, 1935); trans- lated by Ernst Oster under the title Free Composition (New York, Longman, 1979). See also Matthew Brown, "The Diatonic and the Chromatic in Schen- ker's Theory of Harmonic Relations," Journal of Music Theory 30 (1986): 1-33.

29For a different analysis of this song, see Wallace Berry, Musical Structure and Performance (New Haven: Yale University Press, 1989), 144-216.

Der freie Satz.28 Example 2c then shows how the initial VII7 of V in m. 4 is joined to the VII chord in m. 11 by a passing Bb 7. The latter chord arises contrapuntally; the alto and tenor parts F complete a chain of parallel thirds extending from E

(m. 4) to E (m. 13). This chain is perhaps more obvious in

Debussy's draft and two-piano reduction than in the finished score. Finally, Example 2d adds the overall motion--C -

B-AO -of the opening tune, along with the expansion of the dominant Dt-B in m. 13.

Example 2 clarifies several important issues. First, the

graphs suggest that the tonal function of the opening four bars is indeterminant; although the pitch Ct is clearly emphasized, its role is obscure. In fact, the G (mm. 1-2) implies that the harmonies probably change in these bars; such a change al-

ways occurs when the theme is harmonized, even when it raised to GO (mm. 100-101). To complicate matters further, the goal of the opening phrase seems to be A# rather than B. In m. 3, B seems to pass between C# and At, and only in later statements do CK and AO serve as neighbors to B. Second, whereas mm. 1-3 are ambiguous, mm. 4-13 can be derived by orthodox tonal transformations. Indeed, the rather striking progression bVII-V is actually quite common in Debussy's early compositions, and even controls the mid-

dleground of entire works such as the song "C'est l'extase" (Ariettes oubliees, 1887).29 Third, the chromatic inner lines found in Example 2c recur later in the Prelude. As we will see, both mm. 20-30 and 79-106 are bound together by anal-

28Schenker discussed VII-V progressions in various places in Der freie Satz, especially par. 246, fig. 111 (fig. 1llc shows how VII7 can occur with

V9). See Heinrich Schenker, Derfreie Satz (Vienna: Universal, 1935); trans- lated by Ernst Oster under the title Free Composition (New York, Longman, 1979). See also Matthew Brown, "The Diatonic and the Chromatic in Schen- ker's Theory of Harmonic Relations," Journal of Music Theory 30 (1986): 1-33.

29For a different analysis of this song, see Wallace Berry, Musical Structure and Performance (New Haven: Yale University Press, 1989), 144-216.

Der freie Satz.28 Example 2c then shows how the initial VII7 of V in m. 4 is joined to the VII chord in m. 11 by a passing Bb 7. The latter chord arises contrapuntally; the alto and tenor parts F complete a chain of parallel thirds extending from E

(m. 4) to E (m. 13). This chain is perhaps more obvious in

Debussy's draft and two-piano reduction than in the finished score. Finally, Example 2d adds the overall motion--C -

B-AO -of the opening tune, along with the expansion of the dominant Dt-B in m. 13.

Example 2 clarifies several important issues. First, the

graphs suggest that the tonal function of the opening four bars is indeterminant; although the pitch Ct is clearly emphasized, its role is obscure. In fact, the G (mm. 1-2) implies that the harmonies probably change in these bars; such a change al-

ways occurs when the theme is harmonized, even when it raised to GO (mm. 100-101). To complicate matters further, the goal of the opening phrase seems to be A# rather than B. In m. 3, B seems to pass between C# and At, and only in later statements do CK and AO serve as neighbors to B. Second, whereas mm. 1-3 are ambiguous, mm. 4-13 can be derived by orthodox tonal transformations. Indeed, the rather striking progression bVII-V is actually quite common in Debussy's early compositions, and even controls the mid-

dleground of entire works such as the song "C'est l'extase" (Ariettes oubliees, 1887).29 Third, the chromatic inner lines found in Example 2c recur later in the Prelude. As we will see, both mm. 20-30 and 79-106 are bound together by anal-

28Schenker discussed VII-V progressions in various places in Der freie Satz, especially par. 246, fig. 111 (fig. 1llc shows how VII7 can occur with

V9). See Heinrich Schenker, Derfreie Satz (Vienna: Universal, 1935); trans- lated by Ernst Oster under the title Free Composition (New York, Longman, 1979). See also Matthew Brown, "The Diatonic and the Chromatic in Schen- ker's Theory of Harmonic Relations," Journal of Music Theory 30 (1986): 1-33.

29For a different analysis of this song, see Wallace Berry, Musical Structure and Performance (New Haven: Yale University Press, 1989), 144-216.

Der freie Satz.28 Example 2c then shows how the initial VII7 of V in m. 4 is joined to the VII chord in m. 11 by a passing Bb 7. The latter chord arises contrapuntally; the alto and tenor parts F complete a chain of parallel thirds extending from E

(m. 4) to E (m. 13). This chain is perhaps more obvious in

Debussy's draft and two-piano reduction than in the finished score. Finally, Example 2d adds the overall motion--C -

B-AO -of the opening tune, along with the expansion of the dominant Dt-B in m. 13.

Example 2 clarifies several important issues. First, the

graphs suggest that the tonal function of the opening four bars is indeterminant; although the pitch Ct is clearly emphasized, its role is obscure. In fact, the G (mm. 1-2) implies that the harmonies probably change in these bars; such a change al-

ways occurs when the theme is harmonized, even when it raised to GO (mm. 100-101). To complicate matters further, the goal of the opening phrase seems to be A# rather than B. In m. 3, B seems to pass between C# and At, and only in later statements do CK and AO serve as neighbors to B. Second, whereas mm. 1-3 are ambiguous, mm. 4-13 can be derived by orthodox tonal transformations. Indeed, the rather striking progression bVII-V is actually quite common in Debussy's early compositions, and even controls the mid-

dleground of entire works such as the song "C'est l'extase" (Ariettes oubliees, 1887).29 Third, the chromatic inner lines found in Example 2c recur later in the Prelude. As we will see, both mm. 20-30 and 79-106 are bound together by anal-

28Schenker discussed VII-V progressions in various places in Der freie Satz, especially par. 246, fig. 111 (fig. 1llc shows how VII7 can occur with

V9). See Heinrich Schenker, Derfreie Satz (Vienna: Universal, 1935); trans- lated by Ernst Oster under the title Free Composition (New York, Longman, 1979). See also Matthew Brown, "The Diatonic and the Chromatic in Schen- ker's Theory of Harmonic Relations," Journal of Music Theory 30 (1986): 1-33.

29For a different analysis of this song, see Wallace Berry, Musical Structure and Performance (New Haven: Yale University Press, 1989), 144-216.

Der freie Satz.28 Example 2c then shows how the initial VII7 of V in m. 4 is joined to the VII chord in m. 11 by a passing Bb 7. The latter chord arises contrapuntally; the alto and tenor parts F complete a chain of parallel thirds extending from E

(m. 4) to E (m. 13). This chain is perhaps more obvious in

Debussy's draft and two-piano reduction than in the finished score. Finally, Example 2d adds the overall motion--C -

B-AO -of the opening tune, along with the expansion of the dominant Dt-B in m. 13.

Example 2 clarifies several important issues. First, the

graphs suggest that the tonal function of the opening four bars is indeterminant; although the pitch Ct is clearly emphasized, its role is obscure. In fact, the G (mm. 1-2) implies that the harmonies probably change in these bars; such a change al-

ways occurs when the theme is harmonized, even when it raised to GO (mm. 100-101). To complicate matters further, the goal of the opening phrase seems to be A# rather than B. In m. 3, B seems to pass between C# and At, and only in later statements do CK and AO serve as neighbors to B. Second, whereas mm. 1-3 are ambiguous, mm. 4-13 can be derived by orthodox tonal transformations. Indeed, the rather striking progression bVII-V is actually quite common in Debussy's early compositions, and even controls the mid-

dleground of entire works such as the song "C'est l'extase" (Ariettes oubliees, 1887).29 Third, the chromatic inner lines found in Example 2c recur later in the Prelude. As we will see, both mm. 20-30 and 79-106 are bound together by anal-

28Schenker discussed VII-V progressions in various places in Der freie Satz, especially par. 246, fig. 111 (fig. 1llc shows how VII7 can occur with

V9). See Heinrich Schenker, Derfreie Satz (Vienna: Universal, 1935); trans- lated by Ernst Oster under the title Free Composition (New York, Longman, 1979). See also Matthew Brown, "The Diatonic and the Chromatic in Schen- ker's Theory of Harmonic Relations," Journal of Music Theory 30 (1986): 1-33.

29For a different analysis of this song, see Wallace Berry, Musical Structure and Performance (New Haven: Yale University Press, 1989), 144-216.

Der freie Satz.28 Example 2c then shows how the initial VII7 of V in m. 4 is joined to the VII chord in m. 11 by a passing Bb 7. The latter chord arises contrapuntally; the alto and tenor parts F complete a chain of parallel thirds extending from E

(m. 4) to E (m. 13). This chain is perhaps more obvious in

Debussy's draft and two-piano reduction than in the finished score. Finally, Example 2d adds the overall motion--C -

B-AO -of the opening tune, along with the expansion of the dominant Dt-B in m. 13.

Example 2 clarifies several important issues. First, the

graphs suggest that the tonal function of the opening four bars is indeterminant; although the pitch Ct is clearly emphasized, its role is obscure. In fact, the G (mm. 1-2) implies that the harmonies probably change in these bars; such a change al-

ways occurs when the theme is harmonized, even when it raised to GO (mm. 100-101). To complicate matters further, the goal of the opening phrase seems to be A# rather than B. In m. 3, B seems to pass between C# and At, and only in later statements do CK and AO serve as neighbors to B. Second, whereas mm. 1-3 are ambiguous, mm. 4-13 can be derived by orthodox tonal transformations. Indeed, the rather striking progression bVII-V is actually quite common in Debussy's early compositions, and even controls the mid-

dleground of entire works such as the song "C'est l'extase" (Ariettes oubliees, 1887).29 Third, the chromatic inner lines found in Example 2c recur later in the Prelude. As we will see, both mm. 20-30 and 79-106 are bound together by anal-

28Schenker discussed VII-V progressions in various places in Der freie Satz, especially par. 246, fig. 111 (fig. 1llc shows how VII7 can occur with

V9). See Heinrich Schenker, Derfreie Satz (Vienna: Universal, 1935); trans- lated by Ernst Oster under the title Free Composition (New York, Longman, 1979). See also Matthew Brown, "The Diatonic and the Chromatic in Schen- ker's Theory of Harmonic Relations," Journal of Music Theory 30 (1986): 1-33.

29For a different analysis of this song, see Wallace Berry, Musical Structure and Performance (New Haven: Yale University Press, 1989), 144-216.

Der freie Satz.28 Example 2c then shows how the initial VII7 of V in m. 4 is joined to the VII chord in m. 11 by a passing Bb 7. The latter chord arises contrapuntally; the alto and tenor parts F complete a chain of parallel thirds extending from E

(m. 4) to E (m. 13). This chain is perhaps more obvious in

Debussy's draft and two-piano reduction than in the finished score. Finally, Example 2d adds the overall motion--C -

B-AO -of the opening tune, along with the expansion of the dominant Dt-B in m. 13.

Example 2 clarifies several important issues. First, the

graphs suggest that the tonal function of the opening four bars is indeterminant; although the pitch Ct is clearly emphasized, its role is obscure. In fact, the G (mm. 1-2) implies that the harmonies probably change in these bars; such a change al-

ways occurs when the theme is harmonized, even when it raised to GO (mm. 100-101). To complicate matters further, the goal of the opening phrase seems to be A# rather than B. In m. 3, B seems to pass between C# and At, and only in later statements do CK and AO serve as neighbors to B. Second, whereas mm. 1-3 are ambiguous, mm. 4-13 can be derived by orthodox tonal transformations. Indeed, the rather striking progression bVII-V is actually quite common in Debussy's early compositions, and even controls the mid-

dleground of entire works such as the song "C'est l'extase" (Ariettes oubliees, 1887).29 Third, the chromatic inner lines found in Example 2c recur later in the Prelude. As we will see, both mm. 20-30 and 79-106 are bound together by anal-

28Schenker discussed VII-V progressions in various places in Der freie Satz, especially par. 246, fig. 111 (fig. 1llc shows how VII7 can occur with

V9). See Heinrich Schenker, Derfreie Satz (Vienna: Universal, 1935); trans- lated by Ernst Oster under the title Free Composition (New York, Longman, 1979). See also Matthew Brown, "The Diatonic and the Chromatic in Schen- ker's Theory of Harmonic Relations," Journal of Music Theory 30 (1986): 1-33.

29For a different analysis of this song, see Wallace Berry, Musical Structure and Performance (New Haven: Yale University Press, 1989), 144-216.

ogous chains of parallel thirds. Fourth, Debussy veils our sense of tonality by manipulating the way in which melodic phrases intersect with their harmonic foundation. The pro- gression VII7 of V-V9-I (mm. 1-13) actually cuts across two distinct statements of the flute theme in mm. 1-10 and 11-20.

Having discussed the opening of the Prelude, let us now turn to mm. 30-54. Jean Barraque has rightly observed that this segment functions as some sort of development. He sug- gests that it can be divided into three discrete phases: mm. 30-37 offer a "double presentation of the principal theme harmonized by chords from the whole-tone scale"; mm. 37-50 introduce "the second theme . . . in the oboe" and modulate towards the key of the middle section; and mm. 50-54 sustain "a pedal on the dominant of Dk."30 When we look more closely at the wider tonal and motivic context of the passage, several other details seem significant. For ex- ample, although the oboe theme does not appear before m. 37, this gesture is derived from the pentatonic motive in m. 28 (see Exx. 3a and 3b).31 Indeed, the links between this section and its predecessor are reinforced by the fact that the oboe theme appears with fragments of the main flute theme in mm. 46-47 (see Ex. 5b). More remarkably, as Charles Burkhart has demonstrated, mm. 37-55 form a single span, with a stepwise descent in the bass, from B (V of E) via Bb and A to Ab (V of Db,), and with a series of nested repetitions of the chromatic figure B(C,)-C-Ct1(Db) in the upper parts (see Ex. 3c).32 Significantly, this chromatic figure is embed- ded within the main flute theme (see Ex. 3d). Burkhart's

30Barraque, Debussy, 88; translated in Austin, ed., Prelude, 163-64. 31For elaborate accounts of the complex motivic connections see Austin,

"Toward an Analytical Appreciation," especially pp. 76-78. Peter Gilke has stressed the significance of pentatonic figures both to the opening flute theme (Gilke, Exx. 1, 3, and 5), the oboe theme at m. 37 (Gtilke, Ex. 4), and the Db theme (Giilke, Ex. 2); see "Musik aus dem Bannkreis," 114ff. and 120ff.

32I have adapted Burkhart's Ex. 9 very slightly; see Burkhart, "Schenker's 'Motivic Parallelisms,' " 156.

ogous chains of parallel thirds. Fourth, Debussy veils our sense of tonality by manipulating the way in which melodic phrases intersect with their harmonic foundation. The pro- gression VII7 of V-V9-I (mm. 1-13) actually cuts across two distinct statements of the flute theme in mm. 1-10 and 11-20.

Having discussed the opening of the Prelude, let us now turn to mm. 30-54. Jean Barraque has rightly observed that this segment functions as some sort of development. He sug- gests that it can be divided into three discrete phases: mm. 30-37 offer a "double presentation of the principal theme harmonized by chords from the whole-tone scale"; mm. 37-50 introduce "the second theme . . . in the oboe" and modulate towards the key of the middle section; and mm. 50-54 sustain "a pedal on the dominant of Dk."30 When we look more closely at the wider tonal and motivic context of the passage, several other details seem significant. For ex- ample, although the oboe theme does not appear before m. 37, this gesture is derived from the pentatonic motive in m. 28 (see Exx. 3a and 3b).31 Indeed, the links between this section and its predecessor are reinforced by the fact that the oboe theme appears with fragments of the main flute theme in mm. 46-47 (see Ex. 5b). More remarkably, as Charles Burkhart has demonstrated, mm. 37-55 form a single span, with a stepwise descent in the bass, from B (V of E) via Bb and A to Ab (V of Db,), and with a series of nested repetitions of the chromatic figure B(C,)-C-Ct1(Db) in the upper parts (see Ex. 3c).32 Significantly, this chromatic figure is embed- ded within the main flute theme (see Ex. 3d). Burkhart's

30Barraque, Debussy, 88; translated in Austin, ed., Prelude, 163-64. 31For elaborate accounts of the complex motivic connections see Austin,

"Toward an Analytical Appreciation," especially pp. 76-78. Peter Gilke has stressed the significance of pentatonic figures both to the opening flute theme (Gilke, Exx. 1, 3, and 5), the oboe theme at m. 37 (Gtilke, Ex. 4), and the Db theme (Giilke, Ex. 2); see "Musik aus dem Bannkreis," 114ff. and 120ff.

32I have adapted Burkhart's Ex. 9 very slightly; see Burkhart, "Schenker's 'Motivic Parallelisms,' " 156.

ogous chains of parallel thirds. Fourth, Debussy veils our sense of tonality by manipulating the way in which melodic phrases intersect with their harmonic foundation. The pro- gression VII7 of V-V9-I (mm. 1-13) actually cuts across two distinct statements of the flute theme in mm. 1-10 and 11-20.

Having discussed the opening of the Prelude, let us now turn to mm. 30-54. Jean Barraque has rightly observed that this segment functions as some sort of development. He sug- gests that it can be divided into three discrete phases: mm. 30-37 offer a "double presentation of the principal theme harmonized by chords from the whole-tone scale"; mm. 37-50 introduce "the second theme . . . in the oboe" and modulate towards the key of the middle section; and mm. 50-54 sustain "a pedal on the dominant of Dk."30 When we look more closely at the wider tonal and motivic context of the passage, several other details seem significant. For ex- ample, although the oboe theme does not appear before m. 37, this gesture is derived from the pentatonic motive in m. 28 (see Exx. 3a and 3b).31 Indeed, the links between this section and its predecessor are reinforced by the fact that the oboe theme appears with fragments of the main flute theme in mm. 46-47 (see Ex. 5b). More remarkably, as Charles Burkhart has demonstrated, mm. 37-55 form a single span, with a stepwise descent in the bass, from B (V of E) via Bb and A to Ab (V of Db,), and with a series of nested repetitions of the chromatic figure B(C,)-C-Ct1(Db) in the upper parts (see Ex. 3c).32 Significantly, this chromatic figure is embed- ded within the main flute theme (see Ex. 3d). Burkhart's

30Barraque, Debussy, 88; translated in Austin, ed., Prelude, 163-64. 31For elaborate accounts of the complex motivic connections see Austin,

"Toward an Analytical Appreciation," especially pp. 76-78. Peter Gilke has stressed the significance of pentatonic figures both to the opening flute theme (Gilke, Exx. 1, 3, and 5), the oboe theme at m. 37 (Gtilke, Ex. 4), and the Db theme (Giilke, Ex. 2); see "Musik aus dem Bannkreis," 114ff. and 120ff.

32I have adapted Burkhart's Ex. 9 very slightly; see Burkhart, "Schenker's 'Motivic Parallelisms,' " 156.

ogous chains of parallel thirds. Fourth, Debussy veils our sense of tonality by manipulating the way in which melodic phrases intersect with their harmonic foundation. The pro- gression VII7 of V-V9-I (mm. 1-13) actually cuts across two distinct statements of the flute theme in mm. 1-10 and 11-20.

Having discussed the opening of the Prelude, let us now turn to mm. 30-54. Jean Barraque has rightly observed that this segment functions as some sort of development. He sug- gests that it can be divided into three discrete phases: mm. 30-37 offer a "double presentation of the principal theme harmonized by chords from the whole-tone scale"; mm. 37-50 introduce "the second theme . . . in the oboe" and modulate towards the key of the middle section; and mm. 50-54 sustain "a pedal on the dominant of Dk."30 When we look more closely at the wider tonal and motivic context of the passage, several other details seem significant. For ex- ample, although the oboe theme does not appear before m. 37, this gesture is derived from the pentatonic motive in m. 28 (see Exx. 3a and 3b).31 Indeed, the links between this section and its predecessor are reinforced by the fact that the oboe theme appears with fragments of the main flute theme in mm. 46-47 (see Ex. 5b). More remarkably, as Charles Burkhart has demonstrated, mm. 37-55 form a single span, with a stepwise descent in the bass, from B (V of E) via Bb and A to Ab (V of Db,), and with a series of nested repetitions of the chromatic figure B(C,)-C-Ct1(Db) in the upper parts (see Ex. 3c).32 Significantly, this chromatic figure is embed- ded within the main flute theme (see Ex. 3d). Burkhart's

30Barraque, Debussy, 88; translated in Austin, ed., Prelude, 163-64. 31For elaborate accounts of the complex motivic connections see Austin,

"Toward an Analytical Appreciation," especially pp. 76-78. Peter Gilke has stressed the significance of pentatonic figures both to the opening flute theme (Gilke, Exx. 1, 3, and 5), the oboe theme at m. 37 (Gtilke, Ex. 4), and the Db theme (Giilke, Ex. 2); see "Musik aus dem Bannkreis," 114ff. and 120ff.

32I have adapted Burkhart's Ex. 9 very slightly; see Burkhart, "Schenker's 'Motivic Parallelisms,' " 156.

ogous chains of parallel thirds. Fourth, Debussy veils our sense of tonality by manipulating the way in which melodic phrases intersect with their harmonic foundation. The pro- gression VII7 of V-V9-I (mm. 1-13) actually cuts across two distinct statements of the flute theme in mm. 1-10 and 11-20.

Having discussed the opening of the Prelude, let us now turn to mm. 30-54. Jean Barraque has rightly observed that this segment functions as some sort of development. He sug- gests that it can be divided into three discrete phases: mm. 30-37 offer a "double presentation of the principal theme harmonized by chords from the whole-tone scale"; mm. 37-50 introduce "the second theme . . . in the oboe" and modulate towards the key of the middle section; and mm. 50-54 sustain "a pedal on the dominant of Dk."30 When we look more closely at the wider tonal and motivic context of the passage, several other details seem significant. For ex- ample, although the oboe theme does not appear before m. 37, this gesture is derived from the pentatonic motive in m. 28 (see Exx. 3a and 3b).31 Indeed, the links between this section and its predecessor are reinforced by the fact that the oboe theme appears with fragments of the main flute theme in mm. 46-47 (see Ex. 5b). More remarkably, as Charles Burkhart has demonstrated, mm. 37-55 form a single span, with a stepwise descent in the bass, from B (V of E) via Bb and A to Ab (V of Db,), and with a series of nested repetitions of the chromatic figure B(C,)-C-Ct1(Db) in the upper parts (see Ex. 3c).32 Significantly, this chromatic figure is embed- ded within the main flute theme (see Ex. 3d). Burkhart's

30Barraque, Debussy, 88; translated in Austin, ed., Prelude, 163-64. 31For elaborate accounts of the complex motivic connections see Austin,

"Toward an Analytical Appreciation," especially pp. 76-78. Peter Gilke has stressed the significance of pentatonic figures both to the opening flute theme (Gilke, Exx. 1, 3, and 5), the oboe theme at m. 37 (Gtilke, Ex. 4), and the Db theme (Giilke, Ex. 2); see "Musik aus dem Bannkreis," 114ff. and 120ff.

32I have adapted Burkhart's Ex. 9 very slightly; see Burkhart, "Schenker's 'Motivic Parallelisms,' " 156.

ogous chains of parallel thirds. Fourth, Debussy veils our sense of tonality by manipulating the way in which melodic phrases intersect with their harmonic foundation. The pro- gression VII7 of V-V9-I (mm. 1-13) actually cuts across two distinct statements of the flute theme in mm. 1-10 and 11-20.

Having discussed the opening of the Prelude, let us now turn to mm. 30-54. Jean Barraque has rightly observed that this segment functions as some sort of development. He sug- gests that it can be divided into three discrete phases: mm. 30-37 offer a "double presentation of the principal theme harmonized by chords from the whole-tone scale"; mm. 37-50 introduce "the second theme . . . in the oboe" and modulate towards the key of the middle section; and mm. 50-54 sustain "a pedal on the dominant of Dk."30 When we look more closely at the wider tonal and motivic context of the passage, several other details seem significant. For ex- ample, although the oboe theme does not appear before m. 37, this gesture is derived from the pentatonic motive in m. 28 (see Exx. 3a and 3b).31 Indeed, the links between this section and its predecessor are reinforced by the fact that the oboe theme appears with fragments of the main flute theme in mm. 46-47 (see Ex. 5b). More remarkably, as Charles Burkhart has demonstrated, mm. 37-55 form a single span, with a stepwise descent in the bass, from B (V of E) via Bb and A to Ab (V of Db,), and with a series of nested repetitions of the chromatic figure B(C,)-C-Ct1(Db) in the upper parts (see Ex. 3c).32 Significantly, this chromatic figure is embed- ded within the main flute theme (see Ex. 3d). Burkhart's

30Barraque, Debussy, 88; translated in Austin, ed., Prelude, 163-64. 31For elaborate accounts of the complex motivic connections see Austin,

"Toward an Analytical Appreciation," especially pp. 76-78. Peter Gilke has stressed the significance of pentatonic figures both to the opening flute theme (Gilke, Exx. 1, 3, and 5), the oboe theme at m. 37 (Gtilke, Ex. 4), and the Db theme (Giilke, Ex. 2); see "Musik aus dem Bannkreis," 114ff. and 120ff.

32I have adapted Burkhart's Ex. 9 very slightly; see Burkhart, "Schenker's 'Motivic Parallelisms,' " 156.

ogous chains of parallel thirds. Fourth, Debussy veils our sense of tonality by manipulating the way in which melodic phrases intersect with their harmonic foundation. The pro- gression VII7 of V-V9-I (mm. 1-13) actually cuts across two distinct statements of the flute theme in mm. 1-10 and 11-20.

Having discussed the opening of the Prelude, let us now turn to mm. 30-54. Jean Barraque has rightly observed that this segment functions as some sort of development. He sug- gests that it can be divided into three discrete phases: mm. 30-37 offer a "double presentation of the principal theme harmonized by chords from the whole-tone scale"; mm. 37-50 introduce "the second theme . . . in the oboe" and modulate towards the key of the middle section; and mm. 50-54 sustain "a pedal on the dominant of Dk."30 When we look more closely at the wider tonal and motivic context of the passage, several other details seem significant. For ex- ample, although the oboe theme does not appear before m. 37, this gesture is derived from the pentatonic motive in m. 28 (see Exx. 3a and 3b).31 Indeed, the links between this section and its predecessor are reinforced by the fact that the oboe theme appears with fragments of the main flute theme in mm. 46-47 (see Ex. 5b). More remarkably, as Charles Burkhart has demonstrated, mm. 37-55 form a single span, with a stepwise descent in the bass, from B (V of E) via Bb and A to Ab (V of Db,), and with a series of nested repetitions of the chromatic figure B(C,)-C-Ct1(Db) in the upper parts (see Ex. 3c).32 Significantly, this chromatic figure is embed- ded within the main flute theme (see Ex. 3d). Burkhart's

30Barraque, Debussy, 88; translated in Austin, ed., Prelude, 163-64. 31For elaborate accounts of the complex motivic connections see Austin,

"Toward an Analytical Appreciation," especially pp. 76-78. Peter Gilke has stressed the significance of pentatonic figures both to the opening flute theme (Gilke, Exx. 1, 3, and 5), the oboe theme at m. 37 (Gtilke, Ex. 4), and the Db theme (Giilke, Ex. 2); see "Musik aus dem Bannkreis," 114ff. and 120ff.

32I have adapted Burkhart's Ex. 9 very slightly; see Burkhart, "Schenker's 'Motivic Parallelisms,' " 156.

ogous chains of parallel thirds. Fourth, Debussy veils our sense of tonality by manipulating the way in which melodic phrases intersect with their harmonic foundation. The pro- gression VII7 of V-V9-I (mm. 1-13) actually cuts across two distinct statements of the flute theme in mm. 1-10 and 11-20.

Having discussed the opening of the Prelude, let us now turn to mm. 30-54. Jean Barraque has rightly observed that this segment functions as some sort of development. He sug- gests that it can be divided into three discrete phases: mm. 30-37 offer a "double presentation of the principal theme harmonized by chords from the whole-tone scale"; mm. 37-50 introduce "the second theme . . . in the oboe" and modulate towards the key of the middle section; and mm. 50-54 sustain "a pedal on the dominant of Dk."30 When we look more closely at the wider tonal and motivic context of the passage, several other details seem significant. For ex- ample, although the oboe theme does not appear before m. 37, this gesture is derived from the pentatonic motive in m. 28 (see Exx. 3a and 3b).31 Indeed, the links between this section and its predecessor are reinforced by the fact that the oboe theme appears with fragments of the main flute theme in mm. 46-47 (see Ex. 5b). More remarkably, as Charles Burkhart has demonstrated, mm. 37-55 form a single span, with a stepwise descent in the bass, from B (V of E) via Bb and A to Ab (V of Db,), and with a series of nested repetitions of the chromatic figure B(C,)-C-Ct1(Db) in the upper parts (see Ex. 3c).32 Significantly, this chromatic figure is embed- ded within the main flute theme (see Ex. 3d). Burkhart's

30Barraque, Debussy, 88; translated in Austin, ed., Prelude, 163-64. 31For elaborate accounts of the complex motivic connections see Austin,

"Toward an Analytical Appreciation," especially pp. 76-78. Peter Gilke has stressed the significance of pentatonic figures both to the opening flute theme (Gilke, Exx. 1, 3, and 5), the oboe theme at m. 37 (Gtilke, Ex. 4), and the Db theme (Giilke, Ex. 2); see "Musik aus dem Bannkreis," 114ff. and 120ff.

32I have adapted Burkhart's Ex. 9 very slightly; see Burkhart, "Schenker's 'Motivic Parallelisms,' " 156.

ogous chains of parallel thirds. Fourth, Debussy veils our sense of tonality by manipulating the way in which melodic phrases intersect with their harmonic foundation. The pro- gression VII7 of V-V9-I (mm. 1-13) actually cuts across two distinct statements of the flute theme in mm. 1-10 and 11-20.

Having discussed the opening of the Prelude, let us now turn to mm. 30-54. Jean Barraque has rightly observed that this segment functions as some sort of development. He sug- gests that it can be divided into three discrete phases: mm. 30-37 offer a "double presentation of the principal theme harmonized by chords from the whole-tone scale"; mm. 37-50 introduce "the second theme . . . in the oboe" and modulate towards the key of the middle section; and mm. 50-54 sustain "a pedal on the dominant of Dk."30 When we look more closely at the wider tonal and motivic context of the passage, several other details seem significant. For ex- ample, although the oboe theme does not appear before m. 37, this gesture is derived from the pentatonic motive in m. 28 (see Exx. 3a and 3b).31 Indeed, the links between this section and its predecessor are reinforced by the fact that the oboe theme appears with fragments of the main flute theme in mm. 46-47 (see Ex. 5b). More remarkably, as Charles Burkhart has demonstrated, mm. 37-55 form a single span, with a stepwise descent in the bass, from B (V of E) via Bb and A to Ab (V of Db,), and with a series of nested repetitions of the chromatic figure B(C,)-C-Ct1(Db) in the upper parts (see Ex. 3c).32 Significantly, this chromatic figure is embed- ded within the main flute theme (see Ex. 3d). Burkhart's

30Barraque, Debussy, 88; translated in Austin, ed., Prelude, 163-64. 31For elaborate accounts of the complex motivic connections see Austin,

"Toward an Analytical Appreciation," especially pp. 76-78. Peter Gilke has stressed the significance of pentatonic figures both to the opening flute theme (Gilke, Exx. 1, 3, and 5), the oboe theme at m. 37 (Gtilke, Ex. 4), and the Db theme (Giilke, Ex. 2); see "Musik aus dem Bannkreis," 114ff. and 120ff.

32I have adapted Burkhart's Ex. 9 very slightly; see Burkhart, "Schenker's 'Motivic Parallelisms,' " 156.

ogous chains of parallel thirds. Fourth, Debussy veils our sense of tonality by manipulating the way in which melodic phrases intersect with their harmonic foundation. The pro- gression VII7 of V-V9-I (mm. 1-13) actually cuts across two distinct statements of the flute theme in mm. 1-10 and 11-20.

Having discussed the opening of the Prelude, let us now turn to mm. 30-54. Jean Barraque has rightly observed that this segment functions as some sort of development. He sug- gests that it can be divided into three discrete phases: mm. 30-37 offer a "double presentation of the principal theme harmonized by chords from the whole-tone scale"; mm. 37-50 introduce "the second theme . . . in the oboe" and modulate towards the key of the middle section; and mm. 50-54 sustain "a pedal on the dominant of Dk."30 When we look more closely at the wider tonal and motivic context of the passage, several other details seem significant. For ex- ample, although the oboe theme does not appear before m. 37, this gesture is derived from the pentatonic motive in m. 28 (see Exx. 3a and 3b).31 Indeed, the links between this section and its predecessor are reinforced by the fact that the oboe theme appears with fragments of the main flute theme in mm. 46-47 (see Ex. 5b). More remarkably, as Charles Burkhart has demonstrated, mm. 37-55 form a single span, with a stepwise descent in the bass, from B (V of E) via Bb and A to Ab (V of Db,), and with a series of nested repetitions of the chromatic figure B(C,)-C-Ct1(Db) in the upper parts (see Ex. 3c).32 Significantly, this chromatic figure is embed- ded within the main flute theme (see Ex. 3d). Burkhart's

30Barraque, Debussy, 88; translated in Austin, ed., Prelude, 163-64. 31For elaborate accounts of the complex motivic connections see Austin,

"Toward an Analytical Appreciation," especially pp. 76-78. Peter Gilke has stressed the significance of pentatonic figures both to the opening flute theme (Gilke, Exx. 1, 3, and 5), the oboe theme at m. 37 (Gtilke, Ex. 4), and the Db theme (Giilke, Ex. 2); see "Musik aus dem Bannkreis," 114ff. and 120ff.

32I have adapted Burkhart's Ex. 9 very slightly; see Burkhart, "Schenker's 'Motivic Parallelisms,' " 156.

ogous chains of parallel thirds. Fourth, Debussy veils our sense of tonality by manipulating the way in which melodic phrases intersect with their harmonic foundation. The pro- gression VII7 of V-V9-I (mm. 1-13) actually cuts across two distinct statements of the flute theme in mm. 1-10 and 11-20.

Having discussed the opening of the Prelude, let us now turn to mm. 30-54. Jean Barraque has rightly observed that this segment functions as some sort of development. He sug- gests that it can be divided into three discrete phases: mm. 30-37 offer a "double presentation of the principal theme harmonized by chords from the whole-tone scale"; mm. 37-50 introduce "the second theme . . . in the oboe" and modulate towards the key of the middle section; and mm. 50-54 sustain "a pedal on the dominant of Dk."30 When we look more closely at the wider tonal and motivic context of the passage, several other details seem significant. For ex- ample, although the oboe theme does not appear before m. 37, this gesture is derived from the pentatonic motive in m. 28 (see Exx. 3a and 3b).31 Indeed, the links between this section and its predecessor are reinforced by the fact that the oboe theme appears with fragments of the main flute theme in mm. 46-47 (see Ex. 5b). More remarkably, as Charles Burkhart has demonstrated, mm. 37-55 form a single span, with a stepwise descent in the bass, from B (V of E) via Bb and A to Ab (V of Db,), and with a series of nested repetitions of the chromatic figure B(C,)-C-Ct1(Db) in the upper parts (see Ex. 3c).32 Significantly, this chromatic figure is embed- ded within the main flute theme (see Ex. 3d). Burkhart's

30Barraque, Debussy, 88; translated in Austin, ed., Prelude, 163-64. 31For elaborate accounts of the complex motivic connections see Austin,

"Toward an Analytical Appreciation," especially pp. 76-78. Peter Gilke has stressed the significance of pentatonic figures both to the opening flute theme (Gilke, Exx. 1, 3, and 5), the oboe theme at m. 37 (Gtilke, Ex. 4), and the Db theme (Giilke, Ex. 2); see "Musik aus dem Bannkreis," 114ff. and 120ff.

32I have adapted Burkhart's Ex. 9 very slightly; see Burkhart, "Schenker's 'Motivic Parallelisms,' " 156.

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 135

Example 3. Prelude a "L'Apres-midi d'un faune," mm. 37-55

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 135

Example 3. Prelude a "L'Apres-midi d'un faune," mm. 37-55

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 135

Example 3. Prelude a "L'Apres-midi d'un faune," mm. 37-55

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 135

Example 3. Prelude a "L'Apres-midi d'un faune," mm. 37-55

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 135

Example 3. Prelude a "L'Apres-midi d'un faune," mm. 37-55

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 135

Example 3. Prelude a "L'Apres-midi d'un faune," mm. 37-55

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 135

Example 3. Prelude a "L'Apres-midi d'un faune," mm. 37-55

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 135

Example 3. Prelude a "L'Apres-midi d'un faune," mm. 37-55

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 135

Example 3. Prelude a "L'Apres-midi d'un faune," mm. 37-55

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 135

Example 3. Prelude a "L'Apres-midi d'un faune," mm. 37-55

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 135

Example 3. Prelude a "L'Apres-midi d'un faune," mm. 37-55

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reading not only connects mm. 37-54 to mm. 1-30, but it also shows how the transition functions as one, rather than two, separate spans.

While mm. 37-54 are certainly unusual, they are a good deal more orthodox than mm. 30-37; Burkhart is surely cor- rect to state that the latter contains "the work's most radical departure from traditional procedure."33 His analysis shows how the passage is built from the two whole-tone sets- C-D-E-Ft-Gt-Af and Ct-Dt-F-G-A-B. It would be wrong, however, to conclude that this passage cannot be de- rived from tonal transformations. On the contrary, Example 4 shows that mm. 30-37 arise contrapuntally, from complex passing motions in the inner voices. The upper line is created by a motion from the inner voice: the Ft in the alto part (m. 30) ascends by step through G, A, B , and C to Cf (m. 37). The inner parts mostly ascend by step: the viola part moves up from B through Cl (m. 31-33) to D and E (mm. 34-36); the second violin part moves up from F through G (mm. 31-33) Gt and A# (mm. 34-36); the cello, bass, and bassoon parts move up from Ct through D and Dft (mm. 31-33) to E, F, and F# (mm. 34-36). The bass part simply shifts from G (mm. 32-33) via Bb (mm. 34-36) back to B (m. 37). The final sonority at the end of m. 36 (F#-A#-Et-C~) functions as an altered secondary dominant (V 7 of V), that resolves to V9 of E.

The notion that whole-tone harmonies stem from altered dominants is, of course, one that has been advanced by many writers, from Schoenberg to Tovey.34 It is also consistent with

33Ibid., 157. 34See, for example, Arnold Schoenberg, Harmonielehre, chap. 20 (Vi-

enna: Universal, 1911; 3d ed., 1922); translated by Roy E. Carter under the title Theory of Harmony (Berkeley; University of California Press, 1978), 390-98. See also Donald Francis Tovey, "Harmony," reprinted in The Forms

of Music (Cleveland: World Publishing Co., 1965), 69.

reading not only connects mm. 37-54 to mm. 1-30, but it also shows how the transition functions as one, rather than two, separate spans.

While mm. 37-54 are certainly unusual, they are a good deal more orthodox than mm. 30-37; Burkhart is surely cor- rect to state that the latter contains "the work's most radical departure from traditional procedure."33 His analysis shows how the passage is built from the two whole-tone sets- C-D-E-Ft-Gt-Af and Ct-Dt-F-G-A-B. It would be wrong, however, to conclude that this passage cannot be de- rived from tonal transformations. On the contrary, Example 4 shows that mm. 30-37 arise contrapuntally, from complex passing motions in the inner voices. The upper line is created by a motion from the inner voice: the Ft in the alto part (m. 30) ascends by step through G, A, B , and C to Cf (m. 37). The inner parts mostly ascend by step: the viola part moves up from B through Cl (m. 31-33) to D and E (mm. 34-36); the second violin part moves up from F through G (mm. 31-33) Gt and A# (mm. 34-36); the cello, bass, and bassoon parts move up from Ct through D and Dft (mm. 31-33) to E, F, and F# (mm. 34-36). The bass part simply shifts from G (mm. 32-33) via Bb (mm. 34-36) back to B (m. 37). The final sonority at the end of m. 36 (F#-A#-Et-C~) functions as an altered secondary dominant (V 7 of V), that resolves to V9 of E.

The notion that whole-tone harmonies stem from altered dominants is, of course, one that has been advanced by many writers, from Schoenberg to Tovey.34 It is also consistent with

33Ibid., 157. 34See, for example, Arnold Schoenberg, Harmonielehre, chap. 20 (Vi-

enna: Universal, 1911; 3d ed., 1922); translated by Roy E. Carter under the title Theory of Harmony (Berkeley; University of California Press, 1978), 390-98. See also Donald Francis Tovey, "Harmony," reprinted in The Forms

of Music (Cleveland: World Publishing Co., 1965), 69.

reading not only connects mm. 37-54 to mm. 1-30, but it also shows how the transition functions as one, rather than two, separate spans.

While mm. 37-54 are certainly unusual, they are a good deal more orthodox than mm. 30-37; Burkhart is surely cor- rect to state that the latter contains "the work's most radical departure from traditional procedure."33 His analysis shows how the passage is built from the two whole-tone sets- C-D-E-Ft-Gt-Af and Ct-Dt-F-G-A-B. It would be wrong, however, to conclude that this passage cannot be de- rived from tonal transformations. On the contrary, Example 4 shows that mm. 30-37 arise contrapuntally, from complex passing motions in the inner voices. The upper line is created by a motion from the inner voice: the Ft in the alto part (m. 30) ascends by step through G, A, B , and C to Cf (m. 37). The inner parts mostly ascend by step: the viola part moves up from B through Cl (m. 31-33) to D and E (mm. 34-36); the second violin part moves up from F through G (mm. 31-33) Gt and A# (mm. 34-36); the cello, bass, and bassoon parts move up from Ct through D and Dft (mm. 31-33) to E, F, and F# (mm. 34-36). The bass part simply shifts from G (mm. 32-33) via Bb (mm. 34-36) back to B (m. 37). The final sonority at the end of m. 36 (F#-A#-Et-C~) functions as an altered secondary dominant (V 7 of V), that resolves to V9 of E.

The notion that whole-tone harmonies stem from altered dominants is, of course, one that has been advanced by many writers, from Schoenberg to Tovey.34 It is also consistent with

33Ibid., 157. 34See, for example, Arnold Schoenberg, Harmonielehre, chap. 20 (Vi-

enna: Universal, 1911; 3d ed., 1922); translated by Roy E. Carter under the title Theory of Harmony (Berkeley; University of California Press, 1978), 390-98. See also Donald Francis Tovey, "Harmony," reprinted in The Forms

of Music (Cleveland: World Publishing Co., 1965), 69.

reading not only connects mm. 37-54 to mm. 1-30, but it also shows how the transition functions as one, rather than two, separate spans.

While mm. 37-54 are certainly unusual, they are a good deal more orthodox than mm. 30-37; Burkhart is surely cor- rect to state that the latter contains "the work's most radical departure from traditional procedure."33 His analysis shows how the passage is built from the two whole-tone sets- C-D-E-Ft-Gt-Af and Ct-Dt-F-G-A-B. It would be wrong, however, to conclude that this passage cannot be de- rived from tonal transformations. On the contrary, Example 4 shows that mm. 30-37 arise contrapuntally, from complex passing motions in the inner voices. The upper line is created by a motion from the inner voice: the Ft in the alto part (m. 30) ascends by step through G, A, B , and C to Cf (m. 37). The inner parts mostly ascend by step: the viola part moves up from B through Cl (m. 31-33) to D and E (mm. 34-36); the second violin part moves up from F through G (mm. 31-33) Gt and A# (mm. 34-36); the cello, bass, and bassoon parts move up from Ct through D and Dft (mm. 31-33) to E, F, and F# (mm. 34-36). The bass part simply shifts from G (mm. 32-33) via Bb (mm. 34-36) back to B (m. 37). The final sonority at the end of m. 36 (F#-A#-Et-C~) functions as an altered secondary dominant (V 7 of V), that resolves to V9 of E.

The notion that whole-tone harmonies stem from altered dominants is, of course, one that has been advanced by many writers, from Schoenberg to Tovey.34 It is also consistent with

33Ibid., 157. 34See, for example, Arnold Schoenberg, Harmonielehre, chap. 20 (Vi-

enna: Universal, 1911; 3d ed., 1922); translated by Roy E. Carter under the title Theory of Harmony (Berkeley; University of California Press, 1978), 390-98. See also Donald Francis Tovey, "Harmony," reprinted in The Forms

of Music (Cleveland: World Publishing Co., 1965), 69.

reading not only connects mm. 37-54 to mm. 1-30, but it also shows how the transition functions as one, rather than two, separate spans.

While mm. 37-54 are certainly unusual, they are a good deal more orthodox than mm. 30-37; Burkhart is surely cor- rect to state that the latter contains "the work's most radical departure from traditional procedure."33 His analysis shows how the passage is built from the two whole-tone sets- C-D-E-Ft-Gt-Af and Ct-Dt-F-G-A-B. It would be wrong, however, to conclude that this passage cannot be de- rived from tonal transformations. On the contrary, Example 4 shows that mm. 30-37 arise contrapuntally, from complex passing motions in the inner voices. The upper line is created by a motion from the inner voice: the Ft in the alto part (m. 30) ascends by step through G, A, B , and C to Cf (m. 37). The inner parts mostly ascend by step: the viola part moves up from B through Cl (m. 31-33) to D and E (mm. 34-36); the second violin part moves up from F through G (mm. 31-33) Gt and A# (mm. 34-36); the cello, bass, and bassoon parts move up from Ct through D and Dft (mm. 31-33) to E, F, and F# (mm. 34-36). The bass part simply shifts from G (mm. 32-33) via Bb (mm. 34-36) back to B (m. 37). The final sonority at the end of m. 36 (F#-A#-Et-C~) functions as an altered secondary dominant (V 7 of V), that resolves to V9 of E.

The notion that whole-tone harmonies stem from altered dominants is, of course, one that has been advanced by many writers, from Schoenberg to Tovey.34 It is also consistent with

33Ibid., 157. 34See, for example, Arnold Schoenberg, Harmonielehre, chap. 20 (Vi-

enna: Universal, 1911; 3d ed., 1922); translated by Roy E. Carter under the title Theory of Harmony (Berkeley; University of California Press, 1978), 390-98. See also Donald Francis Tovey, "Harmony," reprinted in The Forms

of Music (Cleveland: World Publishing Co., 1965), 69.

reading not only connects mm. 37-54 to mm. 1-30, but it also shows how the transition functions as one, rather than two, separate spans.

While mm. 37-54 are certainly unusual, they are a good deal more orthodox than mm. 30-37; Burkhart is surely cor- rect to state that the latter contains "the work's most radical departure from traditional procedure."33 His analysis shows how the passage is built from the two whole-tone sets- C-D-E-Ft-Gt-Af and Ct-Dt-F-G-A-B. It would be wrong, however, to conclude that this passage cannot be de- rived from tonal transformations. On the contrary, Example 4 shows that mm. 30-37 arise contrapuntally, from complex passing motions in the inner voices. The upper line is created by a motion from the inner voice: the Ft in the alto part (m. 30) ascends by step through G, A, B , and C to Cf (m. 37). The inner parts mostly ascend by step: the viola part moves up from B through Cl (m. 31-33) to D and E (mm. 34-36); the second violin part moves up from F through G (mm. 31-33) Gt and A# (mm. 34-36); the cello, bass, and bassoon parts move up from Ct through D and Dft (mm. 31-33) to E, F, and F# (mm. 34-36). The bass part simply shifts from G (mm. 32-33) via Bb (mm. 34-36) back to B (m. 37). The final sonority at the end of m. 36 (F#-A#-Et-C~) functions as an altered secondary dominant (V 7 of V), that resolves to V9 of E.

The notion that whole-tone harmonies stem from altered dominants is, of course, one that has been advanced by many writers, from Schoenberg to Tovey.34 It is also consistent with

33Ibid., 157. 34See, for example, Arnold Schoenberg, Harmonielehre, chap. 20 (Vi-

enna: Universal, 1911; 3d ed., 1922); translated by Roy E. Carter under the title Theory of Harmony (Berkeley; University of California Press, 1978), 390-98. See also Donald Francis Tovey, "Harmony," reprinted in The Forms

of Music (Cleveland: World Publishing Co., 1965), 69.

reading not only connects mm. 37-54 to mm. 1-30, but it also shows how the transition functions as one, rather than two, separate spans.

While mm. 37-54 are certainly unusual, they are a good deal more orthodox than mm. 30-37; Burkhart is surely cor- rect to state that the latter contains "the work's most radical departure from traditional procedure."33 His analysis shows how the passage is built from the two whole-tone sets- C-D-E-Ft-Gt-Af and Ct-Dt-F-G-A-B. It would be wrong, however, to conclude that this passage cannot be de- rived from tonal transformations. On the contrary, Example 4 shows that mm. 30-37 arise contrapuntally, from complex passing motions in the inner voices. The upper line is created by a motion from the inner voice: the Ft in the alto part (m. 30) ascends by step through G, A, B , and C to Cf (m. 37). The inner parts mostly ascend by step: the viola part moves up from B through Cl (m. 31-33) to D and E (mm. 34-36); the second violin part moves up from F through G (mm. 31-33) Gt and A# (mm. 34-36); the cello, bass, and bassoon parts move up from Ct through D and Dft (mm. 31-33) to E, F, and F# (mm. 34-36). The bass part simply shifts from G (mm. 32-33) via Bb (mm. 34-36) back to B (m. 37). The final sonority at the end of m. 36 (F#-A#-Et-C~) functions as an altered secondary dominant (V 7 of V), that resolves to V9 of E.

The notion that whole-tone harmonies stem from altered dominants is, of course, one that has been advanced by many writers, from Schoenberg to Tovey.34 It is also consistent with

33Ibid., 157. 34See, for example, Arnold Schoenberg, Harmonielehre, chap. 20 (Vi-

enna: Universal, 1911; 3d ed., 1922); translated by Roy E. Carter under the title Theory of Harmony (Berkeley; University of California Press, 1978), 390-98. See also Donald Francis Tovey, "Harmony," reprinted in The Forms

of Music (Cleveland: World Publishing Co., 1965), 69.

reading not only connects mm. 37-54 to mm. 1-30, but it also shows how the transition functions as one, rather than two, separate spans.

While mm. 37-54 are certainly unusual, they are a good deal more orthodox than mm. 30-37; Burkhart is surely cor- rect to state that the latter contains "the work's most radical departure from traditional procedure."33 His analysis shows how the passage is built from the two whole-tone sets- C-D-E-Ft-Gt-Af and Ct-Dt-F-G-A-B. It would be wrong, however, to conclude that this passage cannot be de- rived from tonal transformations. On the contrary, Example 4 shows that mm. 30-37 arise contrapuntally, from complex passing motions in the inner voices. The upper line is created by a motion from the inner voice: the Ft in the alto part (m. 30) ascends by step through G, A, B , and C to Cf (m. 37). The inner parts mostly ascend by step: the viola part moves up from B through Cl (m. 31-33) to D and E (mm. 34-36); the second violin part moves up from F through G (mm. 31-33) Gt and A# (mm. 34-36); the cello, bass, and bassoon parts move up from Ct through D and Dft (mm. 31-33) to E, F, and F# (mm. 34-36). The bass part simply shifts from G (mm. 32-33) via Bb (mm. 34-36) back to B (m. 37). The final sonority at the end of m. 36 (F#-A#-Et-C~) functions as an altered secondary dominant (V 7 of V), that resolves to V9 of E.

The notion that whole-tone harmonies stem from altered dominants is, of course, one that has been advanced by many writers, from Schoenberg to Tovey.34 It is also consistent with

33Ibid., 157. 34See, for example, Arnold Schoenberg, Harmonielehre, chap. 20 (Vi-

enna: Universal, 1911; 3d ed., 1922); translated by Roy E. Carter under the title Theory of Harmony (Berkeley; University of California Press, 1978), 390-98. See also Donald Francis Tovey, "Harmony," reprinted in The Forms

of Music (Cleveland: World Publishing Co., 1965), 69.

reading not only connects mm. 37-54 to mm. 1-30, but it also shows how the transition functions as one, rather than two, separate spans.

While mm. 37-54 are certainly unusual, they are a good deal more orthodox than mm. 30-37; Burkhart is surely cor- rect to state that the latter contains "the work's most radical departure from traditional procedure."33 His analysis shows how the passage is built from the two whole-tone sets- C-D-E-Ft-Gt-Af and Ct-Dt-F-G-A-B. It would be wrong, however, to conclude that this passage cannot be de- rived from tonal transformations. On the contrary, Example 4 shows that mm. 30-37 arise contrapuntally, from complex passing motions in the inner voices. The upper line is created by a motion from the inner voice: the Ft in the alto part (m. 30) ascends by step through G, A, B , and C to Cf (m. 37). The inner parts mostly ascend by step: the viola part moves up from B through Cl (m. 31-33) to D and E (mm. 34-36); the second violin part moves up from F through G (mm. 31-33) Gt and A# (mm. 34-36); the cello, bass, and bassoon parts move up from Ct through D and Dft (mm. 31-33) to E, F, and F# (mm. 34-36). The bass part simply shifts from G (mm. 32-33) via Bb (mm. 34-36) back to B (m. 37). The final sonority at the end of m. 36 (F#-A#-Et-C~) functions as an altered secondary dominant (V 7 of V), that resolves to V9 of E.

The notion that whole-tone harmonies stem from altered dominants is, of course, one that has been advanced by many writers, from Schoenberg to Tovey.34 It is also consistent with

33Ibid., 157. 34See, for example, Arnold Schoenberg, Harmonielehre, chap. 20 (Vi-

enna: Universal, 1911; 3d ed., 1922); translated by Roy E. Carter under the title Theory of Harmony (Berkeley; University of California Press, 1978), 390-98. See also Donald Francis Tovey, "Harmony," reprinted in The Forms

of Music (Cleveland: World Publishing Co., 1965), 69.

reading not only connects mm. 37-54 to mm. 1-30, but it also shows how the transition functions as one, rather than two, separate spans.

While mm. 37-54 are certainly unusual, they are a good deal more orthodox than mm. 30-37; Burkhart is surely cor- rect to state that the latter contains "the work's most radical departure from traditional procedure."33 His analysis shows how the passage is built from the two whole-tone sets- C-D-E-Ft-Gt-Af and Ct-Dt-F-G-A-B. It would be wrong, however, to conclude that this passage cannot be de- rived from tonal transformations. On the contrary, Example 4 shows that mm. 30-37 arise contrapuntally, from complex passing motions in the inner voices. The upper line is created by a motion from the inner voice: the Ft in the alto part (m. 30) ascends by step through G, A, B , and C to Cf (m. 37). The inner parts mostly ascend by step: the viola part moves up from B through Cl (m. 31-33) to D and E (mm. 34-36); the second violin part moves up from F through G (mm. 31-33) Gt and A# (mm. 34-36); the cello, bass, and bassoon parts move up from Ct through D and Dft (mm. 31-33) to E, F, and F# (mm. 34-36). The bass part simply shifts from G (mm. 32-33) via Bb (mm. 34-36) back to B (m. 37). The final sonority at the end of m. 36 (F#-A#-Et-C~) functions as an altered secondary dominant (V 7 of V), that resolves to V9 of E.

The notion that whole-tone harmonies stem from altered dominants is, of course, one that has been advanced by many writers, from Schoenberg to Tovey.34 It is also consistent with

33Ibid., 157. 34See, for example, Arnold Schoenberg, Harmonielehre, chap. 20 (Vi-

enna: Universal, 1911; 3d ed., 1922); translated by Roy E. Carter under the title Theory of Harmony (Berkeley; University of California Press, 1978), 390-98. See also Donald Francis Tovey, "Harmony," reprinted in The Forms

of Music (Cleveland: World Publishing Co., 1965), 69.

reading not only connects mm. 37-54 to mm. 1-30, but it also shows how the transition functions as one, rather than two, separate spans.

While mm. 37-54 are certainly unusual, they are a good deal more orthodox than mm. 30-37; Burkhart is surely cor- rect to state that the latter contains "the work's most radical departure from traditional procedure."33 His analysis shows how the passage is built from the two whole-tone sets- C-D-E-Ft-Gt-Af and Ct-Dt-F-G-A-B. It would be wrong, however, to conclude that this passage cannot be de- rived from tonal transformations. On the contrary, Example 4 shows that mm. 30-37 arise contrapuntally, from complex passing motions in the inner voices. The upper line is created by a motion from the inner voice: the Ft in the alto part (m. 30) ascends by step through G, A, B , and C to Cf (m. 37). The inner parts mostly ascend by step: the viola part moves up from B through Cl (m. 31-33) to D and E (mm. 34-36); the second violin part moves up from F through G (mm. 31-33) Gt and A# (mm. 34-36); the cello, bass, and bassoon parts move up from Ct through D and Dft (mm. 31-33) to E, F, and F# (mm. 34-36). The bass part simply shifts from G (mm. 32-33) via Bb (mm. 34-36) back to B (m. 37). The final sonority at the end of m. 36 (F#-A#-Et-C~) functions as an altered secondary dominant (V 7 of V), that resolves to V9 of E.

The notion that whole-tone harmonies stem from altered dominants is, of course, one that has been advanced by many writers, from Schoenberg to Tovey.34 It is also consistent with

33Ibid., 157. 34See, for example, Arnold Schoenberg, Harmonielehre, chap. 20 (Vi-

enna: Universal, 1911; 3d ed., 1922); translated by Roy E. Carter under the title Theory of Harmony (Berkeley; University of California Press, 1978), 390-98. See also Donald Francis Tovey, "Harmony," reprinted in The Forms

of Music (Cleveland: World Publishing Co., 1965), 69.

Example 4. Prelude a "L'Apres-midi d'un faune," mm. 30-39 Example 4. Prelude a "L'Apres-midi d'un faune," mm. 30-39 Example 4. Prelude a "L'Apres-midi d'un faune," mm. 30-39 Example 4. Prelude a "L'Apres-midi d'un faune," mm. 30-39 Example 4. Prelude a "L'Apres-midi d'un faune," mm. 30-39 Example 4. Prelude a "L'Apres-midi d'un faune," mm. 30-39 Example 4. Prelude a "L'Apres-midi d'un faune," mm. 30-39 Example 4. Prelude a "L'Apres-midi d'un faune," mm. 30-39 Example 4. Prelude a "L'Apres-midi d'un faune," mm. 30-39 Example 4. Prelude a "L'Apres-midi d'un faune," mm. 30-39 Example 4. Prelude a "L'Apres-midi d'un faune," mm. 30-39

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the basic tenets of Schenkerian theory. As becomes clear near the beginning of volume 1 of Kontrapunkt, Schenker believed that when composers use exotic scales in tonal contexts, they do so "not to loosen [the] system in order to incorporate a foreign one, but, on the contrary, to use [the] major-minor system to express the foreign element."35 Besides providing a tonal derivation for mm. 30-37, Example 4 also implies that this passage does not advance the tonal flow of the Prelude; rather, it acts as an aside or parenthesis that delays the mod- ulation to Db. Schenker described such "delays" very beau- tifully in Der freie Satz:

In the art of music, as in life, motion toward the goal encounters obstacles, reverses, disappointments, and involves great distances, detours, expansions, interpolations, and, in short, retardations of all kinds. Therein lies the source of all artistic delaying, from which the creative mind can derive content that is ever new.36

35Heinrich Schenker, Kontrapunkt, vol. 1 (Stuttgart: Cotta, 1910), 44; translated by John Rothgeb and Jurgen Thym under the title Counterpoint (New York: Schirmer, 1987), 28.

36Schenker, Der freie Satz, chap. 1, section 3, p. 18; Oster ed. and trans., 5.

the basic tenets of Schenkerian theory. As becomes clear near the beginning of volume 1 of Kontrapunkt, Schenker believed that when composers use exotic scales in tonal contexts, they do so "not to loosen [the] system in order to incorporate a foreign one, but, on the contrary, to use [the] major-minor system to express the foreign element."35 Besides providing a tonal derivation for mm. 30-37, Example 4 also implies that this passage does not advance the tonal flow of the Prelude; rather, it acts as an aside or parenthesis that delays the mod- ulation to Db. Schenker described such "delays" very beau- tifully in Der freie Satz:

In the art of music, as in life, motion toward the goal encounters obstacles, reverses, disappointments, and involves great distances, detours, expansions, interpolations, and, in short, retardations of all kinds. Therein lies the source of all artistic delaying, from which the creative mind can derive content that is ever new.36

35Heinrich Schenker, Kontrapunkt, vol. 1 (Stuttgart: Cotta, 1910), 44; translated by John Rothgeb and Jurgen Thym under the title Counterpoint (New York: Schirmer, 1987), 28.

36Schenker, Der freie Satz, chap. 1, section 3, p. 18; Oster ed. and trans., 5.

the basic tenets of Schenkerian theory. As becomes clear near the beginning of volume 1 of Kontrapunkt, Schenker believed that when composers use exotic scales in tonal contexts, they do so "not to loosen [the] system in order to incorporate a foreign one, but, on the contrary, to use [the] major-minor system to express the foreign element."35 Besides providing a tonal derivation for mm. 30-37, Example 4 also implies that this passage does not advance the tonal flow of the Prelude; rather, it acts as an aside or parenthesis that delays the mod- ulation to Db. Schenker described such "delays" very beau- tifully in Der freie Satz:

In the art of music, as in life, motion toward the goal encounters obstacles, reverses, disappointments, and involves great distances, detours, expansions, interpolations, and, in short, retardations of all kinds. Therein lies the source of all artistic delaying, from which the creative mind can derive content that is ever new.36

35Heinrich Schenker, Kontrapunkt, vol. 1 (Stuttgart: Cotta, 1910), 44; translated by John Rothgeb and Jurgen Thym under the title Counterpoint (New York: Schirmer, 1987), 28.

36Schenker, Der freie Satz, chap. 1, section 3, p. 18; Oster ed. and trans., 5.

the basic tenets of Schenkerian theory. As becomes clear near the beginning of volume 1 of Kontrapunkt, Schenker believed that when composers use exotic scales in tonal contexts, they do so "not to loosen [the] system in order to incorporate a foreign one, but, on the contrary, to use [the] major-minor system to express the foreign element."35 Besides providing a tonal derivation for mm. 30-37, Example 4 also implies that this passage does not advance the tonal flow of the Prelude; rather, it acts as an aside or parenthesis that delays the mod- ulation to Db. Schenker described such "delays" very beau- tifully in Der freie Satz:

In the art of music, as in life, motion toward the goal encounters obstacles, reverses, disappointments, and involves great distances, detours, expansions, interpolations, and, in short, retardations of all kinds. Therein lies the source of all artistic delaying, from which the creative mind can derive content that is ever new.36

35Heinrich Schenker, Kontrapunkt, vol. 1 (Stuttgart: Cotta, 1910), 44; translated by John Rothgeb and Jurgen Thym under the title Counterpoint (New York: Schirmer, 1987), 28.

36Schenker, Der freie Satz, chap. 1, section 3, p. 18; Oster ed. and trans., 5.

the basic tenets of Schenkerian theory. As becomes clear near the beginning of volume 1 of Kontrapunkt, Schenker believed that when composers use exotic scales in tonal contexts, they do so "not to loosen [the] system in order to incorporate a foreign one, but, on the contrary, to use [the] major-minor system to express the foreign element."35 Besides providing a tonal derivation for mm. 30-37, Example 4 also implies that this passage does not advance the tonal flow of the Prelude; rather, it acts as an aside or parenthesis that delays the mod- ulation to Db. Schenker described such "delays" very beau- tifully in Der freie Satz:

In the art of music, as in life, motion toward the goal encounters obstacles, reverses, disappointments, and involves great distances, detours, expansions, interpolations, and, in short, retardations of all kinds. Therein lies the source of all artistic delaying, from which the creative mind can derive content that is ever new.36

35Heinrich Schenker, Kontrapunkt, vol. 1 (Stuttgart: Cotta, 1910), 44; translated by John Rothgeb and Jurgen Thym under the title Counterpoint (New York: Schirmer, 1987), 28.

36Schenker, Der freie Satz, chap. 1, section 3, p. 18; Oster ed. and trans., 5.

the basic tenets of Schenkerian theory. As becomes clear near the beginning of volume 1 of Kontrapunkt, Schenker believed that when composers use exotic scales in tonal contexts, they do so "not to loosen [the] system in order to incorporate a foreign one, but, on the contrary, to use [the] major-minor system to express the foreign element."35 Besides providing a tonal derivation for mm. 30-37, Example 4 also implies that this passage does not advance the tonal flow of the Prelude; rather, it acts as an aside or parenthesis that delays the mod- ulation to Db. Schenker described such "delays" very beau- tifully in Der freie Satz:

In the art of music, as in life, motion toward the goal encounters obstacles, reverses, disappointments, and involves great distances, detours, expansions, interpolations, and, in short, retardations of all kinds. Therein lies the source of all artistic delaying, from which the creative mind can derive content that is ever new.36

35Heinrich Schenker, Kontrapunkt, vol. 1 (Stuttgart: Cotta, 1910), 44; translated by John Rothgeb and Jurgen Thym under the title Counterpoint (New York: Schirmer, 1987), 28.

36Schenker, Der freie Satz, chap. 1, section 3, p. 18; Oster ed. and trans., 5.

the basic tenets of Schenkerian theory. As becomes clear near the beginning of volume 1 of Kontrapunkt, Schenker believed that when composers use exotic scales in tonal contexts, they do so "not to loosen [the] system in order to incorporate a foreign one, but, on the contrary, to use [the] major-minor system to express the foreign element."35 Besides providing a tonal derivation for mm. 30-37, Example 4 also implies that this passage does not advance the tonal flow of the Prelude; rather, it acts as an aside or parenthesis that delays the mod- ulation to Db. Schenker described such "delays" very beau- tifully in Der freie Satz:

In the art of music, as in life, motion toward the goal encounters obstacles, reverses, disappointments, and involves great distances, detours, expansions, interpolations, and, in short, retardations of all kinds. Therein lies the source of all artistic delaying, from which the creative mind can derive content that is ever new.36

35Heinrich Schenker, Kontrapunkt, vol. 1 (Stuttgart: Cotta, 1910), 44; translated by John Rothgeb and Jurgen Thym under the title Counterpoint (New York: Schirmer, 1987), 28.

36Schenker, Der freie Satz, chap. 1, section 3, p. 18; Oster ed. and trans., 5.

the basic tenets of Schenkerian theory. As becomes clear near the beginning of volume 1 of Kontrapunkt, Schenker believed that when composers use exotic scales in tonal contexts, they do so "not to loosen [the] system in order to incorporate a foreign one, but, on the contrary, to use [the] major-minor system to express the foreign element."35 Besides providing a tonal derivation for mm. 30-37, Example 4 also implies that this passage does not advance the tonal flow of the Prelude; rather, it acts as an aside or parenthesis that delays the mod- ulation to Db. Schenker described such "delays" very beau- tifully in Der freie Satz:

In the art of music, as in life, motion toward the goal encounters obstacles, reverses, disappointments, and involves great distances, detours, expansions, interpolations, and, in short, retardations of all kinds. Therein lies the source of all artistic delaying, from which the creative mind can derive content that is ever new.36

35Heinrich Schenker, Kontrapunkt, vol. 1 (Stuttgart: Cotta, 1910), 44; translated by John Rothgeb and Jurgen Thym under the title Counterpoint (New York: Schirmer, 1987), 28.

36Schenker, Der freie Satz, chap. 1, section 3, p. 18; Oster ed. and trans., 5.

the basic tenets of Schenkerian theory. As becomes clear near the beginning of volume 1 of Kontrapunkt, Schenker believed that when composers use exotic scales in tonal contexts, they do so "not to loosen [the] system in order to incorporate a foreign one, but, on the contrary, to use [the] major-minor system to express the foreign element."35 Besides providing a tonal derivation for mm. 30-37, Example 4 also implies that this passage does not advance the tonal flow of the Prelude; rather, it acts as an aside or parenthesis that delays the mod- ulation to Db. Schenker described such "delays" very beau- tifully in Der freie Satz:

In the art of music, as in life, motion toward the goal encounters obstacles, reverses, disappointments, and involves great distances, detours, expansions, interpolations, and, in short, retardations of all kinds. Therein lies the source of all artistic delaying, from which the creative mind can derive content that is ever new.36

35Heinrich Schenker, Kontrapunkt, vol. 1 (Stuttgart: Cotta, 1910), 44; translated by John Rothgeb and Jurgen Thym under the title Counterpoint (New York: Schirmer, 1987), 28.

36Schenker, Der freie Satz, chap. 1, section 3, p. 18; Oster ed. and trans., 5.

the basic tenets of Schenkerian theory. As becomes clear near the beginning of volume 1 of Kontrapunkt, Schenker believed that when composers use exotic scales in tonal contexts, they do so "not to loosen [the] system in order to incorporate a foreign one, but, on the contrary, to use [the] major-minor system to express the foreign element."35 Besides providing a tonal derivation for mm. 30-37, Example 4 also implies that this passage does not advance the tonal flow of the Prelude; rather, it acts as an aside or parenthesis that delays the mod- ulation to Db. Schenker described such "delays" very beau- tifully in Der freie Satz:

In the art of music, as in life, motion toward the goal encounters obstacles, reverses, disappointments, and involves great distances, detours, expansions, interpolations, and, in short, retardations of all kinds. Therein lies the source of all artistic delaying, from which the creative mind can derive content that is ever new.36

35Heinrich Schenker, Kontrapunkt, vol. 1 (Stuttgart: Cotta, 1910), 44; translated by John Rothgeb and Jurgen Thym under the title Counterpoint (New York: Schirmer, 1987), 28.

36Schenker, Der freie Satz, chap. 1, section 3, p. 18; Oster ed. and trans., 5.

the basic tenets of Schenkerian theory. As becomes clear near the beginning of volume 1 of Kontrapunkt, Schenker believed that when composers use exotic scales in tonal contexts, they do so "not to loosen [the] system in order to incorporate a foreign one, but, on the contrary, to use [the] major-minor system to express the foreign element."35 Besides providing a tonal derivation for mm. 30-37, Example 4 also implies that this passage does not advance the tonal flow of the Prelude; rather, it acts as an aside or parenthesis that delays the mod- ulation to Db. Schenker described such "delays" very beau- tifully in Der freie Satz:

In the art of music, as in life, motion toward the goal encounters obstacles, reverses, disappointments, and involves great distances, detours, expansions, interpolations, and, in short, retardations of all kinds. Therein lies the source of all artistic delaying, from which the creative mind can derive content that is ever new.36

35Heinrich Schenker, Kontrapunkt, vol. 1 (Stuttgart: Cotta, 1910), 44; translated by John Rothgeb and Jurgen Thym under the title Counterpoint (New York: Schirmer, 1987), 28.

36Schenker, Der freie Satz, chap. 1, section 3, p. 18; Oster ed. and trans., 5.

(Vb5 of V) 9-8 V7 (I)

(Vb5 of V) 9-8 V7 (I)

(Vb5 of V) 9-8 V7 (I)

(Vb5 of V) 9-8 V7 (I)

(Vb5 of V) 9-8 V7 (I)

(Vb5 of V) 9-8 V7 (I)

(Vb5 of V) 9-8 V7 (I)

(Vb5 of V) 9-8 V7 (I)

(Vb5 of V) 9-8 V7 (I)

(Vb5 of V) 9-8 V7 (I)

(Vb5 of V) 9-8 V7 (I)

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 137 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 137 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 137 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 137 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 137 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 137 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 137 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 137 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 137 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 137 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 137

In the case of the Prelude, this brief delay helps to evoke the mysterious, dreamlike atmosphere that permeates Mal- larme's eclogue.

So far, we have seen that the Prelude is built from two main motives-the opening flute arabesque plus its deriva- tives, and the Db theme. Austin, however, identifies two other gestures, to which he refers as the syncopated and flow- ing motives.37 Since these ideas play a vital role in the sub- sequent unfolding of the piece and help to clarify the formal function of the B section, it is worth examining them closely.

Example 5 traces the life history of both ideas. Although the origins of the syncopated motive can be traced back to the horn parts in mm. 5 and 13, this gesture first becomes prominent in m. 39 (Ex. 5a). Almost immediately, it is com- bined with the opening flute motive (Ex. 5b). The flowing motive, meanwhile, is first heard in m. 28 (Ex. 5c) and be- comes the progenitor of the oboe theme at m. 37. In the Db section, the flowing and syncopated motives are both ab- sorbed into the B theme: the former appears as a continuation of the B theme in mm. 61-62 (Ex. 5d); the latter appears with the flowing motive beginning in m. 67 (Ex. 5e). The short codetta (mm. 74-78) then combines the syncopated motive in counterpoint with the B theme and flowing motive (Ex. 5f). This example of presenting themes simultaneously or in close succession-what we might term "motivic compression"- sets up the climax of the Prdlude in mm. 94-99, where the syncopated and flowing motives both return in counterpoint with the main flute theme (Ex. 5g).

Example 5 highlights three essential features of thematic working in Debussy's music. First, it often includes very in- tricate motivic relationships. This fact apparently contradicts Debussy's frequent claims to simplifying symphonic compo- sition. For example, in an essay for SIM (1 November 1913) he declared:

In the case of the Prelude, this brief delay helps to evoke the mysterious, dreamlike atmosphere that permeates Mal- larme's eclogue.

So far, we have seen that the Prelude is built from two main motives-the opening flute arabesque plus its deriva- tives, and the Db theme. Austin, however, identifies two other gestures, to which he refers as the syncopated and flow- ing motives.37 Since these ideas play a vital role in the sub- sequent unfolding of the piece and help to clarify the formal function of the B section, it is worth examining them closely.

Example 5 traces the life history of both ideas. Although the origins of the syncopated motive can be traced back to the horn parts in mm. 5 and 13, this gesture first becomes prominent in m. 39 (Ex. 5a). Almost immediately, it is com- bined with the opening flute motive (Ex. 5b). The flowing motive, meanwhile, is first heard in m. 28 (Ex. 5c) and be- comes the progenitor of the oboe theme at m. 37. In the Db section, the flowing and syncopated motives are both ab- sorbed into the B theme: the former appears as a continuation of the B theme in mm. 61-62 (Ex. 5d); the latter appears with the flowing motive beginning in m. 67 (Ex. 5e). The short codetta (mm. 74-78) then combines the syncopated motive in counterpoint with the B theme and flowing motive (Ex. 5f). This example of presenting themes simultaneously or in close succession-what we might term "motivic compression"- sets up the climax of the Prdlude in mm. 94-99, where the syncopated and flowing motives both return in counterpoint with the main flute theme (Ex. 5g).

Example 5 highlights three essential features of thematic working in Debussy's music. First, it often includes very in- tricate motivic relationships. This fact apparently contradicts Debussy's frequent claims to simplifying symphonic compo- sition. For example, in an essay for SIM (1 November 1913) he declared:

In the case of the Prelude, this brief delay helps to evoke the mysterious, dreamlike atmosphere that permeates Mal- larme's eclogue.

So far, we have seen that the Prelude is built from two main motives-the opening flute arabesque plus its deriva- tives, and the Db theme. Austin, however, identifies two other gestures, to which he refers as the syncopated and flow- ing motives.37 Since these ideas play a vital role in the sub- sequent unfolding of the piece and help to clarify the formal function of the B section, it is worth examining them closely.

Example 5 traces the life history of both ideas. Although the origins of the syncopated motive can be traced back to the horn parts in mm. 5 and 13, this gesture first becomes prominent in m. 39 (Ex. 5a). Almost immediately, it is com- bined with the opening flute motive (Ex. 5b). The flowing motive, meanwhile, is first heard in m. 28 (Ex. 5c) and be- comes the progenitor of the oboe theme at m. 37. In the Db section, the flowing and syncopated motives are both ab- sorbed into the B theme: the former appears as a continuation of the B theme in mm. 61-62 (Ex. 5d); the latter appears with the flowing motive beginning in m. 67 (Ex. 5e). The short codetta (mm. 74-78) then combines the syncopated motive in counterpoint with the B theme and flowing motive (Ex. 5f). This example of presenting themes simultaneously or in close succession-what we might term "motivic compression"- sets up the climax of the Prdlude in mm. 94-99, where the syncopated and flowing motives both return in counterpoint with the main flute theme (Ex. 5g).

Example 5 highlights three essential features of thematic working in Debussy's music. First, it often includes very in- tricate motivic relationships. This fact apparently contradicts Debussy's frequent claims to simplifying symphonic compo- sition. For example, in an essay for SIM (1 November 1913) he declared:

In the case of the Prelude, this brief delay helps to evoke the mysterious, dreamlike atmosphere that permeates Mal- larme's eclogue.

So far, we have seen that the Prelude is built from two main motives-the opening flute arabesque plus its deriva- tives, and the Db theme. Austin, however, identifies two other gestures, to which he refers as the syncopated and flow- ing motives.37 Since these ideas play a vital role in the sub- sequent unfolding of the piece and help to clarify the formal function of the B section, it is worth examining them closely.

Example 5 traces the life history of both ideas. Although the origins of the syncopated motive can be traced back to the horn parts in mm. 5 and 13, this gesture first becomes prominent in m. 39 (Ex. 5a). Almost immediately, it is com- bined with the opening flute motive (Ex. 5b). The flowing motive, meanwhile, is first heard in m. 28 (Ex. 5c) and be- comes the progenitor of the oboe theme at m. 37. In the Db section, the flowing and syncopated motives are both ab- sorbed into the B theme: the former appears as a continuation of the B theme in mm. 61-62 (Ex. 5d); the latter appears with the flowing motive beginning in m. 67 (Ex. 5e). The short codetta (mm. 74-78) then combines the syncopated motive in counterpoint with the B theme and flowing motive (Ex. 5f). This example of presenting themes simultaneously or in close succession-what we might term "motivic compression"- sets up the climax of the Prdlude in mm. 94-99, where the syncopated and flowing motives both return in counterpoint with the main flute theme (Ex. 5g).

Example 5 highlights three essential features of thematic working in Debussy's music. First, it often includes very in- tricate motivic relationships. This fact apparently contradicts Debussy's frequent claims to simplifying symphonic compo- sition. For example, in an essay for SIM (1 November 1913) he declared:

In the case of the Prelude, this brief delay helps to evoke the mysterious, dreamlike atmosphere that permeates Mal- larme's eclogue.

So far, we have seen that the Prelude is built from two main motives-the opening flute arabesque plus its deriva- tives, and the Db theme. Austin, however, identifies two other gestures, to which he refers as the syncopated and flow- ing motives.37 Since these ideas play a vital role in the sub- sequent unfolding of the piece and help to clarify the formal function of the B section, it is worth examining them closely.

Example 5 traces the life history of both ideas. Although the origins of the syncopated motive can be traced back to the horn parts in mm. 5 and 13, this gesture first becomes prominent in m. 39 (Ex. 5a). Almost immediately, it is com- bined with the opening flute motive (Ex. 5b). The flowing motive, meanwhile, is first heard in m. 28 (Ex. 5c) and be- comes the progenitor of the oboe theme at m. 37. In the Db section, the flowing and syncopated motives are both ab- sorbed into the B theme: the former appears as a continuation of the B theme in mm. 61-62 (Ex. 5d); the latter appears with the flowing motive beginning in m. 67 (Ex. 5e). The short codetta (mm. 74-78) then combines the syncopated motive in counterpoint with the B theme and flowing motive (Ex. 5f). This example of presenting themes simultaneously or in close succession-what we might term "motivic compression"- sets up the climax of the Prdlude in mm. 94-99, where the syncopated and flowing motives both return in counterpoint with the main flute theme (Ex. 5g).

Example 5 highlights three essential features of thematic working in Debussy's music. First, it often includes very in- tricate motivic relationships. This fact apparently contradicts Debussy's frequent claims to simplifying symphonic compo- sition. For example, in an essay for SIM (1 November 1913) he declared:

In the case of the Prelude, this brief delay helps to evoke the mysterious, dreamlike atmosphere that permeates Mal- larme's eclogue.

So far, we have seen that the Prelude is built from two main motives-the opening flute arabesque plus its deriva- tives, and the Db theme. Austin, however, identifies two other gestures, to which he refers as the syncopated and flow- ing motives.37 Since these ideas play a vital role in the sub- sequent unfolding of the piece and help to clarify the formal function of the B section, it is worth examining them closely.

Example 5 traces the life history of both ideas. Although the origins of the syncopated motive can be traced back to the horn parts in mm. 5 and 13, this gesture first becomes prominent in m. 39 (Ex. 5a). Almost immediately, it is com- bined with the opening flute motive (Ex. 5b). The flowing motive, meanwhile, is first heard in m. 28 (Ex. 5c) and be- comes the progenitor of the oboe theme at m. 37. In the Db section, the flowing and syncopated motives are both ab- sorbed into the B theme: the former appears as a continuation of the B theme in mm. 61-62 (Ex. 5d); the latter appears with the flowing motive beginning in m. 67 (Ex. 5e). The short codetta (mm. 74-78) then combines the syncopated motive in counterpoint with the B theme and flowing motive (Ex. 5f). This example of presenting themes simultaneously or in close succession-what we might term "motivic compression"- sets up the climax of the Prdlude in mm. 94-99, where the syncopated and flowing motives both return in counterpoint with the main flute theme (Ex. 5g).

Example 5 highlights three essential features of thematic working in Debussy's music. First, it often includes very in- tricate motivic relationships. This fact apparently contradicts Debussy's frequent claims to simplifying symphonic compo- sition. For example, in an essay for SIM (1 November 1913) he declared:

In the case of the Prelude, this brief delay helps to evoke the mysterious, dreamlike atmosphere that permeates Mal- larme's eclogue.

So far, we have seen that the Prelude is built from two main motives-the opening flute arabesque plus its deriva- tives, and the Db theme. Austin, however, identifies two other gestures, to which he refers as the syncopated and flow- ing motives.37 Since these ideas play a vital role in the sub- sequent unfolding of the piece and help to clarify the formal function of the B section, it is worth examining them closely.

Example 5 traces the life history of both ideas. Although the origins of the syncopated motive can be traced back to the horn parts in mm. 5 and 13, this gesture first becomes prominent in m. 39 (Ex. 5a). Almost immediately, it is com- bined with the opening flute motive (Ex. 5b). The flowing motive, meanwhile, is first heard in m. 28 (Ex. 5c) and be- comes the progenitor of the oboe theme at m. 37. In the Db section, the flowing and syncopated motives are both ab- sorbed into the B theme: the former appears as a continuation of the B theme in mm. 61-62 (Ex. 5d); the latter appears with the flowing motive beginning in m. 67 (Ex. 5e). The short codetta (mm. 74-78) then combines the syncopated motive in counterpoint with the B theme and flowing motive (Ex. 5f). This example of presenting themes simultaneously or in close succession-what we might term "motivic compression"- sets up the climax of the Prdlude in mm. 94-99, where the syncopated and flowing motives both return in counterpoint with the main flute theme (Ex. 5g).

Example 5 highlights three essential features of thematic working in Debussy's music. First, it often includes very in- tricate motivic relationships. This fact apparently contradicts Debussy's frequent claims to simplifying symphonic compo- sition. For example, in an essay for SIM (1 November 1913) he declared:

In the case of the Prelude, this brief delay helps to evoke the mysterious, dreamlike atmosphere that permeates Mal- larme's eclogue.

So far, we have seen that the Prelude is built from two main motives-the opening flute arabesque plus its deriva- tives, and the Db theme. Austin, however, identifies two other gestures, to which he refers as the syncopated and flow- ing motives.37 Since these ideas play a vital role in the sub- sequent unfolding of the piece and help to clarify the formal function of the B section, it is worth examining them closely.

Example 5 traces the life history of both ideas. Although the origins of the syncopated motive can be traced back to the horn parts in mm. 5 and 13, this gesture first becomes prominent in m. 39 (Ex. 5a). Almost immediately, it is com- bined with the opening flute motive (Ex. 5b). The flowing motive, meanwhile, is first heard in m. 28 (Ex. 5c) and be- comes the progenitor of the oboe theme at m. 37. In the Db section, the flowing and syncopated motives are both ab- sorbed into the B theme: the former appears as a continuation of the B theme in mm. 61-62 (Ex. 5d); the latter appears with the flowing motive beginning in m. 67 (Ex. 5e). The short codetta (mm. 74-78) then combines the syncopated motive in counterpoint with the B theme and flowing motive (Ex. 5f). This example of presenting themes simultaneously or in close succession-what we might term "motivic compression"- sets up the climax of the Prdlude in mm. 94-99, where the syncopated and flowing motives both return in counterpoint with the main flute theme (Ex. 5g).

Example 5 highlights three essential features of thematic working in Debussy's music. First, it often includes very in- tricate motivic relationships. This fact apparently contradicts Debussy's frequent claims to simplifying symphonic compo- sition. For example, in an essay for SIM (1 November 1913) he declared:

In the case of the Prelude, this brief delay helps to evoke the mysterious, dreamlike atmosphere that permeates Mal- larme's eclogue.

So far, we have seen that the Prelude is built from two main motives-the opening flute arabesque plus its deriva- tives, and the Db theme. Austin, however, identifies two other gestures, to which he refers as the syncopated and flow- ing motives.37 Since these ideas play a vital role in the sub- sequent unfolding of the piece and help to clarify the formal function of the B section, it is worth examining them closely.

Example 5 traces the life history of both ideas. Although the origins of the syncopated motive can be traced back to the horn parts in mm. 5 and 13, this gesture first becomes prominent in m. 39 (Ex. 5a). Almost immediately, it is com- bined with the opening flute motive (Ex. 5b). The flowing motive, meanwhile, is first heard in m. 28 (Ex. 5c) and be- comes the progenitor of the oboe theme at m. 37. In the Db section, the flowing and syncopated motives are both ab- sorbed into the B theme: the former appears as a continuation of the B theme in mm. 61-62 (Ex. 5d); the latter appears with the flowing motive beginning in m. 67 (Ex. 5e). The short codetta (mm. 74-78) then combines the syncopated motive in counterpoint with the B theme and flowing motive (Ex. 5f). This example of presenting themes simultaneously or in close succession-what we might term "motivic compression"- sets up the climax of the Prdlude in mm. 94-99, where the syncopated and flowing motives both return in counterpoint with the main flute theme (Ex. 5g).

Example 5 highlights three essential features of thematic working in Debussy's music. First, it often includes very in- tricate motivic relationships. This fact apparently contradicts Debussy's frequent claims to simplifying symphonic compo- sition. For example, in an essay for SIM (1 November 1913) he declared:

In the case of the Prelude, this brief delay helps to evoke the mysterious, dreamlike atmosphere that permeates Mal- larme's eclogue.

So far, we have seen that the Prelude is built from two main motives-the opening flute arabesque plus its deriva- tives, and the Db theme. Austin, however, identifies two other gestures, to which he refers as the syncopated and flow- ing motives.37 Since these ideas play a vital role in the sub- sequent unfolding of the piece and help to clarify the formal function of the B section, it is worth examining them closely.

Example 5 traces the life history of both ideas. Although the origins of the syncopated motive can be traced back to the horn parts in mm. 5 and 13, this gesture first becomes prominent in m. 39 (Ex. 5a). Almost immediately, it is com- bined with the opening flute motive (Ex. 5b). The flowing motive, meanwhile, is first heard in m. 28 (Ex. 5c) and be- comes the progenitor of the oboe theme at m. 37. In the Db section, the flowing and syncopated motives are both ab- sorbed into the B theme: the former appears as a continuation of the B theme in mm. 61-62 (Ex. 5d); the latter appears with the flowing motive beginning in m. 67 (Ex. 5e). The short codetta (mm. 74-78) then combines the syncopated motive in counterpoint with the B theme and flowing motive (Ex. 5f). This example of presenting themes simultaneously or in close succession-what we might term "motivic compression"- sets up the climax of the Prdlude in mm. 94-99, where the syncopated and flowing motives both return in counterpoint with the main flute theme (Ex. 5g).

Example 5 highlights three essential features of thematic working in Debussy's music. First, it often includes very in- tricate motivic relationships. This fact apparently contradicts Debussy's frequent claims to simplifying symphonic compo- sition. For example, in an essay for SIM (1 November 1913) he declared:

In the case of the Prelude, this brief delay helps to evoke the mysterious, dreamlike atmosphere that permeates Mal- larme's eclogue.

So far, we have seen that the Prelude is built from two main motives-the opening flute arabesque plus its deriva- tives, and the Db theme. Austin, however, identifies two other gestures, to which he refers as the syncopated and flow- ing motives.37 Since these ideas play a vital role in the sub- sequent unfolding of the piece and help to clarify the formal function of the B section, it is worth examining them closely.

Example 5 traces the life history of both ideas. Although the origins of the syncopated motive can be traced back to the horn parts in mm. 5 and 13, this gesture first becomes prominent in m. 39 (Ex. 5a). Almost immediately, it is com- bined with the opening flute motive (Ex. 5b). The flowing motive, meanwhile, is first heard in m. 28 (Ex. 5c) and be- comes the progenitor of the oboe theme at m. 37. In the Db section, the flowing and syncopated motives are both ab- sorbed into the B theme: the former appears as a continuation of the B theme in mm. 61-62 (Ex. 5d); the latter appears with the flowing motive beginning in m. 67 (Ex. 5e). The short codetta (mm. 74-78) then combines the syncopated motive in counterpoint with the B theme and flowing motive (Ex. 5f). This example of presenting themes simultaneously or in close succession-what we might term "motivic compression"- sets up the climax of the Prdlude in mm. 94-99, where the syncopated and flowing motives both return in counterpoint with the main flute theme (Ex. 5g).

Example 5 highlights three essential features of thematic working in Debussy's music. First, it often includes very in- tricate motivic relationships. This fact apparently contradicts Debussy's frequent claims to simplifying symphonic compo- sition. For example, in an essay for SIM (1 November 1913) he declared:

37Austin, "Toward an Analytical Appreciation," 75-78. 37Austin, "Toward an Analytical Appreciation," 75-78. 37Austin, "Toward an Analytical Appreciation," 75-78. 37Austin, "Toward an Analytical Appreciation," 75-78. 37Austin, "Toward an Analytical Appreciation," 75-78. 37Austin, "Toward an Analytical Appreciation," 75-78. 37Austin, "Toward an Analytical Appreciation," 75-78. 37Austin, "Toward an Analytical Appreciation," 75-78. 37Austin, "Toward an Analytical Appreciation," 75-78. 37Austin, "Toward an Analytical Appreciation," 75-78. 37Austin, "Toward an Analytical Appreciation," 75-78.

Let us purify music! Let us try to relieve it of its congestion, to find a less cluttered kind of music. And let us be careful that we do not stifle all feeling underneath a mass of superimposed designs and motives: how can we hope to preserve our finesse, our spirit, if we insist on being preoccupied with so many details of composition? We are attempting the impossible when we try to organize a braying pack of tiny themes, all pushing and jostling each other for a bite out of poor old sentiment.38

Second, in Debussy's music, motives that initially seem in- nocuous may end up playing a vital role later. Since this process cuts across the main formal divisions of the Prelude, it helps to erode the boundaries and autonomy of each sec- tion. Third, Debussy's music is often extremely complex poly- phonically, especially at critical moments in the form. In the Prelude, the densest textures occur at the climax (beginning in m. 94). This point is doubly ironic because Debussy is often portrayed as the archenemy of polyphony, and because Schenker traced the downfall of music in the twentieth cen- tury to a "decline of counterpoint."39

Before leaving the B section, we must briefly consider its harmonic structure. We have already seen how the thematic

38Lesure, ed., Monsieur Croche, 241; Lesure and Smith, Debussy on Mu- sic, 297.

39For published discussions of Debussy's contrapuntal practices, see Peter DeLone, "Claude Debussy: Contrapuntiste Malgre Lui," College Music Sym- posium 17 (1977): 48-63; and William Austin, Music in the Twentieth Century, (New York: Norton, 1966), especially p. 20. Debussy himself discussed the significance of counterpoint in his music; see Lesure and Smith, Debussy on Music, 84, 94, and 278. Schenker, of course, made frequent attacks on twentieth-century music, such as the following in Derfreie Satz: "The present decline of counterpoint has brought about the decline of diatony. This is the fault of the musicians, who still have not grasped the fact that as long as the fifth determines the natural sonority-and that will always be so-a voice- leading technique based on the fifth, as nature requires, cannot lead to any diatony other than the diatony which our art has exhibited up to the present day. All attempts to deprive nature of her rights will shatter against the wall of her resistance" (Oster, ed. and trans., par. 4, p. 11).

Let us purify music! Let us try to relieve it of its congestion, to find a less cluttered kind of music. And let us be careful that we do not stifle all feeling underneath a mass of superimposed designs and motives: how can we hope to preserve our finesse, our spirit, if we insist on being preoccupied with so many details of composition? We are attempting the impossible when we try to organize a braying pack of tiny themes, all pushing and jostling each other for a bite out of poor old sentiment.38

Second, in Debussy's music, motives that initially seem in- nocuous may end up playing a vital role later. Since this process cuts across the main formal divisions of the Prelude, it helps to erode the boundaries and autonomy of each sec- tion. Third, Debussy's music is often extremely complex poly- phonically, especially at critical moments in the form. In the Prelude, the densest textures occur at the climax (beginning in m. 94). This point is doubly ironic because Debussy is often portrayed as the archenemy of polyphony, and because Schenker traced the downfall of music in the twentieth cen- tury to a "decline of counterpoint."39

Before leaving the B section, we must briefly consider its harmonic structure. We have already seen how the thematic

38Lesure, ed., Monsieur Croche, 241; Lesure and Smith, Debussy on Mu- sic, 297.

39For published discussions of Debussy's contrapuntal practices, see Peter DeLone, "Claude Debussy: Contrapuntiste Malgre Lui," College Music Sym- posium 17 (1977): 48-63; and William Austin, Music in the Twentieth Century, (New York: Norton, 1966), especially p. 20. Debussy himself discussed the significance of counterpoint in his music; see Lesure and Smith, Debussy on Music, 84, 94, and 278. Schenker, of course, made frequent attacks on twentieth-century music, such as the following in Derfreie Satz: "The present decline of counterpoint has brought about the decline of diatony. This is the fault of the musicians, who still have not grasped the fact that as long as the fifth determines the natural sonority-and that will always be so-a voice- leading technique based on the fifth, as nature requires, cannot lead to any diatony other than the diatony which our art has exhibited up to the present day. All attempts to deprive nature of her rights will shatter against the wall of her resistance" (Oster, ed. and trans., par. 4, p. 11).

Let us purify music! Let us try to relieve it of its congestion, to find a less cluttered kind of music. And let us be careful that we do not stifle all feeling underneath a mass of superimposed designs and motives: how can we hope to preserve our finesse, our spirit, if we insist on being preoccupied with so many details of composition? We are attempting the impossible when we try to organize a braying pack of tiny themes, all pushing and jostling each other for a bite out of poor old sentiment.38

Second, in Debussy's music, motives that initially seem in- nocuous may end up playing a vital role later. Since this process cuts across the main formal divisions of the Prelude, it helps to erode the boundaries and autonomy of each sec- tion. Third, Debussy's music is often extremely complex poly- phonically, especially at critical moments in the form. In the Prelude, the densest textures occur at the climax (beginning in m. 94). This point is doubly ironic because Debussy is often portrayed as the archenemy of polyphony, and because Schenker traced the downfall of music in the twentieth cen- tury to a "decline of counterpoint."39

Before leaving the B section, we must briefly consider its harmonic structure. We have already seen how the thematic

38Lesure, ed., Monsieur Croche, 241; Lesure and Smith, Debussy on Mu- sic, 297.

39For published discussions of Debussy's contrapuntal practices, see Peter DeLone, "Claude Debussy: Contrapuntiste Malgre Lui," College Music Sym- posium 17 (1977): 48-63; and William Austin, Music in the Twentieth Century, (New York: Norton, 1966), especially p. 20. Debussy himself discussed the significance of counterpoint in his music; see Lesure and Smith, Debussy on Music, 84, 94, and 278. Schenker, of course, made frequent attacks on twentieth-century music, such as the following in Derfreie Satz: "The present decline of counterpoint has brought about the decline of diatony. This is the fault of the musicians, who still have not grasped the fact that as long as the fifth determines the natural sonority-and that will always be so-a voice- leading technique based on the fifth, as nature requires, cannot lead to any diatony other than the diatony which our art has exhibited up to the present day. All attempts to deprive nature of her rights will shatter against the wall of her resistance" (Oster, ed. and trans., par. 4, p. 11).

Let us purify music! Let us try to relieve it of its congestion, to find a less cluttered kind of music. And let us be careful that we do not stifle all feeling underneath a mass of superimposed designs and motives: how can we hope to preserve our finesse, our spirit, if we insist on being preoccupied with so many details of composition? We are attempting the impossible when we try to organize a braying pack of tiny themes, all pushing and jostling each other for a bite out of poor old sentiment.38

Second, in Debussy's music, motives that initially seem in- nocuous may end up playing a vital role later. Since this process cuts across the main formal divisions of the Prelude, it helps to erode the boundaries and autonomy of each sec- tion. Third, Debussy's music is often extremely complex poly- phonically, especially at critical moments in the form. In the Prelude, the densest textures occur at the climax (beginning in m. 94). This point is doubly ironic because Debussy is often portrayed as the archenemy of polyphony, and because Schenker traced the downfall of music in the twentieth cen- tury to a "decline of counterpoint."39

Before leaving the B section, we must briefly consider its harmonic structure. We have already seen how the thematic

38Lesure, ed., Monsieur Croche, 241; Lesure and Smith, Debussy on Mu- sic, 297.

39For published discussions of Debussy's contrapuntal practices, see Peter DeLone, "Claude Debussy: Contrapuntiste Malgre Lui," College Music Sym- posium 17 (1977): 48-63; and William Austin, Music in the Twentieth Century, (New York: Norton, 1966), especially p. 20. Debussy himself discussed the significance of counterpoint in his music; see Lesure and Smith, Debussy on Music, 84, 94, and 278. Schenker, of course, made frequent attacks on twentieth-century music, such as the following in Derfreie Satz: "The present decline of counterpoint has brought about the decline of diatony. This is the fault of the musicians, who still have not grasped the fact that as long as the fifth determines the natural sonority-and that will always be so-a voice- leading technique based on the fifth, as nature requires, cannot lead to any diatony other than the diatony which our art has exhibited up to the present day. All attempts to deprive nature of her rights will shatter against the wall of her resistance" (Oster, ed. and trans., par. 4, p. 11).

Let us purify music! Let us try to relieve it of its congestion, to find a less cluttered kind of music. And let us be careful that we do not stifle all feeling underneath a mass of superimposed designs and motives: how can we hope to preserve our finesse, our spirit, if we insist on being preoccupied with so many details of composition? We are attempting the impossible when we try to organize a braying pack of tiny themes, all pushing and jostling each other for a bite out of poor old sentiment.38

Second, in Debussy's music, motives that initially seem in- nocuous may end up playing a vital role later. Since this process cuts across the main formal divisions of the Prelude, it helps to erode the boundaries and autonomy of each sec- tion. Third, Debussy's music is often extremely complex poly- phonically, especially at critical moments in the form. In the Prelude, the densest textures occur at the climax (beginning in m. 94). This point is doubly ironic because Debussy is often portrayed as the archenemy of polyphony, and because Schenker traced the downfall of music in the twentieth cen- tury to a "decline of counterpoint."39

Before leaving the B section, we must briefly consider its harmonic structure. We have already seen how the thematic

38Lesure, ed., Monsieur Croche, 241; Lesure and Smith, Debussy on Mu- sic, 297.

39For published discussions of Debussy's contrapuntal practices, see Peter DeLone, "Claude Debussy: Contrapuntiste Malgre Lui," College Music Sym- posium 17 (1977): 48-63; and William Austin, Music in the Twentieth Century, (New York: Norton, 1966), especially p. 20. Debussy himself discussed the significance of counterpoint in his music; see Lesure and Smith, Debussy on Music, 84, 94, and 278. Schenker, of course, made frequent attacks on twentieth-century music, such as the following in Derfreie Satz: "The present decline of counterpoint has brought about the decline of diatony. This is the fault of the musicians, who still have not grasped the fact that as long as the fifth determines the natural sonority-and that will always be so-a voice- leading technique based on the fifth, as nature requires, cannot lead to any diatony other than the diatony which our art has exhibited up to the present day. All attempts to deprive nature of her rights will shatter against the wall of her resistance" (Oster, ed. and trans., par. 4, p. 11).

Let us purify music! Let us try to relieve it of its congestion, to find a less cluttered kind of music. And let us be careful that we do not stifle all feeling underneath a mass of superimposed designs and motives: how can we hope to preserve our finesse, our spirit, if we insist on being preoccupied with so many details of composition? We are attempting the impossible when we try to organize a braying pack of tiny themes, all pushing and jostling each other for a bite out of poor old sentiment.38

Second, in Debussy's music, motives that initially seem in- nocuous may end up playing a vital role later. Since this process cuts across the main formal divisions of the Prelude, it helps to erode the boundaries and autonomy of each sec- tion. Third, Debussy's music is often extremely complex poly- phonically, especially at critical moments in the form. In the Prelude, the densest textures occur at the climax (beginning in m. 94). This point is doubly ironic because Debussy is often portrayed as the archenemy of polyphony, and because Schenker traced the downfall of music in the twentieth cen- tury to a "decline of counterpoint."39

Before leaving the B section, we must briefly consider its harmonic structure. We have already seen how the thematic

38Lesure, ed., Monsieur Croche, 241; Lesure and Smith, Debussy on Mu- sic, 297.

39For published discussions of Debussy's contrapuntal practices, see Peter DeLone, "Claude Debussy: Contrapuntiste Malgre Lui," College Music Sym- posium 17 (1977): 48-63; and William Austin, Music in the Twentieth Century, (New York: Norton, 1966), especially p. 20. Debussy himself discussed the significance of counterpoint in his music; see Lesure and Smith, Debussy on Music, 84, 94, and 278. Schenker, of course, made frequent attacks on twentieth-century music, such as the following in Derfreie Satz: "The present decline of counterpoint has brought about the decline of diatony. This is the fault of the musicians, who still have not grasped the fact that as long as the fifth determines the natural sonority-and that will always be so-a voice- leading technique based on the fifth, as nature requires, cannot lead to any diatony other than the diatony which our art has exhibited up to the present day. All attempts to deprive nature of her rights will shatter against the wall of her resistance" (Oster, ed. and trans., par. 4, p. 11).

Let us purify music! Let us try to relieve it of its congestion, to find a less cluttered kind of music. And let us be careful that we do not stifle all feeling underneath a mass of superimposed designs and motives: how can we hope to preserve our finesse, our spirit, if we insist on being preoccupied with so many details of composition? We are attempting the impossible when we try to organize a braying pack of tiny themes, all pushing and jostling each other for a bite out of poor old sentiment.38

Second, in Debussy's music, motives that initially seem in- nocuous may end up playing a vital role later. Since this process cuts across the main formal divisions of the Prelude, it helps to erode the boundaries and autonomy of each sec- tion. Third, Debussy's music is often extremely complex poly- phonically, especially at critical moments in the form. In the Prelude, the densest textures occur at the climax (beginning in m. 94). This point is doubly ironic because Debussy is often portrayed as the archenemy of polyphony, and because Schenker traced the downfall of music in the twentieth cen- tury to a "decline of counterpoint."39

Before leaving the B section, we must briefly consider its harmonic structure. We have already seen how the thematic

38Lesure, ed., Monsieur Croche, 241; Lesure and Smith, Debussy on Mu- sic, 297.

39For published discussions of Debussy's contrapuntal practices, see Peter DeLone, "Claude Debussy: Contrapuntiste Malgre Lui," College Music Sym- posium 17 (1977): 48-63; and William Austin, Music in the Twentieth Century, (New York: Norton, 1966), especially p. 20. Debussy himself discussed the significance of counterpoint in his music; see Lesure and Smith, Debussy on Music, 84, 94, and 278. Schenker, of course, made frequent attacks on twentieth-century music, such as the following in Derfreie Satz: "The present decline of counterpoint has brought about the decline of diatony. This is the fault of the musicians, who still have not grasped the fact that as long as the fifth determines the natural sonority-and that will always be so-a voice- leading technique based on the fifth, as nature requires, cannot lead to any diatony other than the diatony which our art has exhibited up to the present day. All attempts to deprive nature of her rights will shatter against the wall of her resistance" (Oster, ed. and trans., par. 4, p. 11).

Let us purify music! Let us try to relieve it of its congestion, to find a less cluttered kind of music. And let us be careful that we do not stifle all feeling underneath a mass of superimposed designs and motives: how can we hope to preserve our finesse, our spirit, if we insist on being preoccupied with so many details of composition? We are attempting the impossible when we try to organize a braying pack of tiny themes, all pushing and jostling each other for a bite out of poor old sentiment.38

Second, in Debussy's music, motives that initially seem in- nocuous may end up playing a vital role later. Since this process cuts across the main formal divisions of the Prelude, it helps to erode the boundaries and autonomy of each sec- tion. Third, Debussy's music is often extremely complex poly- phonically, especially at critical moments in the form. In the Prelude, the densest textures occur at the climax (beginning in m. 94). This point is doubly ironic because Debussy is often portrayed as the archenemy of polyphony, and because Schenker traced the downfall of music in the twentieth cen- tury to a "decline of counterpoint."39

Before leaving the B section, we must briefly consider its harmonic structure. We have already seen how the thematic

38Lesure, ed., Monsieur Croche, 241; Lesure and Smith, Debussy on Mu- sic, 297.

39For published discussions of Debussy's contrapuntal practices, see Peter DeLone, "Claude Debussy: Contrapuntiste Malgre Lui," College Music Sym- posium 17 (1977): 48-63; and William Austin, Music in the Twentieth Century, (New York: Norton, 1966), especially p. 20. Debussy himself discussed the significance of counterpoint in his music; see Lesure and Smith, Debussy on Music, 84, 94, and 278. Schenker, of course, made frequent attacks on twentieth-century music, such as the following in Derfreie Satz: "The present decline of counterpoint has brought about the decline of diatony. This is the fault of the musicians, who still have not grasped the fact that as long as the fifth determines the natural sonority-and that will always be so-a voice- leading technique based on the fifth, as nature requires, cannot lead to any diatony other than the diatony which our art has exhibited up to the present day. All attempts to deprive nature of her rights will shatter against the wall of her resistance" (Oster, ed. and trans., par. 4, p. 11).

Let us purify music! Let us try to relieve it of its congestion, to find a less cluttered kind of music. And let us be careful that we do not stifle all feeling underneath a mass of superimposed designs and motives: how can we hope to preserve our finesse, our spirit, if we insist on being preoccupied with so many details of composition? We are attempting the impossible when we try to organize a braying pack of tiny themes, all pushing and jostling each other for a bite out of poor old sentiment.38

Second, in Debussy's music, motives that initially seem in- nocuous may end up playing a vital role later. Since this process cuts across the main formal divisions of the Prelude, it helps to erode the boundaries and autonomy of each sec- tion. Third, Debussy's music is often extremely complex poly- phonically, especially at critical moments in the form. In the Prelude, the densest textures occur at the climax (beginning in m. 94). This point is doubly ironic because Debussy is often portrayed as the archenemy of polyphony, and because Schenker traced the downfall of music in the twentieth cen- tury to a "decline of counterpoint."39

Before leaving the B section, we must briefly consider its harmonic structure. We have already seen how the thematic

38Lesure, ed., Monsieur Croche, 241; Lesure and Smith, Debussy on Mu- sic, 297.

39For published discussions of Debussy's contrapuntal practices, see Peter DeLone, "Claude Debussy: Contrapuntiste Malgre Lui," College Music Sym- posium 17 (1977): 48-63; and William Austin, Music in the Twentieth Century, (New York: Norton, 1966), especially p. 20. Debussy himself discussed the significance of counterpoint in his music; see Lesure and Smith, Debussy on Music, 84, 94, and 278. Schenker, of course, made frequent attacks on twentieth-century music, such as the following in Derfreie Satz: "The present decline of counterpoint has brought about the decline of diatony. This is the fault of the musicians, who still have not grasped the fact that as long as the fifth determines the natural sonority-and that will always be so-a voice- leading technique based on the fifth, as nature requires, cannot lead to any diatony other than the diatony which our art has exhibited up to the present day. All attempts to deprive nature of her rights will shatter against the wall of her resistance" (Oster, ed. and trans., par. 4, p. 11).

Let us purify music! Let us try to relieve it of its congestion, to find a less cluttered kind of music. And let us be careful that we do not stifle all feeling underneath a mass of superimposed designs and motives: how can we hope to preserve our finesse, our spirit, if we insist on being preoccupied with so many details of composition? We are attempting the impossible when we try to organize a braying pack of tiny themes, all pushing and jostling each other for a bite out of poor old sentiment.38

Second, in Debussy's music, motives that initially seem in- nocuous may end up playing a vital role later. Since this process cuts across the main formal divisions of the Prelude, it helps to erode the boundaries and autonomy of each sec- tion. Third, Debussy's music is often extremely complex poly- phonically, especially at critical moments in the form. In the Prelude, the densest textures occur at the climax (beginning in m. 94). This point is doubly ironic because Debussy is often portrayed as the archenemy of polyphony, and because Schenker traced the downfall of music in the twentieth cen- tury to a "decline of counterpoint."39

Before leaving the B section, we must briefly consider its harmonic structure. We have already seen how the thematic

38Lesure, ed., Monsieur Croche, 241; Lesure and Smith, Debussy on Mu- sic, 297.

39For published discussions of Debussy's contrapuntal practices, see Peter DeLone, "Claude Debussy: Contrapuntiste Malgre Lui," College Music Sym- posium 17 (1977): 48-63; and William Austin, Music in the Twentieth Century, (New York: Norton, 1966), especially p. 20. Debussy himself discussed the significance of counterpoint in his music; see Lesure and Smith, Debussy on Music, 84, 94, and 278. Schenker, of course, made frequent attacks on twentieth-century music, such as the following in Derfreie Satz: "The present decline of counterpoint has brought about the decline of diatony. This is the fault of the musicians, who still have not grasped the fact that as long as the fifth determines the natural sonority-and that will always be so-a voice- leading technique based on the fifth, as nature requires, cannot lead to any diatony other than the diatony which our art has exhibited up to the present day. All attempts to deprive nature of her rights will shatter against the wall of her resistance" (Oster, ed. and trans., par. 4, p. 11).

Let us purify music! Let us try to relieve it of its congestion, to find a less cluttered kind of music. And let us be careful that we do not stifle all feeling underneath a mass of superimposed designs and motives: how can we hope to preserve our finesse, our spirit, if we insist on being preoccupied with so many details of composition? We are attempting the impossible when we try to organize a braying pack of tiny themes, all pushing and jostling each other for a bite out of poor old sentiment.38

Second, in Debussy's music, motives that initially seem in- nocuous may end up playing a vital role later. Since this process cuts across the main formal divisions of the Prelude, it helps to erode the boundaries and autonomy of each sec- tion. Third, Debussy's music is often extremely complex poly- phonically, especially at critical moments in the form. In the Prelude, the densest textures occur at the climax (beginning in m. 94). This point is doubly ironic because Debussy is often portrayed as the archenemy of polyphony, and because Schenker traced the downfall of music in the twentieth cen- tury to a "decline of counterpoint."39

Before leaving the B section, we must briefly consider its harmonic structure. We have already seen how the thematic

38Lesure, ed., Monsieur Croche, 241; Lesure and Smith, Debussy on Mu- sic, 297.

39For published discussions of Debussy's contrapuntal practices, see Peter DeLone, "Claude Debussy: Contrapuntiste Malgre Lui," College Music Sym- posium 17 (1977): 48-63; and William Austin, Music in the Twentieth Century, (New York: Norton, 1966), especially p. 20. Debussy himself discussed the significance of counterpoint in his music; see Lesure and Smith, Debussy on Music, 84, 94, and 278. Schenker, of course, made frequent attacks on twentieth-century music, such as the following in Derfreie Satz: "The present decline of counterpoint has brought about the decline of diatony. This is the fault of the musicians, who still have not grasped the fact that as long as the fifth determines the natural sonority-and that will always be so-a voice- leading technique based on the fifth, as nature requires, cannot lead to any diatony other than the diatony which our art has exhibited up to the present day. All attempts to deprive nature of her rights will shatter against the wall of her resistance" (Oster, ed. and trans., par. 4, p. 11).

138 Music Theory Spectrum

Example 5. Motivic compression in the Prelude

^~(g)D-~ __- ^-- Syncopated motive

a* - -- I e'r riI

138 Music Theory Spectrum

Example 5. Motivic compression in the Prelude

^~(g)D-~ __- ^-- Syncopated motive

a* - -- I e'r riI

138 Music Theory Spectrum

Example 5. Motivic compression in the Prelude

^~(g)D-~ __- ^-- Syncopated motive

a* - -- I e'r riI

138 Music Theory Spectrum

Example 5. Motivic compression in the Prelude

^~(g)D-~ __- ^-- Syncopated motive

a* - -- I e'r riI

138 Music Theory Spectrum

Example 5. Motivic compression in the Prelude

^~(g)D-~ __- ^-- Syncopated motive

a* - -- I e'r riI

138 Music Theory Spectrum

Example 5. Motivic compression in the Prelude

^~(g)D-~ __- ^-- Syncopated motive

a* - -- I e'r riI

138 Music Theory Spectrum

Example 5. Motivic compression in the Prelude

^~(g)D-~ __- ^-- Syncopated motive

a* - -- I e'r riI

138 Music Theory Spectrum

Example 5. Motivic compression in the Prelude

^~(g)D-~ __- ^-- Syncopated motive

a* - -- I e'r riI

138 Music Theory Spectrum

Example 5. Motivic compression in the Prelude

^~(g)D-~ __- ^-- Syncopated motive

a* - -- I e'r riI

138 Music Theory Spectrum

Example 5. Motivic compression in the Prelude

^~(g)D-~ __- ^-- Syncopated motive

a* - -- I e'r riI

138 Music Theory Spectrum

Example 5. Motivic compression in the Prelude

^~(g)D-~ __- ^-- Syncopated motive

a* - -- I e'r riI

Flute theme

b , II b 3 - I ,

Syncopated motive

B theme

Flute theme

b , II b 3 - I ,

Syncopated motive

B theme

Flute theme

b , II b 3 - I ,

Syncopated motive

B theme

Flute theme

b , II b 3 - I ,

Syncopated motive

B theme

Flute theme

b , II b 3 - I ,

Syncopated motive

B theme

Flute theme

b , II b 3 - I ,

Syncopated motive

B theme

Flute theme

b , II b 3 - I ,

Syncopated motive

B theme

Flute theme

b , II b 3 - I ,

Syncopated motive

B theme

Flute theme

b , II b 3 - I ,

Syncopated motive

B theme

Flute theme

b , II b 3 - I ,

Syncopated motive

B theme

Flute theme

b , II b 3 - I ,

Syncopated motive

B theme

0 I 0 I 0 I 0 I 0 I 0 I 0 I 0 I 0 I 0 I 0 I

d d d d d d d d d d d

-j n0"g ig ?- f\ gem n -' -J | ?[ I I -? 3 3 1

-j n0"g ig ?- f\ gem n -' -J | ?[ I I -? 3 3 1

-j n0"g ig ?- f\ gem n -' -J | ?[ I I -? 3 3 1

-j n0"g ig ?- f\ gem n -' -J | ?[ I I -? 3 3 1

-j n0"g ig ?- f\ gem n -' -J | ?[ I I -? 3 3 1

-j n0"g ig ?- f\ gem n -' -J | ?[ I I -? 3 3 1

-j n0"g ig ?- f\ gem n -' -J | ?[ I I -? 3 3 1

-j n0"g ig ?- f\ gem n -' -J | ?[ I I -? 3 3 1

-j n0"g ig ?- f\ gem n -' -J | ?[ I I -? 3 3 1

-j n0"g ig ?- f\ gem n -' -J | ?[ I I -? 3 3 1

-j n0"g ig ?- f\ gem n -' -J | ?[ I I -? 3 3 1

c c c c c c c c c c c

Flowing motive Flowing motive Flowing motive Flowing motive Flowing motive Flowing motive Flowing motive Flowing motive Flowing motive Flowing motive Flowing motive

Flowing motive

@ -

Flowing motive

@ -

Flowing motive

@ -

Flowing motive

@ -

Flowing motive

@ -

Flowing motive

@ -

Flowing motive

@ -

Flowing motive

@ -

Flowing motive

@ -

Flowing motive

@ -

Flowing motive

@ -

blbF r F I rFr vi fr, lt 3 3

" blbF r F I rFr vi fr, lt 3 3

" blbF r F I rFr vi fr, lt 3 3

" blbF r F I rFr vi fr, lt 3 3

" blbF r F I rFr vi fr, lt 3 3

" blbF r F I rFr vi fr, lt 3 3

" blbF r F I rFr vi fr, lt 3 3

" blbF r F I rFr vi fr, lt 3 3

" blbF r F I rFr vi fr, lt 3 3

" blbF r F I rFr vi fr, lt 3 3

" blbF r F I rFr vi fr, lt 3 3

"

B theme

?IQ ) __ I Syncopated motive

- (6 A 7)I

B theme

?IQ ) __ I Syncopated motive

- (6 A 7)I

B theme

?IQ ) __ I Syncopated motive

- (6 A 7)I

B theme

?IQ ) __ I Syncopated motive

- (6 A 7)I

B theme

?IQ ) __ I Syncopated motive

- (6 A 7)I

B theme

?IQ ) __ I Syncopated motive

- (6 A 7)I

B theme

?IQ ) __ I Syncopated motive

- (6 A 7)I

B theme

?IQ ) __ I Syncopated motive

- (6 A 7)I

B theme

?IQ ) __ I Syncopated motive

- (6 A 7)I

B theme

?IQ ) __ I Syncopated motive

- (6 A 7)I

B theme

?IQ ) __ I Syncopated motive

- (6 A 7)I

t, r Ii' r l I I ' r t, r Ii' r l I I ' r t, r Ii' r l I I ' r t, r Ii' r l I I ' r t, r Ii' r l I I ' r t, r Ii' r l I I ' r t, r Ii' r l I I ' r t, r Ii' r l I I ' r t, r Ii' r l I I ' r t, r Ii' r l I I ' r t, r Ii' r l I I ' r B theme B theme B theme B theme B theme B theme B theme B theme B theme B theme B theme

A A A A A A A A A A A I L 3 3 I I L 3 3 I I L 3 3 I I L 3 3 I I L 3 3 I I L 3 3 I I L 3 3 I I L 3 3 I I L 3 3 I I L 3 3 I I L 3 3 I

-\ 'i ro rm rr _:^Trr rr r, , I F. -\ 'i ro rm rr _:^Trr rr r, , I F. -\ 'i ro rm rr _:^Trr rr r, , I F. -\ 'i ro rm rr _:^Trr rr r, , I F. -\ 'i ro rm rr _:^Trr rr r, , I F. -\ 'i ro rm rr _:^Trr rr r, , I F. -\ 'i ro rm rr _:^Trr rr r, , I F. -\ 'i ro rm rr _:^Trr rr r, , I F. -\ 'i ro rm rr _:^Trr rr r, , I F. -\ 'i ro rm rr _:^Trr rr r, , I F. -\ 'i ro rm rr _:^Trr rr r, , I F.

I r # F Us II II Syncopated motive Flowing motive Flowing motive

Flute theme Flowing motive

? '^ -S=Fmff_________?3 3mr^

I r # F Us II II Syncopated motive Flowing motive Flowing motive

Flute theme Flowing motive

? '^ -S=Fmff_________?3 3mr^

I r # F Us II II Syncopated motive Flowing motive Flowing motive

Flute theme Flowing motive

? '^ -S=Fmff_________?3 3mr^

I r # F Us II II Syncopated motive Flowing motive Flowing motive

Flute theme Flowing motive

? '^ -S=Fmff_________?3 3mr^

I r # F Us II II Syncopated motive Flowing motive Flowing motive

Flute theme Flowing motive

? '^ -S=Fmff_________?3 3mr^

I r # F Us II II Syncopated motive Flowing motive Flowing motive

Flute theme Flowing motive

? '^ -S=Fmff_________?3 3mr^

I r # F Us II II Syncopated motive Flowing motive Flowing motive

Flute theme Flowing motive

? '^ -S=Fmff_________?3 3mr^

I r # F Us II II Syncopated motive Flowing motive Flowing motive

Flute theme Flowing motive

? '^ -S=Fmff_________?3 3mr^

I r # F Us II II Syncopated motive Flowing motive Flowing motive

Flute theme Flowing motive

? '^ -S=Fmff_________?3 3mr^

I r # F Us II II Syncopated motive Flowing motive Flowing motive

Flute theme Flowing motive

? '^ -S=Fmff_________?3 3mr^

I r # F Us II II Syncopated motive Flowing motive Flowing motive

Flute theme Flowing motive

? '^ -S=Fmff_________?3 3mr^

g g g g g g g g g g g

Syncopated motive Syncopated motive Syncopated motive Syncopated motive Syncopated motive Syncopated motive Syncopated motive Syncopated motive Syncopated motive Syncopated motive Syncopated motive

Flowing motive

I, I Flowing motive

I, I Flowing motive

I, I Flowing motive

I, I Flowing motive

I, I Flowing motive

I, I Flowing motive

I, I Flowing motive

I, I Flowing motive

I, I Flowing motive

I, I Flowing motive

I, I

)11 "c 'c* 1_- ,P. ,n I 7---- -I -I' -:_ )11 "c 'c* 1_- ,P. ,n I 7---- -I -I' -:_ )11 "c 'c* 1_- ,P. ,n I 7---- -I -I' -:_ )11 "c 'c* 1_- ,P. ,n I 7---- -I -I' -:_ )11 "c 'c* 1_- ,P. ,n I 7---- -I -I' -:_ )11 "c 'c* 1_- ,P. ,n I 7---- -I -I' -:_ )11 "c 'c* 1_- ,P. ,n I 7---- -I -I' -:_ )11 "c 'c* 1_- ,P. ,n I 7---- -I -I' -:_ )11 "c 'c* 1_- ,P. ,n I 7---- -I -I' -:_ )11 "c 'c* 1_- ,P. ,n I 7---- -I -I' -:_ )11 "c 'c* 1_- ,P. ,n I 7---- -I -I' -:_

.r r r7-- .r r r7-- .r r r7-- .r r r7-- .r r r7-- .r r r7-- .r r r7-- .r r r7-- .r r r7-- .r r r7-- .r r r7--

> _ I > _ I > _ I > _ I > _ I > _ I > _ I > _ I > _ I > _ I > _ I

f f f f f f f f f f f

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 139 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 139 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 139 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 139 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 139 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 139 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 139 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 139 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 139 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 139 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 139

Example 6. Prelude a "L'Apres-midi d'un faune," mm. 55-78 Example 6. Prelude a "L'Apres-midi d'un faune," mm. 55-78 Example 6. Prelude a "L'Apres-midi d'un faune," mm. 55-78 Example 6. Prelude a "L'Apres-midi d'un faune," mm. 55-78 Example 6. Prelude a "L'Apres-midi d'un faune," mm. 55-78 Example 6. Prelude a "L'Apres-midi d'un faune," mm. 55-78 Example 6. Prelude a "L'Apres-midi d'un faune," mm. 55-78 Example 6. Prelude a "L'Apres-midi d'un faune," mm. 55-78 Example 6. Prelude a "L'Apres-midi d'un faune," mm. 55-78 Example 6. Prelude a "L'Apres-midi d'un faune," mm. 55-78 Example 6. Prelude a "L'Apres-midi d'un faune," mm. 55-78

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

iJ J : b J J A . j

J

IV I1 V IV 1Iof VII

of Vl

iJ J : b J J A . j

J

IV I1 V IV 1Iof VII

of Vl

iJ J : b J J A . j

J

IV I1 V IV 1Iof VII

of Vl

iJ J : b J J A . j

J

IV I1 V IV 1Iof VII

of Vl

iJ J : b J J A . j

J

IV I1 V IV 1Iof VII

of Vl

iJ J : b J J A . j

J

IV I1 V IV 1Iof VII

of Vl

iJ J : b J J A . j

J

IV I1 V IV 1Iof VII

of Vl

iJ J : b J J A . j

J

IV I1 V IV 1Iof VII

of Vl

iJ J : b J J A . j

J

IV I1 V IV 1Iof VII

of Vl

iJ J : b J J A . j

J

IV I1 V IV 1Iof VII

of Vl

iJ J : b J J A . j

J

IV I1 V IV 1Iof VII

of Vl

content changes between the first and the second statements of the Db theme. Example 6 shows that this change coincides with a remarkable shift in the theme's harmonic support. To understand this transformation it is best to begin with the

content changes between the first and the second statements of the Db theme. Example 6 shows that this change coincides with a remarkable shift in the theme's harmonic support. To understand this transformation it is best to begin with the

content changes between the first and the second statements of the Db theme. Example 6 shows that this change coincides with a remarkable shift in the theme's harmonic support. To understand this transformation it is best to begin with the

content changes between the first and the second statements of the Db theme. Example 6 shows that this change coincides with a remarkable shift in the theme's harmonic support. To understand this transformation it is best to begin with the

content changes between the first and the second statements of the Db theme. Example 6 shows that this change coincides with a remarkable shift in the theme's harmonic support. To understand this transformation it is best to begin with the

content changes between the first and the second statements of the Db theme. Example 6 shows that this change coincides with a remarkable shift in the theme's harmonic support. To understand this transformation it is best to begin with the

content changes between the first and the second statements of the Db theme. Example 6 shows that this change coincides with a remarkable shift in the theme's harmonic support. To understand this transformation it is best to begin with the

content changes between the first and the second statements of the Db theme. Example 6 shows that this change coincides with a remarkable shift in the theme's harmonic support. To understand this transformation it is best to begin with the

content changes between the first and the second statements of the Db theme. Example 6 shows that this change coincides with a remarkable shift in the theme's harmonic support. To understand this transformation it is best to begin with the

content changes between the first and the second statements of the Db theme. Example 6 shows that this change coincides with a remarkable shift in the theme's harmonic support. To understand this transformation it is best to begin with the

content changes between the first and the second statements of the Db theme. Example 6 shows that this change coincides with a remarkable shift in the theme's harmonic support. To understand this transformation it is best to begin with the

1 1 I hbJ,l.J 1 i 1 1 I hbJ,l.J 1 i 1 1 I hbJ,l.J 1 i 1 1 I hbJ,l.J 1 i 1 1 I hbJ,l.J 1 i 1 1 I hbJ,l.J 1 i 1 1 I hbJ,l.J 1 i 1 1 I hbJ,l.J 1 i 1 1 I hbJ,l.J 1 i 1 1 I hbJ,l.J 1 i 1 1 I hbJ,l.J 1 i

' b-bbb I. / i ~ - 'b;

6*^k 6 , b - < t) b bbb - b- 4~ P "bL

' b-bbb I. / i ~ - 'b;

6*^k 6 , b - < t) b bbb - b- 4~ P "bL

' b-bbb I. / i ~ - 'b;

6*^k 6 , b - < t) b bbb - b- 4~ P "bL

' b-bbb I. / i ~ - 'b;

6*^k 6 , b - < t) b bbb - b- 4~ P "bL

' b-bbb I. / i ~ - 'b;

6*^k 6 , b - < t) b bbb - b- 4~ P "bL

' b-bbb I. / i ~ - 'b;

6*^k 6 , b - < t) b bbb - b- 4~ P "bL

' b-bbb I. / i ~ - 'b;

6*^k 6 , b - < t) b bbb - b- 4~ P "bL

' b-bbb I. / i ~ - 'b;

6*^k 6 , b - < t) b bbb - b- 4~ P "bL

' b-bbb I. / i ~ - 'b;

6*^k 6 , b - < t) b bbb - b- 4~ P "bL

' b-bbb I. / i ~ - 'b;

6*^k 6 , b - < t) b bbb - b- 4~ P "bL

' b-bbb I. / i ~ - 'b;

6*^k 6 , b - < t) b bbb - b- 4~ P "bL

IVb3 bVI aug. 6 IVb3 bVI aug. 6 IVb3 bVI aug. 6 IVb3 bVI aug. 6 IVb3 bVI aug. 6 IVb3 bVI aug. 6 IVb3 bVI aug. 6 IVb3 bVI aug. 6 IVb3 bVI aug. 6 IVb3 bVI aug. 6 IVb3 bVI aug. 6

of VI of VI of VI of VI of VI of VI of VI of VI of VI of VI of VI

second statement (see Ex. 6a). These measures present a diatonic descent through the D octave in the upper part that is supported by the simple progression I-IV-II-V-I. The first statement, however, is more complex (see Ex. 6b). Here,

second statement (see Ex. 6a). These measures present a diatonic descent through the D octave in the upper part that is supported by the simple progression I-IV-II-V-I. The first statement, however, is more complex (see Ex. 6b). Here,

second statement (see Ex. 6a). These measures present a diatonic descent through the D octave in the upper part that is supported by the simple progression I-IV-II-V-I. The first statement, however, is more complex (see Ex. 6b). Here,

second statement (see Ex. 6a). These measures present a diatonic descent through the D octave in the upper part that is supported by the simple progression I-IV-II-V-I. The first statement, however, is more complex (see Ex. 6b). Here,

second statement (see Ex. 6a). These measures present a diatonic descent through the D octave in the upper part that is supported by the simple progression I-IV-II-V-I. The first statement, however, is more complex (see Ex. 6b). Here,

second statement (see Ex. 6a). These measures present a diatonic descent through the D octave in the upper part that is supported by the simple progression I-IV-II-V-I. The first statement, however, is more complex (see Ex. 6b). Here,

second statement (see Ex. 6a). These measures present a diatonic descent through the D octave in the upper part that is supported by the simple progression I-IV-II-V-I. The first statement, however, is more complex (see Ex. 6b). Here,

second statement (see Ex. 6a). These measures present a diatonic descent through the D octave in the upper part that is supported by the simple progression I-IV-II-V-I. The first statement, however, is more complex (see Ex. 6b). Here,

second statement (see Ex. 6a). These measures present a diatonic descent through the D octave in the upper part that is supported by the simple progression I-IV-II-V-I. The first statement, however, is more complex (see Ex. 6b). Here,

second statement (see Ex. 6a). These measures present a diatonic descent through the D octave in the upper part that is supported by the simple progression I-IV-II-V-I. The first statement, however, is more complex (see Ex. 6b). Here,

second statement (see Ex. 6a). These measures present a diatonic descent through the D octave in the upper part that is supported by the simple progression I-IV-II-V-I. The first statement, however, is more complex (see Ex. 6b). Here,

I I I I I I I I I I I I I I I I I I I I I I

140 Music Theory Spectrum 140 Music Theory Spectrum 140 Music Theory Spectrum 140 Music Theory Spectrum 140 Music Theory Spectrum 140 Music Theory Spectrum 140 Music Theory Spectrum 140 Music Theory Spectrum 140 Music Theory Spectrum 140 Music Theory Spectrum 140 Music Theory Spectrum

the octave descent is transformed chromatically: Db-Cb,- Bb -Ab-Gb-Fb -Elb-C-Db. Notice how the augmented- sixth chord resolves traditionally: D moves down by step in the bass, while the tritone Ft-C in the upper voice resolves inwards to F and Db (horns 2 and 4, violin 2). As shown in Example 6c, the supporting progression, with its mixed sub- dominant, flat submediant, and augmented-sixth sonorities, foreshadows the chromatic excursions found in Debussy's later works, such as the piece "Reflets dans l'eau" (Images, Book I, 1904-5). Here the upper line moves from I via ,I and t 3i to v and }.

We now come to the final sections of the Prelude. As mentioned earlier, experts disagree about the formal function of mm. 79-106. Some, such as Barraque and Howat, argue that these measures are built from two distinct spans: mm. 79-93 develop the flute theme sequentially on E and Eb; mm. 94-106 restore the main theme to Ct for the start of the final section proper.40 Conversely, Denis Dille, Laurence Berman, and others suggest that these bars constitute a single span analogous to that of the opening A section.41

Which reading should we prefer? Certainly, there are good reasons for dividing mm. 79-106 into two spans. Although the flute theme is transposed to E in m. 79, it is not restored to the original starting pitch CO until m. 94. Furthermore, the scherzando character of the flute theme (mm. 79-93) recalls the whole-tone variations (mm. 30-37). Tonally, however, this reading is less convincing. No one would deny that the tonic 6 returns in m. 79, but when the bass tone E returns at m. 94, it no longer supports a simple tonic triad. Instead, we find an E13 identical to the one in m. 26. Dissonances of this sort do not normally appear at the start of a span; still

40Barraqu6, Debussy, 88; translated in Austin, ed., Prelude, 164; Howat,

Debussy in Proportion, 149. 41Dille's view is summarized by Austin in "Toward an Analytical Ap-

preciation," 74; Berman, "Debussy's Summer Rites," 231.

the octave descent is transformed chromatically: Db-Cb,- Bb -Ab-Gb-Fb -Elb-C-Db. Notice how the augmented- sixth chord resolves traditionally: D moves down by step in the bass, while the tritone Ft-C in the upper voice resolves inwards to F and Db (horns 2 and 4, violin 2). As shown in Example 6c, the supporting progression, with its mixed sub- dominant, flat submediant, and augmented-sixth sonorities, foreshadows the chromatic excursions found in Debussy's later works, such as the piece "Reflets dans l'eau" (Images, Book I, 1904-5). Here the upper line moves from I via ,I and t 3i to v and }.

We now come to the final sections of the Prelude. As mentioned earlier, experts disagree about the formal function of mm. 79-106. Some, such as Barraque and Howat, argue that these measures are built from two distinct spans: mm. 79-93 develop the flute theme sequentially on E and Eb; mm. 94-106 restore the main theme to Ct for the start of the final section proper.40 Conversely, Denis Dille, Laurence Berman, and others suggest that these bars constitute a single span analogous to that of the opening A section.41

Which reading should we prefer? Certainly, there are good reasons for dividing mm. 79-106 into two spans. Although the flute theme is transposed to E in m. 79, it is not restored to the original starting pitch CO until m. 94. Furthermore, the scherzando character of the flute theme (mm. 79-93) recalls the whole-tone variations (mm. 30-37). Tonally, however, this reading is less convincing. No one would deny that the tonic 6 returns in m. 79, but when the bass tone E returns at m. 94, it no longer supports a simple tonic triad. Instead, we find an E13 identical to the one in m. 26. Dissonances of this sort do not normally appear at the start of a span; still

40Barraqu6, Debussy, 88; translated in Austin, ed., Prelude, 164; Howat,

Debussy in Proportion, 149. 41Dille's view is summarized by Austin in "Toward an Analytical Ap-

preciation," 74; Berman, "Debussy's Summer Rites," 231.

the octave descent is transformed chromatically: Db-Cb,- Bb -Ab-Gb-Fb -Elb-C-Db. Notice how the augmented- sixth chord resolves traditionally: D moves down by step in the bass, while the tritone Ft-C in the upper voice resolves inwards to F and Db (horns 2 and 4, violin 2). As shown in Example 6c, the supporting progression, with its mixed sub- dominant, flat submediant, and augmented-sixth sonorities, foreshadows the chromatic excursions found in Debussy's later works, such as the piece "Reflets dans l'eau" (Images, Book I, 1904-5). Here the upper line moves from I via ,I and t 3i to v and }.

We now come to the final sections of the Prelude. As mentioned earlier, experts disagree about the formal function of mm. 79-106. Some, such as Barraque and Howat, argue that these measures are built from two distinct spans: mm. 79-93 develop the flute theme sequentially on E and Eb; mm. 94-106 restore the main theme to Ct for the start of the final section proper.40 Conversely, Denis Dille, Laurence Berman, and others suggest that these bars constitute a single span analogous to that of the opening A section.41

Which reading should we prefer? Certainly, there are good reasons for dividing mm. 79-106 into two spans. Although the flute theme is transposed to E in m. 79, it is not restored to the original starting pitch CO until m. 94. Furthermore, the scherzando character of the flute theme (mm. 79-93) recalls the whole-tone variations (mm. 30-37). Tonally, however, this reading is less convincing. No one would deny that the tonic 6 returns in m. 79, but when the bass tone E returns at m. 94, it no longer supports a simple tonic triad. Instead, we find an E13 identical to the one in m. 26. Dissonances of this sort do not normally appear at the start of a span; still

40Barraqu6, Debussy, 88; translated in Austin, ed., Prelude, 164; Howat,

Debussy in Proportion, 149. 41Dille's view is summarized by Austin in "Toward an Analytical Ap-

preciation," 74; Berman, "Debussy's Summer Rites," 231.

the octave descent is transformed chromatically: Db-Cb,- Bb -Ab-Gb-Fb -Elb-C-Db. Notice how the augmented- sixth chord resolves traditionally: D moves down by step in the bass, while the tritone Ft-C in the upper voice resolves inwards to F and Db (horns 2 and 4, violin 2). As shown in Example 6c, the supporting progression, with its mixed sub- dominant, flat submediant, and augmented-sixth sonorities, foreshadows the chromatic excursions found in Debussy's later works, such as the piece "Reflets dans l'eau" (Images, Book I, 1904-5). Here the upper line moves from I via ,I and t 3i to v and }.

We now come to the final sections of the Prelude. As mentioned earlier, experts disagree about the formal function of mm. 79-106. Some, such as Barraque and Howat, argue that these measures are built from two distinct spans: mm. 79-93 develop the flute theme sequentially on E and Eb; mm. 94-106 restore the main theme to Ct for the start of the final section proper.40 Conversely, Denis Dille, Laurence Berman, and others suggest that these bars constitute a single span analogous to that of the opening A section.41

Which reading should we prefer? Certainly, there are good reasons for dividing mm. 79-106 into two spans. Although the flute theme is transposed to E in m. 79, it is not restored to the original starting pitch CO until m. 94. Furthermore, the scherzando character of the flute theme (mm. 79-93) recalls the whole-tone variations (mm. 30-37). Tonally, however, this reading is less convincing. No one would deny that the tonic 6 returns in m. 79, but when the bass tone E returns at m. 94, it no longer supports a simple tonic triad. Instead, we find an E13 identical to the one in m. 26. Dissonances of this sort do not normally appear at the start of a span; still

40Barraqu6, Debussy, 88; translated in Austin, ed., Prelude, 164; Howat,

Debussy in Proportion, 149. 41Dille's view is summarized by Austin in "Toward an Analytical Ap-

preciation," 74; Berman, "Debussy's Summer Rites," 231.

the octave descent is transformed chromatically: Db-Cb,- Bb -Ab-Gb-Fb -Elb-C-Db. Notice how the augmented- sixth chord resolves traditionally: D moves down by step in the bass, while the tritone Ft-C in the upper voice resolves inwards to F and Db (horns 2 and 4, violin 2). As shown in Example 6c, the supporting progression, with its mixed sub- dominant, flat submediant, and augmented-sixth sonorities, foreshadows the chromatic excursions found in Debussy's later works, such as the piece "Reflets dans l'eau" (Images, Book I, 1904-5). Here the upper line moves from I via ,I and t 3i to v and }.

We now come to the final sections of the Prelude. As mentioned earlier, experts disagree about the formal function of mm. 79-106. Some, such as Barraque and Howat, argue that these measures are built from two distinct spans: mm. 79-93 develop the flute theme sequentially on E and Eb; mm. 94-106 restore the main theme to Ct for the start of the final section proper.40 Conversely, Denis Dille, Laurence Berman, and others suggest that these bars constitute a single span analogous to that of the opening A section.41

Which reading should we prefer? Certainly, there are good reasons for dividing mm. 79-106 into two spans. Although the flute theme is transposed to E in m. 79, it is not restored to the original starting pitch CO until m. 94. Furthermore, the scherzando character of the flute theme (mm. 79-93) recalls the whole-tone variations (mm. 30-37). Tonally, however, this reading is less convincing. No one would deny that the tonic 6 returns in m. 79, but when the bass tone E returns at m. 94, it no longer supports a simple tonic triad. Instead, we find an E13 identical to the one in m. 26. Dissonances of this sort do not normally appear at the start of a span; still

40Barraqu6, Debussy, 88; translated in Austin, ed., Prelude, 164; Howat,

Debussy in Proportion, 149. 41Dille's view is summarized by Austin in "Toward an Analytical Ap-

preciation," 74; Berman, "Debussy's Summer Rites," 231.

the octave descent is transformed chromatically: Db-Cb,- Bb -Ab-Gb-Fb -Elb-C-Db. Notice how the augmented- sixth chord resolves traditionally: D moves down by step in the bass, while the tritone Ft-C in the upper voice resolves inwards to F and Db (horns 2 and 4, violin 2). As shown in Example 6c, the supporting progression, with its mixed sub- dominant, flat submediant, and augmented-sixth sonorities, foreshadows the chromatic excursions found in Debussy's later works, such as the piece "Reflets dans l'eau" (Images, Book I, 1904-5). Here the upper line moves from I via ,I and t 3i to v and }.

We now come to the final sections of the Prelude. As mentioned earlier, experts disagree about the formal function of mm. 79-106. Some, such as Barraque and Howat, argue that these measures are built from two distinct spans: mm. 79-93 develop the flute theme sequentially on E and Eb; mm. 94-106 restore the main theme to Ct for the start of the final section proper.40 Conversely, Denis Dille, Laurence Berman, and others suggest that these bars constitute a single span analogous to that of the opening A section.41

Which reading should we prefer? Certainly, there are good reasons for dividing mm. 79-106 into two spans. Although the flute theme is transposed to E in m. 79, it is not restored to the original starting pitch CO until m. 94. Furthermore, the scherzando character of the flute theme (mm. 79-93) recalls the whole-tone variations (mm. 30-37). Tonally, however, this reading is less convincing. No one would deny that the tonic 6 returns in m. 79, but when the bass tone E returns at m. 94, it no longer supports a simple tonic triad. Instead, we find an E13 identical to the one in m. 26. Dissonances of this sort do not normally appear at the start of a span; still

40Barraqu6, Debussy, 88; translated in Austin, ed., Prelude, 164; Howat,

Debussy in Proportion, 149. 41Dille's view is summarized by Austin in "Toward an Analytical Ap-

preciation," 74; Berman, "Debussy's Summer Rites," 231.

the octave descent is transformed chromatically: Db-Cb,- Bb -Ab-Gb-Fb -Elb-C-Db. Notice how the augmented- sixth chord resolves traditionally: D moves down by step in the bass, while the tritone Ft-C in the upper voice resolves inwards to F and Db (horns 2 and 4, violin 2). As shown in Example 6c, the supporting progression, with its mixed sub- dominant, flat submediant, and augmented-sixth sonorities, foreshadows the chromatic excursions found in Debussy's later works, such as the piece "Reflets dans l'eau" (Images, Book I, 1904-5). Here the upper line moves from I via ,I and t 3i to v and }.

We now come to the final sections of the Prelude. As mentioned earlier, experts disagree about the formal function of mm. 79-106. Some, such as Barraque and Howat, argue that these measures are built from two distinct spans: mm. 79-93 develop the flute theme sequentially on E and Eb; mm. 94-106 restore the main theme to Ct for the start of the final section proper.40 Conversely, Denis Dille, Laurence Berman, and others suggest that these bars constitute a single span analogous to that of the opening A section.41

Which reading should we prefer? Certainly, there are good reasons for dividing mm. 79-106 into two spans. Although the flute theme is transposed to E in m. 79, it is not restored to the original starting pitch CO until m. 94. Furthermore, the scherzando character of the flute theme (mm. 79-93) recalls the whole-tone variations (mm. 30-37). Tonally, however, this reading is less convincing. No one would deny that the tonic 6 returns in m. 79, but when the bass tone E returns at m. 94, it no longer supports a simple tonic triad. Instead, we find an E13 identical to the one in m. 26. Dissonances of this sort do not normally appear at the start of a span; still

40Barraqu6, Debussy, 88; translated in Austin, ed., Prelude, 164; Howat,

Debussy in Proportion, 149. 41Dille's view is summarized by Austin in "Toward an Analytical Ap-

preciation," 74; Berman, "Debussy's Summer Rites," 231.

the octave descent is transformed chromatically: Db-Cb,- Bb -Ab-Gb-Fb -Elb-C-Db. Notice how the augmented- sixth chord resolves traditionally: D moves down by step in the bass, while the tritone Ft-C in the upper voice resolves inwards to F and Db (horns 2 and 4, violin 2). As shown in Example 6c, the supporting progression, with its mixed sub- dominant, flat submediant, and augmented-sixth sonorities, foreshadows the chromatic excursions found in Debussy's later works, such as the piece "Reflets dans l'eau" (Images, Book I, 1904-5). Here the upper line moves from I via ,I and t 3i to v and }.

We now come to the final sections of the Prelude. As mentioned earlier, experts disagree about the formal function of mm. 79-106. Some, such as Barraque and Howat, argue that these measures are built from two distinct spans: mm. 79-93 develop the flute theme sequentially on E and Eb; mm. 94-106 restore the main theme to Ct for the start of the final section proper.40 Conversely, Denis Dille, Laurence Berman, and others suggest that these bars constitute a single span analogous to that of the opening A section.41

Which reading should we prefer? Certainly, there are good reasons for dividing mm. 79-106 into two spans. Although the flute theme is transposed to E in m. 79, it is not restored to the original starting pitch CO until m. 94. Furthermore, the scherzando character of the flute theme (mm. 79-93) recalls the whole-tone variations (mm. 30-37). Tonally, however, this reading is less convincing. No one would deny that the tonic 6 returns in m. 79, but when the bass tone E returns at m. 94, it no longer supports a simple tonic triad. Instead, we find an E13 identical to the one in m. 26. Dissonances of this sort do not normally appear at the start of a span; still

40Barraqu6, Debussy, 88; translated in Austin, ed., Prelude, 164; Howat,

Debussy in Proportion, 149. 41Dille's view is summarized by Austin in "Toward an Analytical Ap-

preciation," 74; Berman, "Debussy's Summer Rites," 231.

the octave descent is transformed chromatically: Db-Cb,- Bb -Ab-Gb-Fb -Elb-C-Db. Notice how the augmented- sixth chord resolves traditionally: D moves down by step in the bass, while the tritone Ft-C in the upper voice resolves inwards to F and Db (horns 2 and 4, violin 2). As shown in Example 6c, the supporting progression, with its mixed sub- dominant, flat submediant, and augmented-sixth sonorities, foreshadows the chromatic excursions found in Debussy's later works, such as the piece "Reflets dans l'eau" (Images, Book I, 1904-5). Here the upper line moves from I via ,I and t 3i to v and }.

We now come to the final sections of the Prelude. As mentioned earlier, experts disagree about the formal function of mm. 79-106. Some, such as Barraque and Howat, argue that these measures are built from two distinct spans: mm. 79-93 develop the flute theme sequentially on E and Eb; mm. 94-106 restore the main theme to Ct for the start of the final section proper.40 Conversely, Denis Dille, Laurence Berman, and others suggest that these bars constitute a single span analogous to that of the opening A section.41

Which reading should we prefer? Certainly, there are good reasons for dividing mm. 79-106 into two spans. Although the flute theme is transposed to E in m. 79, it is not restored to the original starting pitch CO until m. 94. Furthermore, the scherzando character of the flute theme (mm. 79-93) recalls the whole-tone variations (mm. 30-37). Tonally, however, this reading is less convincing. No one would deny that the tonic 6 returns in m. 79, but when the bass tone E returns at m. 94, it no longer supports a simple tonic triad. Instead, we find an E13 identical to the one in m. 26. Dissonances of this sort do not normally appear at the start of a span; still

40Barraqu6, Debussy, 88; translated in Austin, ed., Prelude, 164; Howat,

Debussy in Proportion, 149. 41Dille's view is summarized by Austin in "Toward an Analytical Ap-

preciation," 74; Berman, "Debussy's Summer Rites," 231.

the octave descent is transformed chromatically: Db-Cb,- Bb -Ab-Gb-Fb -Elb-C-Db. Notice how the augmented- sixth chord resolves traditionally: D moves down by step in the bass, while the tritone Ft-C in the upper voice resolves inwards to F and Db (horns 2 and 4, violin 2). As shown in Example 6c, the supporting progression, with its mixed sub- dominant, flat submediant, and augmented-sixth sonorities, foreshadows the chromatic excursions found in Debussy's later works, such as the piece "Reflets dans l'eau" (Images, Book I, 1904-5). Here the upper line moves from I via ,I and t 3i to v and }.

We now come to the final sections of the Prelude. As mentioned earlier, experts disagree about the formal function of mm. 79-106. Some, such as Barraque and Howat, argue that these measures are built from two distinct spans: mm. 79-93 develop the flute theme sequentially on E and Eb; mm. 94-106 restore the main theme to Ct for the start of the final section proper.40 Conversely, Denis Dille, Laurence Berman, and others suggest that these bars constitute a single span analogous to that of the opening A section.41

Which reading should we prefer? Certainly, there are good reasons for dividing mm. 79-106 into two spans. Although the flute theme is transposed to E in m. 79, it is not restored to the original starting pitch CO until m. 94. Furthermore, the scherzando character of the flute theme (mm. 79-93) recalls the whole-tone variations (mm. 30-37). Tonally, however, this reading is less convincing. No one would deny that the tonic 6 returns in m. 79, but when the bass tone E returns at m. 94, it no longer supports a simple tonic triad. Instead, we find an E13 identical to the one in m. 26. Dissonances of this sort do not normally appear at the start of a span; still

40Barraqu6, Debussy, 88; translated in Austin, ed., Prelude, 164; Howat,

Debussy in Proportion, 149. 41Dille's view is summarized by Austin in "Toward an Analytical Ap-

preciation," 74; Berman, "Debussy's Summer Rites," 231.

the octave descent is transformed chromatically: Db-Cb,- Bb -Ab-Gb-Fb -Elb-C-Db. Notice how the augmented- sixth chord resolves traditionally: D moves down by step in the bass, while the tritone Ft-C in the upper voice resolves inwards to F and Db (horns 2 and 4, violin 2). As shown in Example 6c, the supporting progression, with its mixed sub- dominant, flat submediant, and augmented-sixth sonorities, foreshadows the chromatic excursions found in Debussy's later works, such as the piece "Reflets dans l'eau" (Images, Book I, 1904-5). Here the upper line moves from I via ,I and t 3i to v and }.

We now come to the final sections of the Prelude. As mentioned earlier, experts disagree about the formal function of mm. 79-106. Some, such as Barraque and Howat, argue that these measures are built from two distinct spans: mm. 79-93 develop the flute theme sequentially on E and Eb; mm. 94-106 restore the main theme to Ct for the start of the final section proper.40 Conversely, Denis Dille, Laurence Berman, and others suggest that these bars constitute a single span analogous to that of the opening A section.41

Which reading should we prefer? Certainly, there are good reasons for dividing mm. 79-106 into two spans. Although the flute theme is transposed to E in m. 79, it is not restored to the original starting pitch CO until m. 94. Furthermore, the scherzando character of the flute theme (mm. 79-93) recalls the whole-tone variations (mm. 30-37). Tonally, however, this reading is less convincing. No one would deny that the tonic 6 returns in m. 79, but when the bass tone E returns at m. 94, it no longer supports a simple tonic triad. Instead, we find an E13 identical to the one in m. 26. Dissonances of this sort do not normally appear at the start of a span; still

40Barraqu6, Debussy, 88; translated in Austin, ed., Prelude, 164; Howat,

Debussy in Proportion, 149. 41Dille's view is summarized by Austin in "Toward an Analytical Ap-

preciation," 74; Berman, "Debussy's Summer Rites," 231.

less do they initiate the final section of a piece. How, then, can we explain their presence in m. 94?

Example 7a suggests that these dissonances arise from con- trapuntal lines that start in m. 79. The inner parts F, in m. 94 are part of a long chain of chromatic parallel thirds that passes from G# (m. 79) via EC (m. 83), G (m. 86), and D (m. 90) to F (m. 94). This line then descends to E (m. 96) before

shifting direction to join the upper line in m. 104. The so- prano C# in m. 94, meanwhile, arises as an expansion of the chromatic motive B-B -C that is projected from m. 79. The CO, which is even locally tonicized beginning in m. 96, even- tually slides down through Ct and Bb to meet the inner thirds at m. 104.

Besides demonstrating the overall integrity of mm. 79- 106, Example 7b also indicates that the final section is built from the same tonal transformations as mm. 20-30. In mm. 20-30, the upper line also expands the motive B-Bt-C# while the inner parts contain a chain of chromatic thirds ex- tending from G (m. 20) via B (m. 22), A (m. 23), Gd (m. 25), G (m. 25) to F (m. 26). As with mm. 79-106, these thirds finally shift up to meet the upper line for the cadence. As Leonard B. Meyer has noted, the cadences in mm. 29-30 and 103-6 are connected motivically; both contain the same motives, marked x and y in Example 7c.42 The significance of this reading is twofold. It suggests that the final A' section is not a simple repetition of the opening section, but is an ingenious composing-out of a small segment, mm. 20-30. Furthermore, since this passage conflates the main flute theme with the syncopated and flowing motives and inflects CO as a local tonic, it provides a subtle reminiscence of the B section. This allusion to the B section unifies the Prelude and demonstrates the complex, long-range connections that invariably bind Debussy's music together. Tonally, then, mm.

less do they initiate the final section of a piece. How, then, can we explain their presence in m. 94?

Example 7a suggests that these dissonances arise from con- trapuntal lines that start in m. 79. The inner parts F, in m. 94 are part of a long chain of chromatic parallel thirds that passes from G# (m. 79) via EC (m. 83), G (m. 86), and D (m. 90) to F (m. 94). This line then descends to E (m. 96) before

shifting direction to join the upper line in m. 104. The so- prano C# in m. 94, meanwhile, arises as an expansion of the chromatic motive B-B -C that is projected from m. 79. The CO, which is even locally tonicized beginning in m. 96, even- tually slides down through Ct and Bb to meet the inner thirds at m. 104.

Besides demonstrating the overall integrity of mm. 79- 106, Example 7b also indicates that the final section is built from the same tonal transformations as mm. 20-30. In mm. 20-30, the upper line also expands the motive B-Bt-C# while the inner parts contain a chain of chromatic thirds ex- tending from G (m. 20) via B (m. 22), A (m. 23), Gd (m. 25), G (m. 25) to F (m. 26). As with mm. 79-106, these thirds finally shift up to meet the upper line for the cadence. As Leonard B. Meyer has noted, the cadences in mm. 29-30 and 103-6 are connected motivically; both contain the same motives, marked x and y in Example 7c.42 The significance of this reading is twofold. It suggests that the final A' section is not a simple repetition of the opening section, but is an ingenious composing-out of a small segment, mm. 20-30. Furthermore, since this passage conflates the main flute theme with the syncopated and flowing motives and inflects CO as a local tonic, it provides a subtle reminiscence of the B section. This allusion to the B section unifies the Prelude and demonstrates the complex, long-range connections that invariably bind Debussy's music together. Tonally, then, mm.

less do they initiate the final section of a piece. How, then, can we explain their presence in m. 94?

Example 7a suggests that these dissonances arise from con- trapuntal lines that start in m. 79. The inner parts F, in m. 94 are part of a long chain of chromatic parallel thirds that passes from G# (m. 79) via EC (m. 83), G (m. 86), and D (m. 90) to F (m. 94). This line then descends to E (m. 96) before

shifting direction to join the upper line in m. 104. The so- prano C# in m. 94, meanwhile, arises as an expansion of the chromatic motive B-B -C that is projected from m. 79. The CO, which is even locally tonicized beginning in m. 96, even- tually slides down through Ct and Bb to meet the inner thirds at m. 104.

Besides demonstrating the overall integrity of mm. 79- 106, Example 7b also indicates that the final section is built from the same tonal transformations as mm. 20-30. In mm. 20-30, the upper line also expands the motive B-Bt-C# while the inner parts contain a chain of chromatic thirds ex- tending from G (m. 20) via B (m. 22), A (m. 23), Gd (m. 25), G (m. 25) to F (m. 26). As with mm. 79-106, these thirds finally shift up to meet the upper line for the cadence. As Leonard B. Meyer has noted, the cadences in mm. 29-30 and 103-6 are connected motivically; both contain the same motives, marked x and y in Example 7c.42 The significance of this reading is twofold. It suggests that the final A' section is not a simple repetition of the opening section, but is an ingenious composing-out of a small segment, mm. 20-30. Furthermore, since this passage conflates the main flute theme with the syncopated and flowing motives and inflects CO as a local tonic, it provides a subtle reminiscence of the B section. This allusion to the B section unifies the Prelude and demonstrates the complex, long-range connections that invariably bind Debussy's music together. Tonally, then, mm.

less do they initiate the final section of a piece. How, then, can we explain their presence in m. 94?

Example 7a suggests that these dissonances arise from con- trapuntal lines that start in m. 79. The inner parts F, in m. 94 are part of a long chain of chromatic parallel thirds that passes from G# (m. 79) via EC (m. 83), G (m. 86), and D (m. 90) to F (m. 94). This line then descends to E (m. 96) before

shifting direction to join the upper line in m. 104. The so- prano C# in m. 94, meanwhile, arises as an expansion of the chromatic motive B-B -C that is projected from m. 79. The CO, which is even locally tonicized beginning in m. 96, even- tually slides down through Ct and Bb to meet the inner thirds at m. 104.

Besides demonstrating the overall integrity of mm. 79- 106, Example 7b also indicates that the final section is built from the same tonal transformations as mm. 20-30. In mm. 20-30, the upper line also expands the motive B-Bt-C# while the inner parts contain a chain of chromatic thirds ex- tending from G (m. 20) via B (m. 22), A (m. 23), Gd (m. 25), G (m. 25) to F (m. 26). As with mm. 79-106, these thirds finally shift up to meet the upper line for the cadence. As Leonard B. Meyer has noted, the cadences in mm. 29-30 and 103-6 are connected motivically; both contain the same motives, marked x and y in Example 7c.42 The significance of this reading is twofold. It suggests that the final A' section is not a simple repetition of the opening section, but is an ingenious composing-out of a small segment, mm. 20-30. Furthermore, since this passage conflates the main flute theme with the syncopated and flowing motives and inflects CO as a local tonic, it provides a subtle reminiscence of the B section. This allusion to the B section unifies the Prelude and demonstrates the complex, long-range connections that invariably bind Debussy's music together. Tonally, then, mm.

less do they initiate the final section of a piece. How, then, can we explain their presence in m. 94?

Example 7a suggests that these dissonances arise from con- trapuntal lines that start in m. 79. The inner parts F, in m. 94 are part of a long chain of chromatic parallel thirds that passes from G# (m. 79) via EC (m. 83), G (m. 86), and D (m. 90) to F (m. 94). This line then descends to E (m. 96) before

shifting direction to join the upper line in m. 104. The so- prano C# in m. 94, meanwhile, arises as an expansion of the chromatic motive B-B -C that is projected from m. 79. The CO, which is even locally tonicized beginning in m. 96, even- tually slides down through Ct and Bb to meet the inner thirds at m. 104.

Besides demonstrating the overall integrity of mm. 79- 106, Example 7b also indicates that the final section is built from the same tonal transformations as mm. 20-30. In mm. 20-30, the upper line also expands the motive B-Bt-C# while the inner parts contain a chain of chromatic thirds ex- tending from G (m. 20) via B (m. 22), A (m. 23), Gd (m. 25), G (m. 25) to F (m. 26). As with mm. 79-106, these thirds finally shift up to meet the upper line for the cadence. As Leonard B. Meyer has noted, the cadences in mm. 29-30 and 103-6 are connected motivically; both contain the same motives, marked x and y in Example 7c.42 The significance of this reading is twofold. It suggests that the final A' section is not a simple repetition of the opening section, but is an ingenious composing-out of a small segment, mm. 20-30. Furthermore, since this passage conflates the main flute theme with the syncopated and flowing motives and inflects CO as a local tonic, it provides a subtle reminiscence of the B section. This allusion to the B section unifies the Prelude and demonstrates the complex, long-range connections that invariably bind Debussy's music together. Tonally, then, mm.

less do they initiate the final section of a piece. How, then, can we explain their presence in m. 94?

Example 7a suggests that these dissonances arise from con- trapuntal lines that start in m. 79. The inner parts F, in m. 94 are part of a long chain of chromatic parallel thirds that passes from G# (m. 79) via EC (m. 83), G (m. 86), and D (m. 90) to F (m. 94). This line then descends to E (m. 96) before

shifting direction to join the upper line in m. 104. The so- prano C# in m. 94, meanwhile, arises as an expansion of the chromatic motive B-B -C that is projected from m. 79. The CO, which is even locally tonicized beginning in m. 96, even- tually slides down through Ct and Bb to meet the inner thirds at m. 104.

Besides demonstrating the overall integrity of mm. 79- 106, Example 7b also indicates that the final section is built from the same tonal transformations as mm. 20-30. In mm. 20-30, the upper line also expands the motive B-Bt-C# while the inner parts contain a chain of chromatic thirds ex- tending from G (m. 20) via B (m. 22), A (m. 23), Gd (m. 25), G (m. 25) to F (m. 26). As with mm. 79-106, these thirds finally shift up to meet the upper line for the cadence. As Leonard B. Meyer has noted, the cadences in mm. 29-30 and 103-6 are connected motivically; both contain the same motives, marked x and y in Example 7c.42 The significance of this reading is twofold. It suggests that the final A' section is not a simple repetition of the opening section, but is an ingenious composing-out of a small segment, mm. 20-30. Furthermore, since this passage conflates the main flute theme with the syncopated and flowing motives and inflects CO as a local tonic, it provides a subtle reminiscence of the B section. This allusion to the B section unifies the Prelude and demonstrates the complex, long-range connections that invariably bind Debussy's music together. Tonally, then, mm.

less do they initiate the final section of a piece. How, then, can we explain their presence in m. 94?

Example 7a suggests that these dissonances arise from con- trapuntal lines that start in m. 79. The inner parts F, in m. 94 are part of a long chain of chromatic parallel thirds that passes from G# (m. 79) via EC (m. 83), G (m. 86), and D (m. 90) to F (m. 94). This line then descends to E (m. 96) before

shifting direction to join the upper line in m. 104. The so- prano C# in m. 94, meanwhile, arises as an expansion of the chromatic motive B-B -C that is projected from m. 79. The CO, which is even locally tonicized beginning in m. 96, even- tually slides down through Ct and Bb to meet the inner thirds at m. 104.

Besides demonstrating the overall integrity of mm. 79- 106, Example 7b also indicates that the final section is built from the same tonal transformations as mm. 20-30. In mm. 20-30, the upper line also expands the motive B-Bt-C# while the inner parts contain a chain of chromatic thirds ex- tending from G (m. 20) via B (m. 22), A (m. 23), Gd (m. 25), G (m. 25) to F (m. 26). As with mm. 79-106, these thirds finally shift up to meet the upper line for the cadence. As Leonard B. Meyer has noted, the cadences in mm. 29-30 and 103-6 are connected motivically; both contain the same motives, marked x and y in Example 7c.42 The significance of this reading is twofold. It suggests that the final A' section is not a simple repetition of the opening section, but is an ingenious composing-out of a small segment, mm. 20-30. Furthermore, since this passage conflates the main flute theme with the syncopated and flowing motives and inflects CO as a local tonic, it provides a subtle reminiscence of the B section. This allusion to the B section unifies the Prelude and demonstrates the complex, long-range connections that invariably bind Debussy's music together. Tonally, then, mm.

less do they initiate the final section of a piece. How, then, can we explain their presence in m. 94?

Example 7a suggests that these dissonances arise from con- trapuntal lines that start in m. 79. The inner parts F, in m. 94 are part of a long chain of chromatic parallel thirds that passes from G# (m. 79) via EC (m. 83), G (m. 86), and D (m. 90) to F (m. 94). This line then descends to E (m. 96) before

shifting direction to join the upper line in m. 104. The so- prano C# in m. 94, meanwhile, arises as an expansion of the chromatic motive B-B -C that is projected from m. 79. The CO, which is even locally tonicized beginning in m. 96, even- tually slides down through Ct and Bb to meet the inner thirds at m. 104.

Besides demonstrating the overall integrity of mm. 79- 106, Example 7b also indicates that the final section is built from the same tonal transformations as mm. 20-30. In mm. 20-30, the upper line also expands the motive B-Bt-C# while the inner parts contain a chain of chromatic thirds ex- tending from G (m. 20) via B (m. 22), A (m. 23), Gd (m. 25), G (m. 25) to F (m. 26). As with mm. 79-106, these thirds finally shift up to meet the upper line for the cadence. As Leonard B. Meyer has noted, the cadences in mm. 29-30 and 103-6 are connected motivically; both contain the same motives, marked x and y in Example 7c.42 The significance of this reading is twofold. It suggests that the final A' section is not a simple repetition of the opening section, but is an ingenious composing-out of a small segment, mm. 20-30. Furthermore, since this passage conflates the main flute theme with the syncopated and flowing motives and inflects CO as a local tonic, it provides a subtle reminiscence of the B section. This allusion to the B section unifies the Prelude and demonstrates the complex, long-range connections that invariably bind Debussy's music together. Tonally, then, mm.

less do they initiate the final section of a piece. How, then, can we explain their presence in m. 94?

Example 7a suggests that these dissonances arise from con- trapuntal lines that start in m. 79. The inner parts F, in m. 94 are part of a long chain of chromatic parallel thirds that passes from G# (m. 79) via EC (m. 83), G (m. 86), and D (m. 90) to F (m. 94). This line then descends to E (m. 96) before

shifting direction to join the upper line in m. 104. The so- prano C# in m. 94, meanwhile, arises as an expansion of the chromatic motive B-B -C that is projected from m. 79. The CO, which is even locally tonicized beginning in m. 96, even- tually slides down through Ct and Bb to meet the inner thirds at m. 104.

Besides demonstrating the overall integrity of mm. 79- 106, Example 7b also indicates that the final section is built from the same tonal transformations as mm. 20-30. In mm. 20-30, the upper line also expands the motive B-Bt-C# while the inner parts contain a chain of chromatic thirds ex- tending from G (m. 20) via B (m. 22), A (m. 23), Gd (m. 25), G (m. 25) to F (m. 26). As with mm. 79-106, these thirds finally shift up to meet the upper line for the cadence. As Leonard B. Meyer has noted, the cadences in mm. 29-30 and 103-6 are connected motivically; both contain the same motives, marked x and y in Example 7c.42 The significance of this reading is twofold. It suggests that the final A' section is not a simple repetition of the opening section, but is an ingenious composing-out of a small segment, mm. 20-30. Furthermore, since this passage conflates the main flute theme with the syncopated and flowing motives and inflects CO as a local tonic, it provides a subtle reminiscence of the B section. This allusion to the B section unifies the Prelude and demonstrates the complex, long-range connections that invariably bind Debussy's music together. Tonally, then, mm.

less do they initiate the final section of a piece. How, then, can we explain their presence in m. 94?

Example 7a suggests that these dissonances arise from con- trapuntal lines that start in m. 79. The inner parts F, in m. 94 are part of a long chain of chromatic parallel thirds that passes from G# (m. 79) via EC (m. 83), G (m. 86), and D (m. 90) to F (m. 94). This line then descends to E (m. 96) before

shifting direction to join the upper line in m. 104. The so- prano C# in m. 94, meanwhile, arises as an expansion of the chromatic motive B-B -C that is projected from m. 79. The CO, which is even locally tonicized beginning in m. 96, even- tually slides down through Ct and Bb to meet the inner thirds at m. 104.

Besides demonstrating the overall integrity of mm. 79- 106, Example 7b also indicates that the final section is built from the same tonal transformations as mm. 20-30. In mm. 20-30, the upper line also expands the motive B-Bt-C# while the inner parts contain a chain of chromatic thirds ex- tending from G (m. 20) via B (m. 22), A (m. 23), Gd (m. 25), G (m. 25) to F (m. 26). As with mm. 79-106, these thirds finally shift up to meet the upper line for the cadence. As Leonard B. Meyer has noted, the cadences in mm. 29-30 and 103-6 are connected motivically; both contain the same motives, marked x and y in Example 7c.42 The significance of this reading is twofold. It suggests that the final A' section is not a simple repetition of the opening section, but is an ingenious composing-out of a small segment, mm. 20-30. Furthermore, since this passage conflates the main flute theme with the syncopated and flowing motives and inflects CO as a local tonic, it provides a subtle reminiscence of the B section. This allusion to the B section unifies the Prelude and demonstrates the complex, long-range connections that invariably bind Debussy's music together. Tonally, then, mm.

less do they initiate the final section of a piece. How, then, can we explain their presence in m. 94?

Example 7a suggests that these dissonances arise from con- trapuntal lines that start in m. 79. The inner parts F, in m. 94 are part of a long chain of chromatic parallel thirds that passes from G# (m. 79) via EC (m. 83), G (m. 86), and D (m. 90) to F (m. 94). This line then descends to E (m. 96) before

shifting direction to join the upper line in m. 104. The so- prano C# in m. 94, meanwhile, arises as an expansion of the chromatic motive B-B -C that is projected from m. 79. The CO, which is even locally tonicized beginning in m. 96, even- tually slides down through Ct and Bb to meet the inner thirds at m. 104.

Besides demonstrating the overall integrity of mm. 79- 106, Example 7b also indicates that the final section is built from the same tonal transformations as mm. 20-30. In mm. 20-30, the upper line also expands the motive B-Bt-C# while the inner parts contain a chain of chromatic thirds ex- tending from G (m. 20) via B (m. 22), A (m. 23), Gd (m. 25), G (m. 25) to F (m. 26). As with mm. 79-106, these thirds finally shift up to meet the upper line for the cadence. As Leonard B. Meyer has noted, the cadences in mm. 29-30 and 103-6 are connected motivically; both contain the same motives, marked x and y in Example 7c.42 The significance of this reading is twofold. It suggests that the final A' section is not a simple repetition of the opening section, but is an ingenious composing-out of a small segment, mm. 20-30. Furthermore, since this passage conflates the main flute theme with the syncopated and flowing motives and inflects CO as a local tonic, it provides a subtle reminiscence of the B section. This allusion to the B section unifies the Prelude and demonstrates the complex, long-range connections that invariably bind Debussy's music together. Tonally, then, mm.

42Meyer, Style and Music, 223-25. 42Meyer, Style and Music, 223-25. 42Meyer, Style and Music, 223-25. 42Meyer, Style and Music, 223-25. 42Meyer, Style and Music, 223-25. 42Meyer, Style and Music, 223-25. 42Meyer, Style and Music, 223-25. 42Meyer, Style and Music, 223-25. 42Meyer, Style and Music, 223-25. 42Meyer, Style and Music, 223-25. 42Meyer, Style and Music, 223-25.

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 141 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 141 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 141 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 141 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 141 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 141 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 141 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 141 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 141 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 141 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 141

Example 7. Tonal models in the Prelude Example 7. Tonal models in the Prelude Example 7. Tonal models in the Prelude Example 7. Tonal models in the Prelude Example 7. Tonal models in the Prelude Example 7. Tonal models in the Prelude Example 7. Tonal models in the Prelude Example 7. Tonal models in the Prelude Example 7. Tonal models in the Prelude Example 7. Tonal models in the Prelude Example 7. Tonal models in the Prelude

4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1

A. I I F A. I I F A. I I F A. I I F A. I I F A. I I F A. I I F A. I I F A. I I F A. I I F A. I I F I I I Nb I I I Nb I I I Nb I I I Nb I I I Nb I I I Nb I I I Nb I I I Nb I I I Nb I I I Nb I I I Nb k I I I k I I I k I I I k I I I k I I I k I I I k I I I k I I I k I I I k I I I k I I I

I A L .-.--\

----- IE ,V,1 -

4, - ~ - d- ;ttIa-

,c xt YI,... 1

_ __3 3 3 I

6I~ -' V6 -- V-6 !2 V- 3

1? H.2 I<h I2 I

I A L .-.--\

----- IE ,V,1 -

4, - ~ - d- ;ttIa-

,c xt YI,... 1

_ __3 3 3 I

6I~ -' V6 -- V-6 !2 V- 3

1? H.2 I<h I2 I

I A L .-.--\

----- IE ,V,1 -

4, - ~ - d- ;ttIa-

,c xt YI,... 1

_ __3 3 3 I

6I~ -' V6 -- V-6 !2 V- 3

1? H.2 I<h I2 I

I A L .-.--\

----- IE ,V,1 -

4, - ~ - d- ;ttIa-

,c xt YI,... 1

_ __3 3 3 I

6I~ -' V6 -- V-6 !2 V- 3

1? H.2 I<h I2 I

I A L .-.--\

----- IE ,V,1 -

4, - ~ - d- ;ttIa-

,c xt YI,... 1

_ __3 3 3 I

6I~ -' V6 -- V-6 !2 V- 3

1? H.2 I<h I2 I

I A L .-.--\

----- IE ,V,1 -

4, - ~ - d- ;ttIa-

,c xt YI,... 1

_ __3 3 3 I

6I~ -' V6 -- V-6 !2 V- 3

1? H.2 I<h I2 I

I A L .-.--\

----- IE ,V,1 -

4, - ~ - d- ;ttIa-

,c xt YI,... 1

_ __3 3 3 I

6I~ -' V6 -- V-6 !2 V- 3

1? H.2 I<h I2 I

I A L .-.--\

----- IE ,V,1 -

4, - ~ - d- ;ttIa-

,c xt YI,... 1

_ __3 3 3 I

6I~ -' V6 -- V-6 !2 V- 3

1? H.2 I<h I2 I

I A L .-.--\

----- IE ,V,1 -

4, - ~ - d- ;ttIa-

,c xt YI,... 1

_ __3 3 3 I

6I~ -' V6 -- V-6 !2 V- 3

1? H.2 I<h I2 I

I A L .-.--\

----- IE ,V,1 -

4, - ~ - d- ;ttIa-

,c xt YI,... 1

_ __3 3 3 I

6I~ -' V6 -- V-6 !2 V- 3

1? H.2 I<h I2 I

I A L .-.--\

----- IE ,V,1 -

4, - ~ - d- ;ttIa-

,c xt YI,... 1

_ __3 3 3 I

6I~ -' V6 -- V-6 !2 V- 3

1? H.2 I<h I2 I

x x x x x x x x x x x

79-106 constitute a single unit, bound together by an elab- orate contrapuntal framework; they do not subdivide con- veniently into two separate tonal spans.

To sum up: When analyzed from a Schenkerian perspec- tive, Debussy's Prelude a "L'Apres-midi d'un faune" is best

regarded as a continuous ternary form-A (mm. 1-30), tran- sition (mm. 37-54), B (mm. 55-78), A' (mm. 79-106), and coda (mm. 106-10). However, this scheme is obscured in four ways: by starting with an incomplete progression VII7 of V-V9-I; by adding a parenthetical whole-tone episode (mm. 30-36); by developing the syncopated and triplet figures across the formal boundaries; and by modeling the final A' section (mm. 79-106) on part of the opening section (mm. 20-30). Although these features are unusual in themselves, especially when judged against the standards of nineteenth- century tonal theory, they do not represent a complete re- pudiation of tonal paradigms. What is so remarkable about the Prelude is that Debussy managed to combine these tech- niques so boldly over such a large span. Perhaps we should view the rather elaborate explanations presented above as signs of Debussy's cultural elitism and his love of the esoteric-concerns that he described in a famous letter to Ernest Chausson (3 September 1893):

Music really ought to have been a hermetical science, enshrined in texts so hard and laborious to decipher as to discourage the herd of people who treat it as casually as they do a handkerchief! I'd go further and, instead of spreading music among the populace, I pro- pose the foundation of a "Society of Musical Esotericism."43

79-106 constitute a single unit, bound together by an elab- orate contrapuntal framework; they do not subdivide con- veniently into two separate tonal spans.

To sum up: When analyzed from a Schenkerian perspec- tive, Debussy's Prelude a "L'Apres-midi d'un faune" is best

regarded as a continuous ternary form-A (mm. 1-30), tran- sition (mm. 37-54), B (mm. 55-78), A' (mm. 79-106), and coda (mm. 106-10). However, this scheme is obscured in four ways: by starting with an incomplete progression VII7 of V-V9-I; by adding a parenthetical whole-tone episode (mm. 30-36); by developing the syncopated and triplet figures across the formal boundaries; and by modeling the final A' section (mm. 79-106) on part of the opening section (mm. 20-30). Although these features are unusual in themselves, especially when judged against the standards of nineteenth- century tonal theory, they do not represent a complete re- pudiation of tonal paradigms. What is so remarkable about the Prelude is that Debussy managed to combine these tech- niques so boldly over such a large span. Perhaps we should view the rather elaborate explanations presented above as signs of Debussy's cultural elitism and his love of the esoteric-concerns that he described in a famous letter to Ernest Chausson (3 September 1893):

Music really ought to have been a hermetical science, enshrined in texts so hard and laborious to decipher as to discourage the herd of people who treat it as casually as they do a handkerchief! I'd go further and, instead of spreading music among the populace, I pro- pose the foundation of a "Society of Musical Esotericism."43

79-106 constitute a single unit, bound together by an elab- orate contrapuntal framework; they do not subdivide con- veniently into two separate tonal spans.

To sum up: When analyzed from a Schenkerian perspec- tive, Debussy's Prelude a "L'Apres-midi d'un faune" is best

regarded as a continuous ternary form-A (mm. 1-30), tran- sition (mm. 37-54), B (mm. 55-78), A' (mm. 79-106), and coda (mm. 106-10). However, this scheme is obscured in four ways: by starting with an incomplete progression VII7 of V-V9-I; by adding a parenthetical whole-tone episode (mm. 30-36); by developing the syncopated and triplet figures across the formal boundaries; and by modeling the final A' section (mm. 79-106) on part of the opening section (mm. 20-30). Although these features are unusual in themselves, especially when judged against the standards of nineteenth- century tonal theory, they do not represent a complete re- pudiation of tonal paradigms. What is so remarkable about the Prelude is that Debussy managed to combine these tech- niques so boldly over such a large span. Perhaps we should view the rather elaborate explanations presented above as signs of Debussy's cultural elitism and his love of the esoteric-concerns that he described in a famous letter to Ernest Chausson (3 September 1893):

Music really ought to have been a hermetical science, enshrined in texts so hard and laborious to decipher as to discourage the herd of people who treat it as casually as they do a handkerchief! I'd go further and, instead of spreading music among the populace, I pro- pose the foundation of a "Society of Musical Esotericism."43

79-106 constitute a single unit, bound together by an elab- orate contrapuntal framework; they do not subdivide con- veniently into two separate tonal spans.

To sum up: When analyzed from a Schenkerian perspec- tive, Debussy's Prelude a "L'Apres-midi d'un faune" is best

regarded as a continuous ternary form-A (mm. 1-30), tran- sition (mm. 37-54), B (mm. 55-78), A' (mm. 79-106), and coda (mm. 106-10). However, this scheme is obscured in four ways: by starting with an incomplete progression VII7 of V-V9-I; by adding a parenthetical whole-tone episode (mm. 30-36); by developing the syncopated and triplet figures across the formal boundaries; and by modeling the final A' section (mm. 79-106) on part of the opening section (mm. 20-30). Although these features are unusual in themselves, especially when judged against the standards of nineteenth- century tonal theory, they do not represent a complete re- pudiation of tonal paradigms. What is so remarkable about the Prelude is that Debussy managed to combine these tech- niques so boldly over such a large span. Perhaps we should view the rather elaborate explanations presented above as signs of Debussy's cultural elitism and his love of the esoteric-concerns that he described in a famous letter to Ernest Chausson (3 September 1893):

Music really ought to have been a hermetical science, enshrined in texts so hard and laborious to decipher as to discourage the herd of people who treat it as casually as they do a handkerchief! I'd go further and, instead of spreading music among the populace, I pro- pose the foundation of a "Society of Musical Esotericism."43

79-106 constitute a single unit, bound together by an elab- orate contrapuntal framework; they do not subdivide con- veniently into two separate tonal spans.

To sum up: When analyzed from a Schenkerian perspec- tive, Debussy's Prelude a "L'Apres-midi d'un faune" is best

regarded as a continuous ternary form-A (mm. 1-30), tran- sition (mm. 37-54), B (mm. 55-78), A' (mm. 79-106), and coda (mm. 106-10). However, this scheme is obscured in four ways: by starting with an incomplete progression VII7 of V-V9-I; by adding a parenthetical whole-tone episode (mm. 30-36); by developing the syncopated and triplet figures across the formal boundaries; and by modeling the final A' section (mm. 79-106) on part of the opening section (mm. 20-30). Although these features are unusual in themselves, especially when judged against the standards of nineteenth- century tonal theory, they do not represent a complete re- pudiation of tonal paradigms. What is so remarkable about the Prelude is that Debussy managed to combine these tech- niques so boldly over such a large span. Perhaps we should view the rather elaborate explanations presented above as signs of Debussy's cultural elitism and his love of the esoteric-concerns that he described in a famous letter to Ernest Chausson (3 September 1893):

Music really ought to have been a hermetical science, enshrined in texts so hard and laborious to decipher as to discourage the herd of people who treat it as casually as they do a handkerchief! I'd go further and, instead of spreading music among the populace, I pro- pose the foundation of a "Society of Musical Esotericism."43

79-106 constitute a single unit, bound together by an elab- orate contrapuntal framework; they do not subdivide con- veniently into two separate tonal spans.

To sum up: When analyzed from a Schenkerian perspec- tive, Debussy's Prelude a "L'Apres-midi d'un faune" is best

regarded as a continuous ternary form-A (mm. 1-30), tran- sition (mm. 37-54), B (mm. 55-78), A' (mm. 79-106), and coda (mm. 106-10). However, this scheme is obscured in four ways: by starting with an incomplete progression VII7 of V-V9-I; by adding a parenthetical whole-tone episode (mm. 30-36); by developing the syncopated and triplet figures across the formal boundaries; and by modeling the final A' section (mm. 79-106) on part of the opening section (mm. 20-30). Although these features are unusual in themselves, especially when judged against the standards of nineteenth- century tonal theory, they do not represent a complete re- pudiation of tonal paradigms. What is so remarkable about the Prelude is that Debussy managed to combine these tech- niques so boldly over such a large span. Perhaps we should view the rather elaborate explanations presented above as signs of Debussy's cultural elitism and his love of the esoteric-concerns that he described in a famous letter to Ernest Chausson (3 September 1893):

Music really ought to have been a hermetical science, enshrined in texts so hard and laborious to decipher as to discourage the herd of people who treat it as casually as they do a handkerchief! I'd go further and, instead of spreading music among the populace, I pro- pose the foundation of a "Society of Musical Esotericism."43

79-106 constitute a single unit, bound together by an elab- orate contrapuntal framework; they do not subdivide con- veniently into two separate tonal spans.

To sum up: When analyzed from a Schenkerian perspec- tive, Debussy's Prelude a "L'Apres-midi d'un faune" is best

regarded as a continuous ternary form-A (mm. 1-30), tran- sition (mm. 37-54), B (mm. 55-78), A' (mm. 79-106), and coda (mm. 106-10). However, this scheme is obscured in four ways: by starting with an incomplete progression VII7 of V-V9-I; by adding a parenthetical whole-tone episode (mm. 30-36); by developing the syncopated and triplet figures across the formal boundaries; and by modeling the final A' section (mm. 79-106) on part of the opening section (mm. 20-30). Although these features are unusual in themselves, especially when judged against the standards of nineteenth- century tonal theory, they do not represent a complete re- pudiation of tonal paradigms. What is so remarkable about the Prelude is that Debussy managed to combine these tech- niques so boldly over such a large span. Perhaps we should view the rather elaborate explanations presented above as signs of Debussy's cultural elitism and his love of the esoteric-concerns that he described in a famous letter to Ernest Chausson (3 September 1893):

Music really ought to have been a hermetical science, enshrined in texts so hard and laborious to decipher as to discourage the herd of people who treat it as casually as they do a handkerchief! I'd go further and, instead of spreading music among the populace, I pro- pose the foundation of a "Society of Musical Esotericism."43

79-106 constitute a single unit, bound together by an elab- orate contrapuntal framework; they do not subdivide con- veniently into two separate tonal spans.

To sum up: When analyzed from a Schenkerian perspec- tive, Debussy's Prelude a "L'Apres-midi d'un faune" is best

regarded as a continuous ternary form-A (mm. 1-30), tran- sition (mm. 37-54), B (mm. 55-78), A' (mm. 79-106), and coda (mm. 106-10). However, this scheme is obscured in four ways: by starting with an incomplete progression VII7 of V-V9-I; by adding a parenthetical whole-tone episode (mm. 30-36); by developing the syncopated and triplet figures across the formal boundaries; and by modeling the final A' section (mm. 79-106) on part of the opening section (mm. 20-30). Although these features are unusual in themselves, especially when judged against the standards of nineteenth- century tonal theory, they do not represent a complete re- pudiation of tonal paradigms. What is so remarkable about the Prelude is that Debussy managed to combine these tech- niques so boldly over such a large span. Perhaps we should view the rather elaborate explanations presented above as signs of Debussy's cultural elitism and his love of the esoteric-concerns that he described in a famous letter to Ernest Chausson (3 September 1893):

Music really ought to have been a hermetical science, enshrined in texts so hard and laborious to decipher as to discourage the herd of people who treat it as casually as they do a handkerchief! I'd go further and, instead of spreading music among the populace, I pro- pose the foundation of a "Society of Musical Esotericism."43

79-106 constitute a single unit, bound together by an elab- orate contrapuntal framework; they do not subdivide con- veniently into two separate tonal spans.

To sum up: When analyzed from a Schenkerian perspec- tive, Debussy's Prelude a "L'Apres-midi d'un faune" is best

regarded as a continuous ternary form-A (mm. 1-30), tran- sition (mm. 37-54), B (mm. 55-78), A' (mm. 79-106), and coda (mm. 106-10). However, this scheme is obscured in four ways: by starting with an incomplete progression VII7 of V-V9-I; by adding a parenthetical whole-tone episode (mm. 30-36); by developing the syncopated and triplet figures across the formal boundaries; and by modeling the final A' section (mm. 79-106) on part of the opening section (mm. 20-30). Although these features are unusual in themselves, especially when judged against the standards of nineteenth- century tonal theory, they do not represent a complete re- pudiation of tonal paradigms. What is so remarkable about the Prelude is that Debussy managed to combine these tech- niques so boldly over such a large span. Perhaps we should view the rather elaborate explanations presented above as signs of Debussy's cultural elitism and his love of the esoteric-concerns that he described in a famous letter to Ernest Chausson (3 September 1893):

Music really ought to have been a hermetical science, enshrined in texts so hard and laborious to decipher as to discourage the herd of people who treat it as casually as they do a handkerchief! I'd go further and, instead of spreading music among the populace, I pro- pose the foundation of a "Society of Musical Esotericism."43

79-106 constitute a single unit, bound together by an elab- orate contrapuntal framework; they do not subdivide con- veniently into two separate tonal spans.

To sum up: When analyzed from a Schenkerian perspec- tive, Debussy's Prelude a "L'Apres-midi d'un faune" is best

regarded as a continuous ternary form-A (mm. 1-30), tran- sition (mm. 37-54), B (mm. 55-78), A' (mm. 79-106), and coda (mm. 106-10). However, this scheme is obscured in four ways: by starting with an incomplete progression VII7 of V-V9-I; by adding a parenthetical whole-tone episode (mm. 30-36); by developing the syncopated and triplet figures across the formal boundaries; and by modeling the final A' section (mm. 79-106) on part of the opening section (mm. 20-30). Although these features are unusual in themselves, especially when judged against the standards of nineteenth- century tonal theory, they do not represent a complete re- pudiation of tonal paradigms. What is so remarkable about the Prelude is that Debussy managed to combine these tech- niques so boldly over such a large span. Perhaps we should view the rather elaborate explanations presented above as signs of Debussy's cultural elitism and his love of the esoteric-concerns that he described in a famous letter to Ernest Chausson (3 September 1893):

Music really ought to have been a hermetical science, enshrined in texts so hard and laborious to decipher as to discourage the herd of people who treat it as casually as they do a handkerchief! I'd go further and, instead of spreading music among the populace, I pro- pose the foundation of a "Society of Musical Esotericism."43

79-106 constitute a single unit, bound together by an elab- orate contrapuntal framework; they do not subdivide con- veniently into two separate tonal spans.

To sum up: When analyzed from a Schenkerian perspec- tive, Debussy's Prelude a "L'Apres-midi d'un faune" is best

regarded as a continuous ternary form-A (mm. 1-30), tran- sition (mm. 37-54), B (mm. 55-78), A' (mm. 79-106), and coda (mm. 106-10). However, this scheme is obscured in four ways: by starting with an incomplete progression VII7 of V-V9-I; by adding a parenthetical whole-tone episode (mm. 30-36); by developing the syncopated and triplet figures across the formal boundaries; and by modeling the final A' section (mm. 79-106) on part of the opening section (mm. 20-30). Although these features are unusual in themselves, especially when judged against the standards of nineteenth- century tonal theory, they do not represent a complete re- pudiation of tonal paradigms. What is so remarkable about the Prelude is that Debussy managed to combine these tech- niques so boldly over such a large span. Perhaps we should view the rather elaborate explanations presented above as signs of Debussy's cultural elitism and his love of the esoteric-concerns that he described in a famous letter to Ernest Chausson (3 September 1893):

Music really ought to have been a hermetical science, enshrined in texts so hard and laborious to decipher as to discourage the herd of people who treat it as casually as they do a handkerchief! I'd go further and, instead of spreading music among the populace, I pro- pose the foundation of a "Society of Musical Esotericism."43

43"Vraiment la musique aurait dfi tre une science herm6tique, gard6e par des textes d'une interpretation tellement longue et difficile qu'elle aurait cer- tainement d6courag6 la tropeau de gens qui s'en servent avec la d6sinvolture que l'on met a se servir d'un mouchoir de poche! Or, et en outre, au lieu de chercher a repandre Fart dans le public, je propose la fondation d'une "Societe d'Esotericisme Musical" et vous verrez que M. Helman n'en sera

43"Vraiment la musique aurait dfi tre une science herm6tique, gard6e par des textes d'une interpretation tellement longue et difficile qu'elle aurait cer- tainement d6courag6 la tropeau de gens qui s'en servent avec la d6sinvolture que l'on met a se servir d'un mouchoir de poche! Or, et en outre, au lieu de chercher a repandre Fart dans le public, je propose la fondation d'une "Societe d'Esotericisme Musical" et vous verrez que M. Helman n'en sera

43"Vraiment la musique aurait dfi tre une science herm6tique, gard6e par des textes d'une interpretation tellement longue et difficile qu'elle aurait cer- tainement d6courag6 la tropeau de gens qui s'en servent avec la d6sinvolture que l'on met a se servir d'un mouchoir de poche! Or, et en outre, au lieu de chercher a repandre Fart dans le public, je propose la fondation d'une "Societe d'Esotericisme Musical" et vous verrez que M. Helman n'en sera

43"Vraiment la musique aurait dfi tre une science herm6tique, gard6e par des textes d'une interpretation tellement longue et difficile qu'elle aurait cer- tainement d6courag6 la tropeau de gens qui s'en servent avec la d6sinvolture que l'on met a se servir d'un mouchoir de poche! Or, et en outre, au lieu de chercher a repandre Fart dans le public, je propose la fondation d'une "Societe d'Esotericisme Musical" et vous verrez que M. Helman n'en sera

43"Vraiment la musique aurait dfi tre une science herm6tique, gard6e par des textes d'une interpretation tellement longue et difficile qu'elle aurait cer- tainement d6courag6 la tropeau de gens qui s'en servent avec la d6sinvolture que l'on met a se servir d'un mouchoir de poche! Or, et en outre, au lieu de chercher a repandre Fart dans le public, je propose la fondation d'une "Societe d'Esotericisme Musical" et vous verrez que M. Helman n'en sera

43"Vraiment la musique aurait dfi tre une science herm6tique, gard6e par des textes d'une interpretation tellement longue et difficile qu'elle aurait cer- tainement d6courag6 la tropeau de gens qui s'en servent avec la d6sinvolture que l'on met a se servir d'un mouchoir de poche! Or, et en outre, au lieu de chercher a repandre Fart dans le public, je propose la fondation d'une "Societe d'Esotericisme Musical" et vous verrez que M. Helman n'en sera

43"Vraiment la musique aurait dfi tre une science herm6tique, gard6e par des textes d'une interpretation tellement longue et difficile qu'elle aurait cer- tainement d6courag6 la tropeau de gens qui s'en servent avec la d6sinvolture que l'on met a se servir d'un mouchoir de poche! Or, et en outre, au lieu de chercher a repandre Fart dans le public, je propose la fondation d'une "Societe d'Esotericisme Musical" et vous verrez que M. Helman n'en sera

43"Vraiment la musique aurait dfi tre une science herm6tique, gard6e par des textes d'une interpretation tellement longue et difficile qu'elle aurait cer- tainement d6courag6 la tropeau de gens qui s'en servent avec la d6sinvolture que l'on met a se servir d'un mouchoir de poche! Or, et en outre, au lieu de chercher a repandre Fart dans le public, je propose la fondation d'une "Societe d'Esotericisme Musical" et vous verrez que M. Helman n'en sera

43"Vraiment la musique aurait dfi tre une science herm6tique, gard6e par des textes d'une interpretation tellement longue et difficile qu'elle aurait cer- tainement d6courag6 la tropeau de gens qui s'en servent avec la d6sinvolture que l'on met a se servir d'un mouchoir de poche! Or, et en outre, au lieu de chercher a repandre Fart dans le public, je propose la fondation d'une "Societe d'Esotericisme Musical" et vous verrez que M. Helman n'en sera

43"Vraiment la musique aurait dfi tre une science herm6tique, gard6e par des textes d'une interpretation tellement longue et difficile qu'elle aurait cer- tainement d6courag6 la tropeau de gens qui s'en servent avec la d6sinvolture que l'on met a se servir d'un mouchoir de poche! Or, et en outre, au lieu de chercher a repandre Fart dans le public, je propose la fondation d'une "Societe d'Esotericisme Musical" et vous verrez que M. Helman n'en sera

43"Vraiment la musique aurait dfi tre une science herm6tique, gard6e par des textes d'une interpretation tellement longue et difficile qu'elle aurait cer- tainement d6courag6 la tropeau de gens qui s'en servent avec la d6sinvolture que l'on met a se servir d'un mouchoir de poche! Or, et en outre, au lieu de chercher a repandre Fart dans le public, je propose la fondation d'une "Societe d'Esotericisme Musical" et vous verrez que M. Helman n'en sera

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As it happens, this letter dates from the time when Debussy was finishing work on the Prelude.

Although it is beyond the scope of this essay to trace Debussy's use of the four techniques enumerated above in all his subsequent orchestral works, a few examples are in order. To begin with, of Debussy's remaining eleven orchestral movements, all but one-"Par les rues et les chemins" (Ibe- ria, first movement)-begin with some sort of incomplete progression. For the most part, these works open with in- troductions that move to the tonic for the start of the main movement proper. However, "Les parfums de la nuit" and "Le matin d'un jour de fete" (Iberia, second and third move- ments) are more complex. The former is a classic example of an auxiliary-cadence piece: the bulk of the movement prolongs the dominant of Ft with the tonic finally occurring near the end (m. 92).44 The latter, meanwhile, not only be-

gins away from the tonic, but it actually ends somewhere else: the movement starts in Eb, moves to C, and closes in G with material from the middle section of "Par les rues et les chemins."

We can also find parenthetical episodes and interpolations in Debussy's later orchestral scores. Perhaps the most ob- vious examples occur in the transition between the final movements of Iberia. Here Debussy added a subordinate theme from "Le matin d'un jour de fete" near the end of "Les parfums de la nuit" (mm. 127-28), and he inserted a flash- back to one of the main themes in the second movement near the beginning of the third (mm. 5-6). Significantly, the latter "interruption" has connections with Debussy's piano Prelude "La s6ernade interrompue": in mm. 80-84 and 87-89 of the

pas, ni M. de Monnieres non plus!" See Lesure, ed., Lettres, 51; Lesure and Nichols, eds., Letters, 52. This letter is normally connected with Debussy's interest in the occult.

44For more details of this and the following analytical observations, see my forthcoming book Debussy: 'Iberia' (Oxford: Oxford University Press).

As it happens, this letter dates from the time when Debussy was finishing work on the Prelude.

Although it is beyond the scope of this essay to trace Debussy's use of the four techniques enumerated above in all his subsequent orchestral works, a few examples are in order. To begin with, of Debussy's remaining eleven orchestral movements, all but one-"Par les rues et les chemins" (Ibe- ria, first movement)-begin with some sort of incomplete progression. For the most part, these works open with in- troductions that move to the tonic for the start of the main movement proper. However, "Les parfums de la nuit" and "Le matin d'un jour de fete" (Iberia, second and third move- ments) are more complex. The former is a classic example of an auxiliary-cadence piece: the bulk of the movement prolongs the dominant of Ft with the tonic finally occurring near the end (m. 92).44 The latter, meanwhile, not only be-

gins away from the tonic, but it actually ends somewhere else: the movement starts in Eb, moves to C, and closes in G with material from the middle section of "Par les rues et les chemins."

We can also find parenthetical episodes and interpolations in Debussy's later orchestral scores. Perhaps the most ob- vious examples occur in the transition between the final movements of Iberia. Here Debussy added a subordinate theme from "Le matin d'un jour de fete" near the end of "Les parfums de la nuit" (mm. 127-28), and he inserted a flash- back to one of the main themes in the second movement near the beginning of the third (mm. 5-6). Significantly, the latter "interruption" has connections with Debussy's piano Prelude "La s6ernade interrompue": in mm. 80-84 and 87-89 of the

pas, ni M. de Monnieres non plus!" See Lesure, ed., Lettres, 51; Lesure and Nichols, eds., Letters, 52. This letter is normally connected with Debussy's interest in the occult.

44For more details of this and the following analytical observations, see my forthcoming book Debussy: 'Iberia' (Oxford: Oxford University Press).

As it happens, this letter dates from the time when Debussy was finishing work on the Prelude.

Although it is beyond the scope of this essay to trace Debussy's use of the four techniques enumerated above in all his subsequent orchestral works, a few examples are in order. To begin with, of Debussy's remaining eleven orchestral movements, all but one-"Par les rues et les chemins" (Ibe- ria, first movement)-begin with some sort of incomplete progression. For the most part, these works open with in- troductions that move to the tonic for the start of the main movement proper. However, "Les parfums de la nuit" and "Le matin d'un jour de fete" (Iberia, second and third move- ments) are more complex. The former is a classic example of an auxiliary-cadence piece: the bulk of the movement prolongs the dominant of Ft with the tonic finally occurring near the end (m. 92).44 The latter, meanwhile, not only be-

gins away from the tonic, but it actually ends somewhere else: the movement starts in Eb, moves to C, and closes in G with material from the middle section of "Par les rues et les chemins."

We can also find parenthetical episodes and interpolations in Debussy's later orchestral scores. Perhaps the most ob- vious examples occur in the transition between the final movements of Iberia. Here Debussy added a subordinate theme from "Le matin d'un jour de fete" near the end of "Les parfums de la nuit" (mm. 127-28), and he inserted a flash- back to one of the main themes in the second movement near the beginning of the third (mm. 5-6). Significantly, the latter "interruption" has connections with Debussy's piano Prelude "La s6ernade interrompue": in mm. 80-84 and 87-89 of the

pas, ni M. de Monnieres non plus!" See Lesure, ed., Lettres, 51; Lesure and Nichols, eds., Letters, 52. This letter is normally connected with Debussy's interest in the occult.

44For more details of this and the following analytical observations, see my forthcoming book Debussy: 'Iberia' (Oxford: Oxford University Press).

As it happens, this letter dates from the time when Debussy was finishing work on the Prelude.

Although it is beyond the scope of this essay to trace Debussy's use of the four techniques enumerated above in all his subsequent orchestral works, a few examples are in order. To begin with, of Debussy's remaining eleven orchestral movements, all but one-"Par les rues et les chemins" (Ibe- ria, first movement)-begin with some sort of incomplete progression. For the most part, these works open with in- troductions that move to the tonic for the start of the main movement proper. However, "Les parfums de la nuit" and "Le matin d'un jour de fete" (Iberia, second and third move- ments) are more complex. The former is a classic example of an auxiliary-cadence piece: the bulk of the movement prolongs the dominant of Ft with the tonic finally occurring near the end (m. 92).44 The latter, meanwhile, not only be-

gins away from the tonic, but it actually ends somewhere else: the movement starts in Eb, moves to C, and closes in G with material from the middle section of "Par les rues et les chemins."

We can also find parenthetical episodes and interpolations in Debussy's later orchestral scores. Perhaps the most ob- vious examples occur in the transition between the final movements of Iberia. Here Debussy added a subordinate theme from "Le matin d'un jour de fete" near the end of "Les parfums de la nuit" (mm. 127-28), and he inserted a flash- back to one of the main themes in the second movement near the beginning of the third (mm. 5-6). Significantly, the latter "interruption" has connections with Debussy's piano Prelude "La s6ernade interrompue": in mm. 80-84 and 87-89 of the

pas, ni M. de Monnieres non plus!" See Lesure, ed., Lettres, 51; Lesure and Nichols, eds., Letters, 52. This letter is normally connected with Debussy's interest in the occult.

44For more details of this and the following analytical observations, see my forthcoming book Debussy: 'Iberia' (Oxford: Oxford University Press).

As it happens, this letter dates from the time when Debussy was finishing work on the Prelude.

Although it is beyond the scope of this essay to trace Debussy's use of the four techniques enumerated above in all his subsequent orchestral works, a few examples are in order. To begin with, of Debussy's remaining eleven orchestral movements, all but one-"Par les rues et les chemins" (Ibe- ria, first movement)-begin with some sort of incomplete progression. For the most part, these works open with in- troductions that move to the tonic for the start of the main movement proper. However, "Les parfums de la nuit" and "Le matin d'un jour de fete" (Iberia, second and third move- ments) are more complex. The former is a classic example of an auxiliary-cadence piece: the bulk of the movement prolongs the dominant of Ft with the tonic finally occurring near the end (m. 92).44 The latter, meanwhile, not only be-

gins away from the tonic, but it actually ends somewhere else: the movement starts in Eb, moves to C, and closes in G with material from the middle section of "Par les rues et les chemins."

We can also find parenthetical episodes and interpolations in Debussy's later orchestral scores. Perhaps the most ob- vious examples occur in the transition between the final movements of Iberia. Here Debussy added a subordinate theme from "Le matin d'un jour de fete" near the end of "Les parfums de la nuit" (mm. 127-28), and he inserted a flash- back to one of the main themes in the second movement near the beginning of the third (mm. 5-6). Significantly, the latter "interruption" has connections with Debussy's piano Prelude "La s6ernade interrompue": in mm. 80-84 and 87-89 of the

pas, ni M. de Monnieres non plus!" See Lesure, ed., Lettres, 51; Lesure and Nichols, eds., Letters, 52. This letter is normally connected with Debussy's interest in the occult.

44For more details of this and the following analytical observations, see my forthcoming book Debussy: 'Iberia' (Oxford: Oxford University Press).

As it happens, this letter dates from the time when Debussy was finishing work on the Prelude.

Although it is beyond the scope of this essay to trace Debussy's use of the four techniques enumerated above in all his subsequent orchestral works, a few examples are in order. To begin with, of Debussy's remaining eleven orchestral movements, all but one-"Par les rues et les chemins" (Ibe- ria, first movement)-begin with some sort of incomplete progression. For the most part, these works open with in- troductions that move to the tonic for the start of the main movement proper. However, "Les parfums de la nuit" and "Le matin d'un jour de fete" (Iberia, second and third move- ments) are more complex. The former is a classic example of an auxiliary-cadence piece: the bulk of the movement prolongs the dominant of Ft with the tonic finally occurring near the end (m. 92).44 The latter, meanwhile, not only be-

gins away from the tonic, but it actually ends somewhere else: the movement starts in Eb, moves to C, and closes in G with material from the middle section of "Par les rues et les chemins."

We can also find parenthetical episodes and interpolations in Debussy's later orchestral scores. Perhaps the most ob- vious examples occur in the transition between the final movements of Iberia. Here Debussy added a subordinate theme from "Le matin d'un jour de fete" near the end of "Les parfums de la nuit" (mm. 127-28), and he inserted a flash- back to one of the main themes in the second movement near the beginning of the third (mm. 5-6). Significantly, the latter "interruption" has connections with Debussy's piano Prelude "La s6ernade interrompue": in mm. 80-84 and 87-89 of the

pas, ni M. de Monnieres non plus!" See Lesure, ed., Lettres, 51; Lesure and Nichols, eds., Letters, 52. This letter is normally connected with Debussy's interest in the occult.

44For more details of this and the following analytical observations, see my forthcoming book Debussy: 'Iberia' (Oxford: Oxford University Press).

As it happens, this letter dates from the time when Debussy was finishing work on the Prelude.

Although it is beyond the scope of this essay to trace Debussy's use of the four techniques enumerated above in all his subsequent orchestral works, a few examples are in order. To begin with, of Debussy's remaining eleven orchestral movements, all but one-"Par les rues et les chemins" (Ibe- ria, first movement)-begin with some sort of incomplete progression. For the most part, these works open with in- troductions that move to the tonic for the start of the main movement proper. However, "Les parfums de la nuit" and "Le matin d'un jour de fete" (Iberia, second and third move- ments) are more complex. The former is a classic example of an auxiliary-cadence piece: the bulk of the movement prolongs the dominant of Ft with the tonic finally occurring near the end (m. 92).44 The latter, meanwhile, not only be-

gins away from the tonic, but it actually ends somewhere else: the movement starts in Eb, moves to C, and closes in G with material from the middle section of "Par les rues et les chemins."

We can also find parenthetical episodes and interpolations in Debussy's later orchestral scores. Perhaps the most ob- vious examples occur in the transition between the final movements of Iberia. Here Debussy added a subordinate theme from "Le matin d'un jour de fete" near the end of "Les parfums de la nuit" (mm. 127-28), and he inserted a flash- back to one of the main themes in the second movement near the beginning of the third (mm. 5-6). Significantly, the latter "interruption" has connections with Debussy's piano Prelude "La s6ernade interrompue": in mm. 80-84 and 87-89 of the

pas, ni M. de Monnieres non plus!" See Lesure, ed., Lettres, 51; Lesure and Nichols, eds., Letters, 52. This letter is normally connected with Debussy's interest in the occult.

44For more details of this and the following analytical observations, see my forthcoming book Debussy: 'Iberia' (Oxford: Oxford University Press).

As it happens, this letter dates from the time when Debussy was finishing work on the Prelude.

Although it is beyond the scope of this essay to trace Debussy's use of the four techniques enumerated above in all his subsequent orchestral works, a few examples are in order. To begin with, of Debussy's remaining eleven orchestral movements, all but one-"Par les rues et les chemins" (Ibe- ria, first movement)-begin with some sort of incomplete progression. For the most part, these works open with in- troductions that move to the tonic for the start of the main movement proper. However, "Les parfums de la nuit" and "Le matin d'un jour de fete" (Iberia, second and third move- ments) are more complex. The former is a classic example of an auxiliary-cadence piece: the bulk of the movement prolongs the dominant of Ft with the tonic finally occurring near the end (m. 92).44 The latter, meanwhile, not only be-

gins away from the tonic, but it actually ends somewhere else: the movement starts in Eb, moves to C, and closes in G with material from the middle section of "Par les rues et les chemins."

We can also find parenthetical episodes and interpolations in Debussy's later orchestral scores. Perhaps the most ob- vious examples occur in the transition between the final movements of Iberia. Here Debussy added a subordinate theme from "Le matin d'un jour de fete" near the end of "Les parfums de la nuit" (mm. 127-28), and he inserted a flash- back to one of the main themes in the second movement near the beginning of the third (mm. 5-6). Significantly, the latter "interruption" has connections with Debussy's piano Prelude "La s6ernade interrompue": in mm. 80-84 and 87-89 of the

pas, ni M. de Monnieres non plus!" See Lesure, ed., Lettres, 51; Lesure and Nichols, eds., Letters, 52. This letter is normally connected with Debussy's interest in the occult.

44For more details of this and the following analytical observations, see my forthcoming book Debussy: 'Iberia' (Oxford: Oxford University Press).

As it happens, this letter dates from the time when Debussy was finishing work on the Prelude.

Although it is beyond the scope of this essay to trace Debussy's use of the four techniques enumerated above in all his subsequent orchestral works, a few examples are in order. To begin with, of Debussy's remaining eleven orchestral movements, all but one-"Par les rues et les chemins" (Ibe- ria, first movement)-begin with some sort of incomplete progression. For the most part, these works open with in- troductions that move to the tonic for the start of the main movement proper. However, "Les parfums de la nuit" and "Le matin d'un jour de fete" (Iberia, second and third move- ments) are more complex. The former is a classic example of an auxiliary-cadence piece: the bulk of the movement prolongs the dominant of Ft with the tonic finally occurring near the end (m. 92).44 The latter, meanwhile, not only be-

gins away from the tonic, but it actually ends somewhere else: the movement starts in Eb, moves to C, and closes in G with material from the middle section of "Par les rues et les chemins."

We can also find parenthetical episodes and interpolations in Debussy's later orchestral scores. Perhaps the most ob- vious examples occur in the transition between the final movements of Iberia. Here Debussy added a subordinate theme from "Le matin d'un jour de fete" near the end of "Les parfums de la nuit" (mm. 127-28), and he inserted a flash- back to one of the main themes in the second movement near the beginning of the third (mm. 5-6). Significantly, the latter "interruption" has connections with Debussy's piano Prelude "La s6ernade interrompue": in mm. 80-84 and 87-89 of the

pas, ni M. de Monnieres non plus!" See Lesure, ed., Lettres, 51; Lesure and Nichols, eds., Letters, 52. This letter is normally connected with Debussy's interest in the occult.

44For more details of this and the following analytical observations, see my forthcoming book Debussy: 'Iberia' (Oxford: Oxford University Press).

As it happens, this letter dates from the time when Debussy was finishing work on the Prelude.

Although it is beyond the scope of this essay to trace Debussy's use of the four techniques enumerated above in all his subsequent orchestral works, a few examples are in order. To begin with, of Debussy's remaining eleven orchestral movements, all but one-"Par les rues et les chemins" (Ibe- ria, first movement)-begin with some sort of incomplete progression. For the most part, these works open with in- troductions that move to the tonic for the start of the main movement proper. However, "Les parfums de la nuit" and "Le matin d'un jour de fete" (Iberia, second and third move- ments) are more complex. The former is a classic example of an auxiliary-cadence piece: the bulk of the movement prolongs the dominant of Ft with the tonic finally occurring near the end (m. 92).44 The latter, meanwhile, not only be-

gins away from the tonic, but it actually ends somewhere else: the movement starts in Eb, moves to C, and closes in G with material from the middle section of "Par les rues et les chemins."

We can also find parenthetical episodes and interpolations in Debussy's later orchestral scores. Perhaps the most ob- vious examples occur in the transition between the final movements of Iberia. Here Debussy added a subordinate theme from "Le matin d'un jour de fete" near the end of "Les parfums de la nuit" (mm. 127-28), and he inserted a flash- back to one of the main themes in the second movement near the beginning of the third (mm. 5-6). Significantly, the latter "interruption" has connections with Debussy's piano Prelude "La s6ernade interrompue": in mm. 80-84 and 87-89 of the

pas, ni M. de Monnieres non plus!" See Lesure, ed., Lettres, 51; Lesure and Nichols, eds., Letters, 52. This letter is normally connected with Debussy's interest in the occult.

44For more details of this and the following analytical observations, see my forthcoming book Debussy: 'Iberia' (Oxford: Oxford University Press).

As it happens, this letter dates from the time when Debussy was finishing work on the Prelude.

Although it is beyond the scope of this essay to trace Debussy's use of the four techniques enumerated above in all his subsequent orchestral works, a few examples are in order. To begin with, of Debussy's remaining eleven orchestral movements, all but one-"Par les rues et les chemins" (Ibe- ria, first movement)-begin with some sort of incomplete progression. For the most part, these works open with in- troductions that move to the tonic for the start of the main movement proper. However, "Les parfums de la nuit" and "Le matin d'un jour de fete" (Iberia, second and third move- ments) are more complex. The former is a classic example of an auxiliary-cadence piece: the bulk of the movement prolongs the dominant of Ft with the tonic finally occurring near the end (m. 92).44 The latter, meanwhile, not only be-

gins away from the tonic, but it actually ends somewhere else: the movement starts in Eb, moves to C, and closes in G with material from the middle section of "Par les rues et les chemins."

We can also find parenthetical episodes and interpolations in Debussy's later orchestral scores. Perhaps the most ob- vious examples occur in the transition between the final movements of Iberia. Here Debussy added a subordinate theme from "Le matin d'un jour de fete" near the end of "Les parfums de la nuit" (mm. 127-28), and he inserted a flash- back to one of the main themes in the second movement near the beginning of the third (mm. 5-6). Significantly, the latter "interruption" has connections with Debussy's piano Prelude "La s6ernade interrompue": in mm. 80-84 and 87-89 of the

pas, ni M. de Monnieres non plus!" See Lesure, ed., Lettres, 51; Lesure and Nichols, eds., Letters, 52. This letter is normally connected with Debussy's interest in the occult.

44For more details of this and the following analytical observations, see my forthcoming book Debussy: 'Iberia' (Oxford: Oxford University Press).

Prelude Debussy actually inserted the main theme from "Le matin d'un jour de fete"! On a larger scale, the entire fanfare section from the middle of "Fetes" (Nocturnes, second move- ment) is a giant interpolation: mm. 116-73 are actually in- serted within an ascending line that spans from m. 27 to m. 208. As in Iberia, the insert recalls material from another work by Debussy: at the climax of the fanfare section, we hear Rodrigue's leitmotiv from Debussy's aborted "Wagne- rian" opera Rodrigue et Chimene (1890-92).45

Several interesting instances of motivic compression also occur in La Mer and the orchestral Images. A particularly fine example appears at the climax of "Jeux de vagues" (La Mer, second movement).46 In mm. 163-218, the main theme re- turns and is combined contrapuntally with other subordinate themes as well as with its own diminutions and augmenta- tions. The same phenomenon can be seen in "Rondes de printemps" (Images). In two long sections (mm. 87-118 and 138-205), Debussy develops the folk tune "Nous n'irons plus au bois" contrapuntally with itself, and with other themes, including another folk tune "Do, do l'enfant do."

Lastly, Debussy relied on tonal modeling in several later symphonic scores. In "Nuages" (Nocturnes, first movement), he modeled the final section (mm. 80-93) on the last segment of the opening A section (mm. 43-56). In recomposing the earlier material, he inserted two repetitions of a horn motive from mm. 23-24 and 27-28. More remarkably, the second half of "De l'aube a midi sur la mer" (La Mer, first move- ment), is an elaborate composing out of the contrapuntal framework of mm. 31-84: both move from Db via BI to Ab and back, via Gb to Ab. Similar experiments in tonal mod-

45Compare the chromatic motive and Tristan chords (mm. 170-73) of "Fetes" with Rodrigue's theme, transcribed by Orledge (Exx. 12 and 13) in

Debussy and the Theater (Cambridge: Cambridge University Press, 1982), 31. 46See Wolfgang Domling, Claude Debussy: La Mer (Munich: Wilhelm

Finck Verlag, 1976).

Prelude Debussy actually inserted the main theme from "Le matin d'un jour de fete"! On a larger scale, the entire fanfare section from the middle of "Fetes" (Nocturnes, second move- ment) is a giant interpolation: mm. 116-73 are actually in- serted within an ascending line that spans from m. 27 to m. 208. As in Iberia, the insert recalls material from another work by Debussy: at the climax of the fanfare section, we hear Rodrigue's leitmotiv from Debussy's aborted "Wagne- rian" opera Rodrigue et Chimene (1890-92).45

Several interesting instances of motivic compression also occur in La Mer and the orchestral Images. A particularly fine example appears at the climax of "Jeux de vagues" (La Mer, second movement).46 In mm. 163-218, the main theme re- turns and is combined contrapuntally with other subordinate themes as well as with its own diminutions and augmenta- tions. The same phenomenon can be seen in "Rondes de printemps" (Images). In two long sections (mm. 87-118 and 138-205), Debussy develops the folk tune "Nous n'irons plus au bois" contrapuntally with itself, and with other themes, including another folk tune "Do, do l'enfant do."

Lastly, Debussy relied on tonal modeling in several later symphonic scores. In "Nuages" (Nocturnes, first movement), he modeled the final section (mm. 80-93) on the last segment of the opening A section (mm. 43-56). In recomposing the earlier material, he inserted two repetitions of a horn motive from mm. 23-24 and 27-28. More remarkably, the second half of "De l'aube a midi sur la mer" (La Mer, first move- ment), is an elaborate composing out of the contrapuntal framework of mm. 31-84: both move from Db via BI to Ab and back, via Gb to Ab. Similar experiments in tonal mod-

45Compare the chromatic motive and Tristan chords (mm. 170-73) of "Fetes" with Rodrigue's theme, transcribed by Orledge (Exx. 12 and 13) in

Debussy and the Theater (Cambridge: Cambridge University Press, 1982), 31. 46See Wolfgang Domling, Claude Debussy: La Mer (Munich: Wilhelm

Finck Verlag, 1976).

Prelude Debussy actually inserted the main theme from "Le matin d'un jour de fete"! On a larger scale, the entire fanfare section from the middle of "Fetes" (Nocturnes, second move- ment) is a giant interpolation: mm. 116-73 are actually in- serted within an ascending line that spans from m. 27 to m. 208. As in Iberia, the insert recalls material from another work by Debussy: at the climax of the fanfare section, we hear Rodrigue's leitmotiv from Debussy's aborted "Wagne- rian" opera Rodrigue et Chimene (1890-92).45

Several interesting instances of motivic compression also occur in La Mer and the orchestral Images. A particularly fine example appears at the climax of "Jeux de vagues" (La Mer, second movement).46 In mm. 163-218, the main theme re- turns and is combined contrapuntally with other subordinate themes as well as with its own diminutions and augmenta- tions. The same phenomenon can be seen in "Rondes de printemps" (Images). In two long sections (mm. 87-118 and 138-205), Debussy develops the folk tune "Nous n'irons plus au bois" contrapuntally with itself, and with other themes, including another folk tune "Do, do l'enfant do."

Lastly, Debussy relied on tonal modeling in several later symphonic scores. In "Nuages" (Nocturnes, first movement), he modeled the final section (mm. 80-93) on the last segment of the opening A section (mm. 43-56). In recomposing the earlier material, he inserted two repetitions of a horn motive from mm. 23-24 and 27-28. More remarkably, the second half of "De l'aube a midi sur la mer" (La Mer, first move- ment), is an elaborate composing out of the contrapuntal framework of mm. 31-84: both move from Db via BI to Ab and back, via Gb to Ab. Similar experiments in tonal mod-

45Compare the chromatic motive and Tristan chords (mm. 170-73) of "Fetes" with Rodrigue's theme, transcribed by Orledge (Exx. 12 and 13) in

Debussy and the Theater (Cambridge: Cambridge University Press, 1982), 31. 46See Wolfgang Domling, Claude Debussy: La Mer (Munich: Wilhelm

Finck Verlag, 1976).

Prelude Debussy actually inserted the main theme from "Le matin d'un jour de fete"! On a larger scale, the entire fanfare section from the middle of "Fetes" (Nocturnes, second move- ment) is a giant interpolation: mm. 116-73 are actually in- serted within an ascending line that spans from m. 27 to m. 208. As in Iberia, the insert recalls material from another work by Debussy: at the climax of the fanfare section, we hear Rodrigue's leitmotiv from Debussy's aborted "Wagne- rian" opera Rodrigue et Chimene (1890-92).45

Several interesting instances of motivic compression also occur in La Mer and the orchestral Images. A particularly fine example appears at the climax of "Jeux de vagues" (La Mer, second movement).46 In mm. 163-218, the main theme re- turns and is combined contrapuntally with other subordinate themes as well as with its own diminutions and augmenta- tions. The same phenomenon can be seen in "Rondes de printemps" (Images). In two long sections (mm. 87-118 and 138-205), Debussy develops the folk tune "Nous n'irons plus au bois" contrapuntally with itself, and with other themes, including another folk tune "Do, do l'enfant do."

Lastly, Debussy relied on tonal modeling in several later symphonic scores. In "Nuages" (Nocturnes, first movement), he modeled the final section (mm. 80-93) on the last segment of the opening A section (mm. 43-56). In recomposing the earlier material, he inserted two repetitions of a horn motive from mm. 23-24 and 27-28. More remarkably, the second half of "De l'aube a midi sur la mer" (La Mer, first move- ment), is an elaborate composing out of the contrapuntal framework of mm. 31-84: both move from Db via BI to Ab and back, via Gb to Ab. Similar experiments in tonal mod-

45Compare the chromatic motive and Tristan chords (mm. 170-73) of "Fetes" with Rodrigue's theme, transcribed by Orledge (Exx. 12 and 13) in

Debussy and the Theater (Cambridge: Cambridge University Press, 1982), 31. 46See Wolfgang Domling, Claude Debussy: La Mer (Munich: Wilhelm

Finck Verlag, 1976).

Prelude Debussy actually inserted the main theme from "Le matin d'un jour de fete"! On a larger scale, the entire fanfare section from the middle of "Fetes" (Nocturnes, second move- ment) is a giant interpolation: mm. 116-73 are actually in- serted within an ascending line that spans from m. 27 to m. 208. As in Iberia, the insert recalls material from another work by Debussy: at the climax of the fanfare section, we hear Rodrigue's leitmotiv from Debussy's aborted "Wagne- rian" opera Rodrigue et Chimene (1890-92).45

Several interesting instances of motivic compression also occur in La Mer and the orchestral Images. A particularly fine example appears at the climax of "Jeux de vagues" (La Mer, second movement).46 In mm. 163-218, the main theme re- turns and is combined contrapuntally with other subordinate themes as well as with its own diminutions and augmenta- tions. The same phenomenon can be seen in "Rondes de printemps" (Images). In two long sections (mm. 87-118 and 138-205), Debussy develops the folk tune "Nous n'irons plus au bois" contrapuntally with itself, and with other themes, including another folk tune "Do, do l'enfant do."

Lastly, Debussy relied on tonal modeling in several later symphonic scores. In "Nuages" (Nocturnes, first movement), he modeled the final section (mm. 80-93) on the last segment of the opening A section (mm. 43-56). In recomposing the earlier material, he inserted two repetitions of a horn motive from mm. 23-24 and 27-28. More remarkably, the second half of "De l'aube a midi sur la mer" (La Mer, first move- ment), is an elaborate composing out of the contrapuntal framework of mm. 31-84: both move from Db via BI to Ab and back, via Gb to Ab. Similar experiments in tonal mod-

45Compare the chromatic motive and Tristan chords (mm. 170-73) of "Fetes" with Rodrigue's theme, transcribed by Orledge (Exx. 12 and 13) in

Debussy and the Theater (Cambridge: Cambridge University Press, 1982), 31. 46See Wolfgang Domling, Claude Debussy: La Mer (Munich: Wilhelm

Finck Verlag, 1976).

Prelude Debussy actually inserted the main theme from "Le matin d'un jour de fete"! On a larger scale, the entire fanfare section from the middle of "Fetes" (Nocturnes, second move- ment) is a giant interpolation: mm. 116-73 are actually in- serted within an ascending line that spans from m. 27 to m. 208. As in Iberia, the insert recalls material from another work by Debussy: at the climax of the fanfare section, we hear Rodrigue's leitmotiv from Debussy's aborted "Wagne- rian" opera Rodrigue et Chimene (1890-92).45

Several interesting instances of motivic compression also occur in La Mer and the orchestral Images. A particularly fine example appears at the climax of "Jeux de vagues" (La Mer, second movement).46 In mm. 163-218, the main theme re- turns and is combined contrapuntally with other subordinate themes as well as with its own diminutions and augmenta- tions. The same phenomenon can be seen in "Rondes de printemps" (Images). In two long sections (mm. 87-118 and 138-205), Debussy develops the folk tune "Nous n'irons plus au bois" contrapuntally with itself, and with other themes, including another folk tune "Do, do l'enfant do."

Lastly, Debussy relied on tonal modeling in several later symphonic scores. In "Nuages" (Nocturnes, first movement), he modeled the final section (mm. 80-93) on the last segment of the opening A section (mm. 43-56). In recomposing the earlier material, he inserted two repetitions of a horn motive from mm. 23-24 and 27-28. More remarkably, the second half of "De l'aube a midi sur la mer" (La Mer, first move- ment), is an elaborate composing out of the contrapuntal framework of mm. 31-84: both move from Db via BI to Ab and back, via Gb to Ab. Similar experiments in tonal mod-

45Compare the chromatic motive and Tristan chords (mm. 170-73) of "Fetes" with Rodrigue's theme, transcribed by Orledge (Exx. 12 and 13) in

Debussy and the Theater (Cambridge: Cambridge University Press, 1982), 31. 46See Wolfgang Domling, Claude Debussy: La Mer (Munich: Wilhelm

Finck Verlag, 1976).

Prelude Debussy actually inserted the main theme from "Le matin d'un jour de fete"! On a larger scale, the entire fanfare section from the middle of "Fetes" (Nocturnes, second move- ment) is a giant interpolation: mm. 116-73 are actually in- serted within an ascending line that spans from m. 27 to m. 208. As in Iberia, the insert recalls material from another work by Debussy: at the climax of the fanfare section, we hear Rodrigue's leitmotiv from Debussy's aborted "Wagne- rian" opera Rodrigue et Chimene (1890-92).45

Several interesting instances of motivic compression also occur in La Mer and the orchestral Images. A particularly fine example appears at the climax of "Jeux de vagues" (La Mer, second movement).46 In mm. 163-218, the main theme re- turns and is combined contrapuntally with other subordinate themes as well as with its own diminutions and augmenta- tions. The same phenomenon can be seen in "Rondes de printemps" (Images). In two long sections (mm. 87-118 and 138-205), Debussy develops the folk tune "Nous n'irons plus au bois" contrapuntally with itself, and with other themes, including another folk tune "Do, do l'enfant do."

Lastly, Debussy relied on tonal modeling in several later symphonic scores. In "Nuages" (Nocturnes, first movement), he modeled the final section (mm. 80-93) on the last segment of the opening A section (mm. 43-56). In recomposing the earlier material, he inserted two repetitions of a horn motive from mm. 23-24 and 27-28. More remarkably, the second half of "De l'aube a midi sur la mer" (La Mer, first move- ment), is an elaborate composing out of the contrapuntal framework of mm. 31-84: both move from Db via BI to Ab and back, via Gb to Ab. Similar experiments in tonal mod-

45Compare the chromatic motive and Tristan chords (mm. 170-73) of "Fetes" with Rodrigue's theme, transcribed by Orledge (Exx. 12 and 13) in

Debussy and the Theater (Cambridge: Cambridge University Press, 1982), 31. 46See Wolfgang Domling, Claude Debussy: La Mer (Munich: Wilhelm

Finck Verlag, 1976).

Prelude Debussy actually inserted the main theme from "Le matin d'un jour de fete"! On a larger scale, the entire fanfare section from the middle of "Fetes" (Nocturnes, second move- ment) is a giant interpolation: mm. 116-73 are actually in- serted within an ascending line that spans from m. 27 to m. 208. As in Iberia, the insert recalls material from another work by Debussy: at the climax of the fanfare section, we hear Rodrigue's leitmotiv from Debussy's aborted "Wagne- rian" opera Rodrigue et Chimene (1890-92).45

Several interesting instances of motivic compression also occur in La Mer and the orchestral Images. A particularly fine example appears at the climax of "Jeux de vagues" (La Mer, second movement).46 In mm. 163-218, the main theme re- turns and is combined contrapuntally with other subordinate themes as well as with its own diminutions and augmenta- tions. The same phenomenon can be seen in "Rondes de printemps" (Images). In two long sections (mm. 87-118 and 138-205), Debussy develops the folk tune "Nous n'irons plus au bois" contrapuntally with itself, and with other themes, including another folk tune "Do, do l'enfant do."

Lastly, Debussy relied on tonal modeling in several later symphonic scores. In "Nuages" (Nocturnes, first movement), he modeled the final section (mm. 80-93) on the last segment of the opening A section (mm. 43-56). In recomposing the earlier material, he inserted two repetitions of a horn motive from mm. 23-24 and 27-28. More remarkably, the second half of "De l'aube a midi sur la mer" (La Mer, first move- ment), is an elaborate composing out of the contrapuntal framework of mm. 31-84: both move from Db via BI to Ab and back, via Gb to Ab. Similar experiments in tonal mod-

45Compare the chromatic motive and Tristan chords (mm. 170-73) of "Fetes" with Rodrigue's theme, transcribed by Orledge (Exx. 12 and 13) in

Debussy and the Theater (Cambridge: Cambridge University Press, 1982), 31. 46See Wolfgang Domling, Claude Debussy: La Mer (Munich: Wilhelm

Finck Verlag, 1976).

Prelude Debussy actually inserted the main theme from "Le matin d'un jour de fete"! On a larger scale, the entire fanfare section from the middle of "Fetes" (Nocturnes, second move- ment) is a giant interpolation: mm. 116-73 are actually in- serted within an ascending line that spans from m. 27 to m. 208. As in Iberia, the insert recalls material from another work by Debussy: at the climax of the fanfare section, we hear Rodrigue's leitmotiv from Debussy's aborted "Wagne- rian" opera Rodrigue et Chimene (1890-92).45

Several interesting instances of motivic compression also occur in La Mer and the orchestral Images. A particularly fine example appears at the climax of "Jeux de vagues" (La Mer, second movement).46 In mm. 163-218, the main theme re- turns and is combined contrapuntally with other subordinate themes as well as with its own diminutions and augmenta- tions. The same phenomenon can be seen in "Rondes de printemps" (Images). In two long sections (mm. 87-118 and 138-205), Debussy develops the folk tune "Nous n'irons plus au bois" contrapuntally with itself, and with other themes, including another folk tune "Do, do l'enfant do."

Lastly, Debussy relied on tonal modeling in several later symphonic scores. In "Nuages" (Nocturnes, first movement), he modeled the final section (mm. 80-93) on the last segment of the opening A section (mm. 43-56). In recomposing the earlier material, he inserted two repetitions of a horn motive from mm. 23-24 and 27-28. More remarkably, the second half of "De l'aube a midi sur la mer" (La Mer, first move- ment), is an elaborate composing out of the contrapuntal framework of mm. 31-84: both move from Db via BI to Ab and back, via Gb to Ab. Similar experiments in tonal mod-

45Compare the chromatic motive and Tristan chords (mm. 170-73) of "Fetes" with Rodrigue's theme, transcribed by Orledge (Exx. 12 and 13) in

Debussy and the Theater (Cambridge: Cambridge University Press, 1982), 31. 46See Wolfgang Domling, Claude Debussy: La Mer (Munich: Wilhelm

Finck Verlag, 1976).

Prelude Debussy actually inserted the main theme from "Le matin d'un jour de fete"! On a larger scale, the entire fanfare section from the middle of "Fetes" (Nocturnes, second move- ment) is a giant interpolation: mm. 116-73 are actually in- serted within an ascending line that spans from m. 27 to m. 208. As in Iberia, the insert recalls material from another work by Debussy: at the climax of the fanfare section, we hear Rodrigue's leitmotiv from Debussy's aborted "Wagne- rian" opera Rodrigue et Chimene (1890-92).45

Several interesting instances of motivic compression also occur in La Mer and the orchestral Images. A particularly fine example appears at the climax of "Jeux de vagues" (La Mer, second movement).46 In mm. 163-218, the main theme re- turns and is combined contrapuntally with other subordinate themes as well as with its own diminutions and augmenta- tions. The same phenomenon can be seen in "Rondes de printemps" (Images). In two long sections (mm. 87-118 and 138-205), Debussy develops the folk tune "Nous n'irons plus au bois" contrapuntally with itself, and with other themes, including another folk tune "Do, do l'enfant do."

Lastly, Debussy relied on tonal modeling in several later symphonic scores. In "Nuages" (Nocturnes, first movement), he modeled the final section (mm. 80-93) on the last segment of the opening A section (mm. 43-56). In recomposing the earlier material, he inserted two repetitions of a horn motive from mm. 23-24 and 27-28. More remarkably, the second half of "De l'aube a midi sur la mer" (La Mer, first move- ment), is an elaborate composing out of the contrapuntal framework of mm. 31-84: both move from Db via BI to Ab and back, via Gb to Ab. Similar experiments in tonal mod-

45Compare the chromatic motive and Tristan chords (mm. 170-73) of "Fetes" with Rodrigue's theme, transcribed by Orledge (Exx. 12 and 13) in

Debussy and the Theater (Cambridge: Cambridge University Press, 1982), 31. 46See Wolfgang Domling, Claude Debussy: La Mer (Munich: Wilhelm

Finck Verlag, 1976).

Prelude Debussy actually inserted the main theme from "Le matin d'un jour de fete"! On a larger scale, the entire fanfare section from the middle of "Fetes" (Nocturnes, second move- ment) is a giant interpolation: mm. 116-73 are actually in- serted within an ascending line that spans from m. 27 to m. 208. As in Iberia, the insert recalls material from another work by Debussy: at the climax of the fanfare section, we hear Rodrigue's leitmotiv from Debussy's aborted "Wagne- rian" opera Rodrigue et Chimene (1890-92).45

Several interesting instances of motivic compression also occur in La Mer and the orchestral Images. A particularly fine example appears at the climax of "Jeux de vagues" (La Mer, second movement).46 In mm. 163-218, the main theme re- turns and is combined contrapuntally with other subordinate themes as well as with its own diminutions and augmenta- tions. The same phenomenon can be seen in "Rondes de printemps" (Images). In two long sections (mm. 87-118 and 138-205), Debussy develops the folk tune "Nous n'irons plus au bois" contrapuntally with itself, and with other themes, including another folk tune "Do, do l'enfant do."

Lastly, Debussy relied on tonal modeling in several later symphonic scores. In "Nuages" (Nocturnes, first movement), he modeled the final section (mm. 80-93) on the last segment of the opening A section (mm. 43-56). In recomposing the earlier material, he inserted two repetitions of a horn motive from mm. 23-24 and 27-28. More remarkably, the second half of "De l'aube a midi sur la mer" (La Mer, first move- ment), is an elaborate composing out of the contrapuntal framework of mm. 31-84: both move from Db via BI to Ab and back, via Gb to Ab. Similar experiments in tonal mod-

45Compare the chromatic motive and Tristan chords (mm. 170-73) of "Fetes" with Rodrigue's theme, transcribed by Orledge (Exx. 12 and 13) in

Debussy and the Theater (Cambridge: Cambridge University Press, 1982), 31. 46See Wolfgang Domling, Claude Debussy: La Mer (Munich: Wilhelm

Finck Verlag, 1976).

Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 143 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 143 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 143 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 143 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 143 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 143 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 143 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 143 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 143 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 143 Tonality and Form in Debussy's Prelude a "L'Apres-midi d'un faune" 143

eling can also be found in "Par les rues et les chemins"; here, the final A section and the coda are built from roughly the same set of tonal transformations as the middleground of the entire movement.

To what extent, then, did Debussy manage to move away from nineteenth-century tonal and formal conventions? From the preceding discussion, it seems that Debussy's path away from traditional composition was gradual. Indeed, most of the techniques used in the Prelude have clear precedents in

nineteenth-century tonal practice, at least as explained by Schenkerian theory. This suggests that Debussy was not the iconoclast that Boulez and others believe. His genius was

perhaps not so much in creating entirely new principles of

harmony and form, but rather in exploiting established tech-

niques in bold and unusual ways. In many ways, this essay confirms the conclusions of Arnold Whittall:

Debussy, at his best, was always a dramatic composer. What is dramatized, what brings tension and dynamism to the music, is the skilfully balanced relationship between chromaticism and diatoni- cism, both of which may show modal characteristics but which never lose sight of the triadic constructions and progressions of earlier tonal music. Debussy's harmony functions precisely in the sense that it

eling can also be found in "Par les rues et les chemins"; here, the final A section and the coda are built from roughly the same set of tonal transformations as the middleground of the entire movement.

To what extent, then, did Debussy manage to move away from nineteenth-century tonal and formal conventions? From the preceding discussion, it seems that Debussy's path away from traditional composition was gradual. Indeed, most of the techniques used in the Prelude have clear precedents in

nineteenth-century tonal practice, at least as explained by Schenkerian theory. This suggests that Debussy was not the iconoclast that Boulez and others believe. His genius was

perhaps not so much in creating entirely new principles of

harmony and form, but rather in exploiting established tech-

niques in bold and unusual ways. In many ways, this essay confirms the conclusions of Arnold Whittall:

Debussy, at his best, was always a dramatic composer. What is dramatized, what brings tension and dynamism to the music, is the skilfully balanced relationship between chromaticism and diatoni- cism, both of which may show modal characteristics but which never lose sight of the triadic constructions and progressions of earlier tonal music. Debussy's harmony functions precisely in the sense that it

eling can also be found in "Par les rues et les chemins"; here, the final A section and the coda are built from roughly the same set of tonal transformations as the middleground of the entire movement.

To what extent, then, did Debussy manage to move away from nineteenth-century tonal and formal conventions? From the preceding discussion, it seems that Debussy's path away from traditional composition was gradual. Indeed, most of the techniques used in the Prelude have clear precedents in

nineteenth-century tonal practice, at least as explained by Schenkerian theory. This suggests that Debussy was not the iconoclast that Boulez and others believe. His genius was

perhaps not so much in creating entirely new principles of

harmony and form, but rather in exploiting established tech-

niques in bold and unusual ways. In many ways, this essay confirms the conclusions of Arnold Whittall:

Debussy, at his best, was always a dramatic composer. What is dramatized, what brings tension and dynamism to the music, is the skilfully balanced relationship between chromaticism and diatoni- cism, both of which may show modal characteristics but which never lose sight of the triadic constructions and progressions of earlier tonal music. Debussy's harmony functions precisely in the sense that it

eling can also be found in "Par les rues et les chemins"; here, the final A section and the coda are built from roughly the same set of tonal transformations as the middleground of the entire movement.

To what extent, then, did Debussy manage to move away from nineteenth-century tonal and formal conventions? From the preceding discussion, it seems that Debussy's path away from traditional composition was gradual. Indeed, most of the techniques used in the Prelude have clear precedents in

nineteenth-century tonal practice, at least as explained by Schenkerian theory. This suggests that Debussy was not the iconoclast that Boulez and others believe. His genius was

perhaps not so much in creating entirely new principles of

harmony and form, but rather in exploiting established tech-

niques in bold and unusual ways. In many ways, this essay confirms the conclusions of Arnold Whittall:

Debussy, at his best, was always a dramatic composer. What is dramatized, what brings tension and dynamism to the music, is the skilfully balanced relationship between chromaticism and diatoni- cism, both of which may show modal characteristics but which never lose sight of the triadic constructions and progressions of earlier tonal music. Debussy's harmony functions precisely in the sense that it

eling can also be found in "Par les rues et les chemins"; here, the final A section and the coda are built from roughly the same set of tonal transformations as the middleground of the entire movement.

To what extent, then, did Debussy manage to move away from nineteenth-century tonal and formal conventions? From the preceding discussion, it seems that Debussy's path away from traditional composition was gradual. Indeed, most of the techniques used in the Prelude have clear precedents in

nineteenth-century tonal practice, at least as explained by Schenkerian theory. This suggests that Debussy was not the iconoclast that Boulez and others believe. His genius was

perhaps not so much in creating entirely new principles of

harmony and form, but rather in exploiting established tech-

niques in bold and unusual ways. In many ways, this essay confirms the conclusions of Arnold Whittall:

Debussy, at his best, was always a dramatic composer. What is dramatized, what brings tension and dynamism to the music, is the skilfully balanced relationship between chromaticism and diatoni- cism, both of which may show modal characteristics but which never lose sight of the triadic constructions and progressions of earlier tonal music. Debussy's harmony functions precisely in the sense that it

eling can also be found in "Par les rues et les chemins"; here, the final A section and the coda are built from roughly the same set of tonal transformations as the middleground of the entire movement.

To what extent, then, did Debussy manage to move away from nineteenth-century tonal and formal conventions? From the preceding discussion, it seems that Debussy's path away from traditional composition was gradual. Indeed, most of the techniques used in the Prelude have clear precedents in

nineteenth-century tonal practice, at least as explained by Schenkerian theory. This suggests that Debussy was not the iconoclast that Boulez and others believe. His genius was

perhaps not so much in creating entirely new principles of

harmony and form, but rather in exploiting established tech-

niques in bold and unusual ways. In many ways, this essay confirms the conclusions of Arnold Whittall:

Debussy, at his best, was always a dramatic composer. What is dramatized, what brings tension and dynamism to the music, is the skilfully balanced relationship between chromaticism and diatoni- cism, both of which may show modal characteristics but which never lose sight of the triadic constructions and progressions of earlier tonal music. Debussy's harmony functions precisely in the sense that it

eling can also be found in "Par les rues et les chemins"; here, the final A section and the coda are built from roughly the same set of tonal transformations as the middleground of the entire movement.

To what extent, then, did Debussy manage to move away from nineteenth-century tonal and formal conventions? From the preceding discussion, it seems that Debussy's path away from traditional composition was gradual. Indeed, most of the techniques used in the Prelude have clear precedents in

nineteenth-century tonal practice, at least as explained by Schenkerian theory. This suggests that Debussy was not the iconoclast that Boulez and others believe. His genius was

perhaps not so much in creating entirely new principles of

harmony and form, but rather in exploiting established tech-

niques in bold and unusual ways. In many ways, this essay confirms the conclusions of Arnold Whittall:

Debussy, at his best, was always a dramatic composer. What is dramatized, what brings tension and dynamism to the music, is the skilfully balanced relationship between chromaticism and diatoni- cism, both of which may show modal characteristics but which never lose sight of the triadic constructions and progressions of earlier tonal music. Debussy's harmony functions precisely in the sense that it

eling can also be found in "Par les rues et les chemins"; here, the final A section and the coda are built from roughly the same set of tonal transformations as the middleground of the entire movement.

To what extent, then, did Debussy manage to move away from nineteenth-century tonal and formal conventions? From the preceding discussion, it seems that Debussy's path away from traditional composition was gradual. Indeed, most of the techniques used in the Prelude have clear precedents in

nineteenth-century tonal practice, at least as explained by Schenkerian theory. This suggests that Debussy was not the iconoclast that Boulez and others believe. His genius was

perhaps not so much in creating entirely new principles of

harmony and form, but rather in exploiting established tech-

niques in bold and unusual ways. In many ways, this essay confirms the conclusions of Arnold Whittall:

Debussy, at his best, was always a dramatic composer. What is dramatized, what brings tension and dynamism to the music, is the skilfully balanced relationship between chromaticism and diatoni- cism, both of which may show modal characteristics but which never lose sight of the triadic constructions and progressions of earlier tonal music. Debussy's harmony functions precisely in the sense that it

eling can also be found in "Par les rues et les chemins"; here, the final A section and the coda are built from roughly the same set of tonal transformations as the middleground of the entire movement.

To what extent, then, did Debussy manage to move away from nineteenth-century tonal and formal conventions? From the preceding discussion, it seems that Debussy's path away from traditional composition was gradual. Indeed, most of the techniques used in the Prelude have clear precedents in

nineteenth-century tonal practice, at least as explained by Schenkerian theory. This suggests that Debussy was not the iconoclast that Boulez and others believe. His genius was

perhaps not so much in creating entirely new principles of

harmony and form, but rather in exploiting established tech-

niques in bold and unusual ways. In many ways, this essay confirms the conclusions of Arnold Whittall:

Debussy, at his best, was always a dramatic composer. What is dramatized, what brings tension and dynamism to the music, is the skilfully balanced relationship between chromaticism and diatoni- cism, both of which may show modal characteristics but which never lose sight of the triadic constructions and progressions of earlier tonal music. Debussy's harmony functions precisely in the sense that it

eling can also be found in "Par les rues et les chemins"; here, the final A section and the coda are built from roughly the same set of tonal transformations as the middleground of the entire movement.

To what extent, then, did Debussy manage to move away from nineteenth-century tonal and formal conventions? From the preceding discussion, it seems that Debussy's path away from traditional composition was gradual. Indeed, most of the techniques used in the Prelude have clear precedents in

nineteenth-century tonal practice, at least as explained by Schenkerian theory. This suggests that Debussy was not the iconoclast that Boulez and others believe. His genius was

perhaps not so much in creating entirely new principles of

harmony and form, but rather in exploiting established tech-

niques in bold and unusual ways. In many ways, this essay confirms the conclusions of Arnold Whittall:

Debussy, at his best, was always a dramatic composer. What is dramatized, what brings tension and dynamism to the music, is the skilfully balanced relationship between chromaticism and diatoni- cism, both of which may show modal characteristics but which never lose sight of the triadic constructions and progressions of earlier tonal music. Debussy's harmony functions precisely in the sense that it

eling can also be found in "Par les rues et les chemins"; here, the final A section and the coda are built from roughly the same set of tonal transformations as the middleground of the entire movement.

To what extent, then, did Debussy manage to move away from nineteenth-century tonal and formal conventions? From the preceding discussion, it seems that Debussy's path away from traditional composition was gradual. Indeed, most of the techniques used in the Prelude have clear precedents in

nineteenth-century tonal practice, at least as explained by Schenkerian theory. This suggests that Debussy was not the iconoclast that Boulez and others believe. His genius was

perhaps not so much in creating entirely new principles of

harmony and form, but rather in exploiting established tech-

niques in bold and unusual ways. In many ways, this essay confirms the conclusions of Arnold Whittall:

Debussy, at his best, was always a dramatic composer. What is dramatized, what brings tension and dynamism to the music, is the skilfully balanced relationship between chromaticism and diatoni- cism, both of which may show modal characteristics but which never lose sight of the triadic constructions and progressions of earlier tonal music. Debussy's harmony functions precisely in the sense that it

gives meaning, and movement, to this relationship. As a language it can best be described as "expanded tonality", a language in which tonality still acts as a basic term, giving perspective to all other harmonic activity.47

Even if Debussy was unable to ignore common-practice to-

nality altogether, he did create a remarkable body of sym- phonic music that was indeed fit for "the century of aero-

planes."

ABSTRACT Debussy is often credited with revolutionizing musical form by re- jecting nineteenth-century tonal and formal practice. This essay con- siders this claim by examining the tonal and thematic framework of the Prelude a "L'Apres-midi d'un faune." Although this analysis shows that the Prelude can be explained by traditional tonal pro- cedures, it identifies four techniques-incomplete progressions, par- enthetical episodes, motivic compression, and tonal models-that allowed Debussy to move away from conventional symphonic mod- els. The paper ends by showing how he developed these techniques in later orchestral works such as the Nocturnes, La Mer, and Iberia.

gives meaning, and movement, to this relationship. As a language it can best be described as "expanded tonality", a language in which tonality still acts as a basic term, giving perspective to all other harmonic activity.47

Even if Debussy was unable to ignore common-practice to-

nality altogether, he did create a remarkable body of sym- phonic music that was indeed fit for "the century of aero-

planes."

ABSTRACT Debussy is often credited with revolutionizing musical form by re- jecting nineteenth-century tonal and formal practice. This essay con- siders this claim by examining the tonal and thematic framework of the Prelude a "L'Apres-midi d'un faune." Although this analysis shows that the Prelude can be explained by traditional tonal pro- cedures, it identifies four techniques-incomplete progressions, par- enthetical episodes, motivic compression, and tonal models-that allowed Debussy to move away from conventional symphonic mod- els. The paper ends by showing how he developed these techniques in later orchestral works such as the Nocturnes, La Mer, and Iberia.

gives meaning, and movement, to this relationship. As a language it can best be described as "expanded tonality", a language in which tonality still acts as a basic term, giving perspective to all other harmonic activity.47

Even if Debussy was unable to ignore common-practice to-

nality altogether, he did create a remarkable body of sym- phonic music that was indeed fit for "the century of aero-

planes."

ABSTRACT Debussy is often credited with revolutionizing musical form by re- jecting nineteenth-century tonal and formal practice. This essay con- siders this claim by examining the tonal and thematic framework of the Prelude a "L'Apres-midi d'un faune." Although this analysis shows that the Prelude can be explained by traditional tonal pro- cedures, it identifies four techniques-incomplete progressions, par- enthetical episodes, motivic compression, and tonal models-that allowed Debussy to move away from conventional symphonic mod- els. The paper ends by showing how he developed these techniques in later orchestral works such as the Nocturnes, La Mer, and Iberia.

gives meaning, and movement, to this relationship. As a language it can best be described as "expanded tonality", a language in which tonality still acts as a basic term, giving perspective to all other harmonic activity.47

Even if Debussy was unable to ignore common-practice to-

nality altogether, he did create a remarkable body of sym- phonic music that was indeed fit for "the century of aero-

planes."

ABSTRACT Debussy is often credited with revolutionizing musical form by re- jecting nineteenth-century tonal and formal practice. This essay con- siders this claim by examining the tonal and thematic framework of the Prelude a "L'Apres-midi d'un faune." Although this analysis shows that the Prelude can be explained by traditional tonal pro- cedures, it identifies four techniques-incomplete progressions, par- enthetical episodes, motivic compression, and tonal models-that allowed Debussy to move away from conventional symphonic mod- els. The paper ends by showing how he developed these techniques in later orchestral works such as the Nocturnes, La Mer, and Iberia.

gives meaning, and movement, to this relationship. As a language it can best be described as "expanded tonality", a language in which tonality still acts as a basic term, giving perspective to all other harmonic activity.47

Even if Debussy was unable to ignore common-practice to-

nality altogether, he did create a remarkable body of sym- phonic music that was indeed fit for "the century of aero-

planes."

ABSTRACT Debussy is often credited with revolutionizing musical form by re- jecting nineteenth-century tonal and formal practice. This essay con- siders this claim by examining the tonal and thematic framework of the Prelude a "L'Apres-midi d'un faune." Although this analysis shows that the Prelude can be explained by traditional tonal pro- cedures, it identifies four techniques-incomplete progressions, par- enthetical episodes, motivic compression, and tonal models-that allowed Debussy to move away from conventional symphonic mod- els. The paper ends by showing how he developed these techniques in later orchestral works such as the Nocturnes, La Mer, and Iberia.

gives meaning, and movement, to this relationship. As a language it can best be described as "expanded tonality", a language in which tonality still acts as a basic term, giving perspective to all other harmonic activity.47

Even if Debussy was unable to ignore common-practice to-

nality altogether, he did create a remarkable body of sym- phonic music that was indeed fit for "the century of aero-

planes."

ABSTRACT Debussy is often credited with revolutionizing musical form by re- jecting nineteenth-century tonal and formal practice. This essay con- siders this claim by examining the tonal and thematic framework of the Prelude a "L'Apres-midi d'un faune." Although this analysis shows that the Prelude can be explained by traditional tonal pro- cedures, it identifies four techniques-incomplete progressions, par- enthetical episodes, motivic compression, and tonal models-that allowed Debussy to move away from conventional symphonic mod- els. The paper ends by showing how he developed these techniques in later orchestral works such as the Nocturnes, La Mer, and Iberia.

gives meaning, and movement, to this relationship. As a language it can best be described as "expanded tonality", a language in which tonality still acts as a basic term, giving perspective to all other harmonic activity.47

Even if Debussy was unable to ignore common-practice to-

nality altogether, he did create a remarkable body of sym- phonic music that was indeed fit for "the century of aero-

planes."

ABSTRACT Debussy is often credited with revolutionizing musical form by re- jecting nineteenth-century tonal and formal practice. This essay con- siders this claim by examining the tonal and thematic framework of the Prelude a "L'Apres-midi d'un faune." Although this analysis shows that the Prelude can be explained by traditional tonal pro- cedures, it identifies four techniques-incomplete progressions, par- enthetical episodes, motivic compression, and tonal models-that allowed Debussy to move away from conventional symphonic mod- els. The paper ends by showing how he developed these techniques in later orchestral works such as the Nocturnes, La Mer, and Iberia.

gives meaning, and movement, to this relationship. As a language it can best be described as "expanded tonality", a language in which tonality still acts as a basic term, giving perspective to all other harmonic activity.47

Even if Debussy was unable to ignore common-practice to-

nality altogether, he did create a remarkable body of sym- phonic music that was indeed fit for "the century of aero-

planes."

ABSTRACT Debussy is often credited with revolutionizing musical form by re- jecting nineteenth-century tonal and formal practice. This essay con- siders this claim by examining the tonal and thematic framework of the Prelude a "L'Apres-midi d'un faune." Although this analysis shows that the Prelude can be explained by traditional tonal pro- cedures, it identifies four techniques-incomplete progressions, par- enthetical episodes, motivic compression, and tonal models-that allowed Debussy to move away from conventional symphonic mod- els. The paper ends by showing how he developed these techniques in later orchestral works such as the Nocturnes, La Mer, and Iberia.

gives meaning, and movement, to this relationship. As a language it can best be described as "expanded tonality", a language in which tonality still acts as a basic term, giving perspective to all other harmonic activity.47

Even if Debussy was unable to ignore common-practice to-

nality altogether, he did create a remarkable body of sym- phonic music that was indeed fit for "the century of aero-

planes."

ABSTRACT Debussy is often credited with revolutionizing musical form by re- jecting nineteenth-century tonal and formal practice. This essay con- siders this claim by examining the tonal and thematic framework of the Prelude a "L'Apres-midi d'un faune." Although this analysis shows that the Prelude can be explained by traditional tonal pro- cedures, it identifies four techniques-incomplete progressions, par- enthetical episodes, motivic compression, and tonal models-that allowed Debussy to move away from conventional symphonic mod- els. The paper ends by showing how he developed these techniques in later orchestral works such as the Nocturnes, La Mer, and Iberia.

gives meaning, and movement, to this relationship. As a language it can best be described as "expanded tonality", a language in which tonality still acts as a basic term, giving perspective to all other harmonic activity.47

Even if Debussy was unable to ignore common-practice to-

nality altogether, he did create a remarkable body of sym- phonic music that was indeed fit for "the century of aero-

planes."

ABSTRACT Debussy is often credited with revolutionizing musical form by re- jecting nineteenth-century tonal and formal practice. This essay con- siders this claim by examining the tonal and thematic framework of the Prelude a "L'Apres-midi d'un faune." Although this analysis shows that the Prelude can be explained by traditional tonal pro- cedures, it identifies four techniques-incomplete progressions, par- enthetical episodes, motivic compression, and tonal models-that allowed Debussy to move away from conventional symphonic mod- els. The paper ends by showing how he developed these techniques in later orchestral works such as the Nocturnes, La Mer, and Iberia.

gives meaning, and movement, to this relationship. As a language it can best be described as "expanded tonality", a language in which tonality still acts as a basic term, giving perspective to all other harmonic activity.47

Even if Debussy was unable to ignore common-practice to-

nality altogether, he did create a remarkable body of sym- phonic music that was indeed fit for "the century of aero-

planes."

ABSTRACT Debussy is often credited with revolutionizing musical form by re- jecting nineteenth-century tonal and formal practice. This essay con- siders this claim by examining the tonal and thematic framework of the Prelude a "L'Apres-midi d'un faune." Although this analysis shows that the Prelude can be explained by traditional tonal pro- cedures, it identifies four techniques-incomplete progressions, par- enthetical episodes, motivic compression, and tonal models-that allowed Debussy to move away from conventional symphonic mod- els. The paper ends by showing how he developed these techniques in later orchestral works such as the Nocturnes, La Mer, and Iberia.

47Arnold Whittall, "Tonality and the Whole-Tone Scale in the Music of Debussy," The Music Review 36 (1975): 271.

47Arnold Whittall, "Tonality and the Whole-Tone Scale in the Music of Debussy," The Music Review 36 (1975): 271.

47Arnold Whittall, "Tonality and the Whole-Tone Scale in the Music of Debussy," The Music Review 36 (1975): 271.

47Arnold Whittall, "Tonality and the Whole-Tone Scale in the Music of Debussy," The Music Review 36 (1975): 271.

47Arnold Whittall, "Tonality and the Whole-Tone Scale in the Music of Debussy," The Music Review 36 (1975): 271.

47Arnold Whittall, "Tonality and the Whole-Tone Scale in the Music of Debussy," The Music Review 36 (1975): 271.

47Arnold Whittall, "Tonality and the Whole-Tone Scale in the Music of Debussy," The Music Review 36 (1975): 271.

47Arnold Whittall, "Tonality and the Whole-Tone Scale in the Music of Debussy," The Music Review 36 (1975): 271.

47Arnold Whittall, "Tonality and the Whole-Tone Scale in the Music of Debussy," The Music Review 36 (1975): 271.

47Arnold Whittall, "Tonality and the Whole-Tone Scale in the Music of Debussy," The Music Review 36 (1975): 271.

47Arnold Whittall, "Tonality and the Whole-Tone Scale in the Music of Debussy," The Music Review 36 (1975): 271.