Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Illustrations ix
4. Acknowledgments xi
5. Abbreviations xiii
6. Introduction: François de Médicis and Steven Huebner 1
7. Part One. Historiographical and Editorial Issues
8. Chapter One. Debussy Fifty Years Later Has the Barrel Run Dry? 19
9. Chapter Two. The OEuvres complètes de Claude Debussy Thirty Years On 38
10. Chapter Three. The Kunkelmann Manuscripts: New Sources for Early Mélodies by Claude Debussy 57
11. Chapter Four “Paysage sentimental” “Si doux, si triste, si dormant . . .” 105
12. Part Two. Style and Genre
13. Chapter Five. The “Song Triptych” Reflections on a Debussyan Genre 127
14. Chapter Six. Composing after Wagner: The Music of Bruneau and Debussy, 1890–1902 175
15. Chapter Seven. Between Massenet and Wagner 225
16. Chapter Eight. Debussy’s Concept of Orchestration 254
17. Chapter Nine. Oriental and Iberian Resonances in Early Debussy Songs 272
18. Part Three. History and Hermeneutics
19. Chapter Ten. Debussy and Japanese Prints 301
20. Chapter Eleven “Les sons . . . tournent” Debussy, the Waltz, and Embodied Hermeneutics 326
21. Chapter Twelve. Secrets and Lies, or the Truth about Pelléas 353
22. Chapter Thirteen. Vertige! Debussy, Mallarmé, and the Edge of Language 366
23. Part Four. Theoretical Issues
24. Chapter Fourteen. Follow the Leader: Debussy’s Contrapuntal Games 395
25. Chapter Fifteen. Debussy’s Absolute Pitch: Motivic Harmony and Choice of Keys 419
26. Chapter Sixteen. Debussy’s G♯/A♭ Complex The Adventures of a Pitch Class from the Suite bergamasque to the Douze études 435
27. Chapter Seventeen. The Games of Jeux: Mark McFarland 476
28. Part Five. Performance and Reception
29. Chapter Eighteen. Debussy and Late-Romantic Performing Practices: The Piano Rolls of 1912 513
30. Chapter Nineteen. Marius-François Gaillard’s Debussy: Controversies and Pianistic Legacy 562
31. Chapter Twenty. Fashioning Early Debussy in Interwar France 581
32. Contributors 603
33. Index 607