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Editorial Reviews
Review
'Roy Howat, in Debussy in Proportion, brilliantly dragoons every analytical and historical method at his command in his assault on the elusive question of Debussy's musical structures. Howat dispassionately assembles his evidence - biographical and historical matters, the analysis of duration, rhythm, harmony, motivic relationship, 'foreground' and 'background' hierarchical levels - into a virtually unassailable critical analysis of how Debussy's musical structures function as entities whose bases are those proportions expressed by the Golden Section or by Fibonacci and Lucus number series. The result, devoid of the analysis, is overwhelmingly convincing ... It is criticism at its best, intelligent and untiring in its efforts to bring the music into clear focus.' 19th Century Music
' ... it is impossible to resist the richness of detail supplied by Dr Howat; no sooner has a doubt occurred to one than it is resolved in the text, and the premise of the book seems inescapable.' Tempo
'To my mind, Roy Howat's book represents the most important advance in unravelling the mysteries of Debussy's music that there has ever been, and I confidently predict that its ramifications will be with us for a long time to come.' Robert Orledge, Music and Letters
Product Description
This is the first paperback edition of Roy Howat's stimulating and provocative study of Debussy's unorthodox use of musical form. Throught detailed analyses of the piano pieces Reflets dans l'eau and L'isle joyeuse and the symphonic poem La mer, Dr Howat shows how the pieces are built precisely and intricately around the two ratios of Golden Section and bisection so that the music is organised in various geometrical patterns which contribute substantially to its expansive and dramatic impact. The final chapter traces evidence of whether the proportional systems were designed consciously, and if so, where and why Debussy might have learnt such techniques. The evidence includes his involvement in the Symbolist movement and in esotericism.
See all Editorial Reviews
'Roy Howat, in Debussy in Proportion, brilliantly dragoons every analytical and historical method at his command in his assault on the elusive question of Debussy's musical structures. Howat dispassionately assembles his evidence - biographical and historical matters, the analysis of duration, rhythm, harmony, motivic relationship, 'foreground' and 'background' hierarchical levels - into a virtually unassailable critical analysis of how Debussy's musical structures function as entities whose bases are those proportions expressed by the Golden Section or by Fibonacci and Lucus number series. The result, devoid of the analysis, is overwhelmingly convincing ... It is criticism at its best, intelligent and untiring in its efforts to bring the music into clear focus.' 19th Century Music
' ... it is impossible to resist the richness of detail supplied by Dr Howat; no sooner has a doubt occurred to one than it is resolved in the text, and the premise of the book seems inescapable.' Tempo
'To my mind, Roy Howat's book represents the most important advance in unravelling the mysteries of Debussy's music that there has ever been, and I confidently predict that its ramifications will be with us for a long time to come.' Robert Orledge, Music and Letters
Product Description
This is the first paperback edition of Roy Howat's stimulating and provocative study of Debussy's unorthodox use of musical form. Throught detailed analyses of the piano pieces Reflets dans l'eau and L'isle joyeuse and the symphonic poem La mer, Dr Howat shows how the pieces are built precisely and intricately around the two ratios of Golden Section and bisection so that the music is organised in various geometrical patterns which contribute substantially to its expansive and dramatic impact. The final chapter traces evidence of whether the proportional systems were designed consciously, and if so, where and why Debussy might have learnt such techniques. The evidence includes his involvement in the Symbolist movement and in esotericism.
See all Editorial Reviews
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Inside This Book
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First Sentence:
Proportional balance in any piece of music is something we tend to take instinctively for granted - provided it is instinctively satisfactory. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
tonal departure, proportional analyses, strophic sequence, acoustic scale, arch sequence, rondo elements, proportional techniques, tonal return, proportional sequences, main climax, proportional logic, principal climax, exact halfway point, structural counterpoint, central climax, proportional structure, proportional analysis, recapitulation point, tempo relationship, tonic return, manuscript full score, dynamic peaks, dynamic arch, ternary elements, proportional schemes Key Phrases - Capitalized Phrases (CAPs): (learn more)
Golden Section, First Principal Section, Second Principal Section, Charles Henry, Principal Sections, Jacques Durand, Edward Lockspeiser, Arnold Whittall, Gustav Fechner, Jules Laforgue, Jean Barraqud, Marguerite Long, Marie Rolf, Maurice Denis, Robert Godet, University of Rochester New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Proportional balance in any piece of music is something we tend to take instinctively for granted - provided it is instinctively satisfactory. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
tonal departure, proportional analyses, strophic sequence, acoustic scale, arch sequence, rondo elements, proportional techniques, tonal return, proportional sequences, main climax, proportional logic, principal climax, exact halfway point, structural counterpoint, central climax, proportional structure, proportional analysis, recapitulation point, tempo relationship, tonic return, manuscript full score, dynamic peaks, dynamic arch, ternary elements, proportional schemes Key Phrases - Capitalized Phrases (CAPs): (learn more)
Golden Section, First Principal Section, Second Principal Section, Charles Henry, Principal Sections, Jacques Durand, Edward Lockspeiser, Arnold Whittall, Gustav Fechner, Jules Laforgue, Jean Barraqud, Marguerite Long, Marie Rolf, Maurice Denis, Robert Godet, University of Rochester New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 2
books:
12
books
cite this book:
See all 12 books citing this book
- Looking for Laforgue by David Arkell in Back Matter
- The Holy Blood and The Holy Grail by Michael Baigent in Back Matter
- Feminist Aesthetics in Music: by Sally Macarthur on page 79, and Back Matter
- The Life of Debussy (Musical Lives) by Roger Nichols in Back Matter (1), and Back Matter (2)
- Interpreting Popular Music by David Brackett in Back Matter (1), and Back Matter (2)
- Mallarme and Debussy: Unheard Music, Unseen Text (Oxford Modern Languages and Literature Monographs) by Elizabeth McCombie in Back Matter
- Foundations in Music Bibliography by Richard D Green on page 346
See all 12 books citing this book
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