a.

Debbusys musical language draws from a diverse variety of

sources: romantic music, Wagners total art, the baroque,
Russian music (Korsakov, etc.), oriental music, etc. Roy Howat of
New Grove Music notes that his musical advancements might
be summarized as a lifelong quest to banish blatancy of musical
expression. This parallels with the views of impressionism and
symbolism, which shared a mutual dislike for the clich norms of
tradition. Stylistically Debussys music might be described as
ethereal, floating, and colorful. These subjective qualities take
root in his unique manipulation of the musical language:
indeterminate tonality; extended chords without resolutions;
flowing rhythms; exotic scales (e.g. whole tone, pentatonic,
octatonic); colorful and unusual orchestration; etc. [New Grove]
b. Debussys style lends itself to description in terms of the visual
arts (he himself often spoke of music in visual terms (this is
quoted somewhere). This visceral sound undoubtedly played a
role in the original association of Debussy with impression.
Stylistically, the two share many traits including: blurring
(line/tonality), use of color (paint/orchestration), depiction of
temporality (rhythm, tonality), use of light (dynamics), etc.
c. There are many good examples of impressionist styles in
Debbusys Preludes for piano [analyzed in kramer paper]. In
Debussys Feux d'artifice (Fireworks), for example, we can
observe many characteristics analogous to impressionist
techniques. The contrast between loud and soft dynamics evokes
the bursts of fireworks in the air; notes burst and then fade like
embers in the distance. Debussy use of dynamic markings is
particularly revealing the score is marked with expressions like
en se rapprochant peu a peu (gradually coming closer, little by
little), and eclatant (brilliant, dazzling).
d. Debussys connection to Symbolism is more subtle. It concerns
aesthetics/philosophy more than style (delete/move?)
Impressionism can be understood as, essentially, a form of
realism: it shares the same concern of depicting reality in an
essentially scientific/empirical manner. Thus impressionism is
essentially a style of realism that is, a particular (albeit novel)
way of depicting a scene or object, through a focus on color and
light over time.
e. In contrast, Symbolism is primarily concerned with aesthetic,
philosophical issues as opposed to stylistic. These issues include:
evocation, symbolic representation, and such aesthetic issues
as the relationship between abstraction and representation.
[new Grove]. Symbolist works attempt to subtly suggest

something an idea, or feeling; something beyond the purely

literary/visual/auditory realm. The aesthetic is summed up by
Stephane Mallarme: To name an object is to suppress threefourths of the enjoyment of the poem that comes from the
delight of divining little by little; to suggest it, there is the dream
[new grove symbolism].
f. This aesthetic clearly appealed to Debbusy, who (like
impressionists) was weary of (what he considered) the
calcification of his art. He was looking for a way to create
something entirely new (Debussy quote), and symbolist
thought provided an avenue by which to do this.
g. Of particular importance with regard to symbolism and Debussy
is the shared interest in synesthetic experience the mingling of
senses. This notion provided the essential foundation on which
Debussy could approach the symbolist ideal of suggestion rather
than depiction. Debussy employed various musical techniques to
render extra-musical experiences far beyond anything
programmatic; his music does not simply tell a story (if it did, it
might be considered programmatic, or impressionist). Rather, it
evokes, suggests, works around the edges and suggests what we
might be hearing. This is a technique in which Debussy was
masterful his use of musical devices Debussys Prulde to the
afternoon of a faun, based on Mallarmes poem of the same title,
is a perfect example of this [Analysis of music and poem].
h. Symbolism, in varying degrees, has long been used in music. For
example: [New Grove musical Symbolism ]
i. The music of Bach has been scrutinized for its symbolic associations: the number of
entries in the Crucifixus of the B minor Mass (13) can hardly have been coincidental, and
his use of key signatures, where three flats seems to represent the Trinity and sharps the
cross, is reflected in certain treatises of his time, allied to the concept of rhetoric.

i. Perhaps what is so unique about Debbuys form of symbolism is

its incorporation of artifical synesthesia. Previous musical
symbolism often relied on semi-linguistic devices and
numerology, for example ______ (e.g. see bach above). In
contrast Debussys symbolism is far more natural; it requires no
explanation or analysis, for it appeals directly to the senses. We
need not analyze it to understand it only listen. is much more
naturally evocate that is, while a piece such as Bachs B minor
mass requires detailed analysis, Debussys music appeals
directly to the senses; we need not analyze, only listen.
j. This technique (a shared interest of symbolists as well), was
clearly important to Debussy, as is evident in his masterful use of
the technique in numerous works of his. Through various musical
devices (tonality, rhythm, harmony, orchestration, dynamics etc.)

his music truly evokes sensations which reach past the musical
realm, suggesting visual, olfactory, kinesthetic, and sometimes
even more abstract experiences/sensations.
k. There are many good examples of this in Debbusys Preludes for
piano [analyzed in kramer paper]. In Debussys Feux
d'artifice (Fireworks), contrast between loud and soft dynamics
evokes the bursts of fireworks in the air; notes burst and then
fade like embers in the distance. Debussy use of dynamic
markings is particularly revealing the score is marked with
expressions like en se rapprochant peu a peu (gradually coming
closer, little by little), and eclatant (brilliant, dazzling). [a bit
more]
l. It is important to note that impressionism and symbolism are by
no means the only influences on Debussys work. On the
contrary, Debussy drew from a wide variety of musical and nonmusical sources: exotic musical traditions (Russian, oriental,
javanse); periods within the western classical tradition (medieval,
baroque, romantic); authors (edgar allen poe, boudelaire, etc.);
other artistic movements (Art Nouveua, Pre-Raphaelite), etc.
Debbusy was particular, but open minded in a search for his own
sound.
m. Ultimately it remains unclear exactly how to describe Debussy;
while he certainly shares traits with impressionism and
ymbolism, his music seems to reach beyond the realm of either.
Debbusy succeeded, it seems, in his dream of creating
something entirely new. Thus, to attach a fixed label to Debbusy
is not only incorrect; it is to ignore important aspects of his work;
it is to deny his fundamental uniqueness [New Grove], both in
and out of the musical sphere. Our purpose should not be to limit
the understanding of such a unqiue music, to place a ceiling
above its head. It is not our place to say what the music is or
isnt. We must try to understand Debbusyism as a result of
various movements and art forms. In the end, this seems
perfectly appropriate; perhaps, as Debbusy said [quote], the best
we can do it listen.

n. Side note: Recent, fascinating studies have demonstrated

empirical evidence in support of the synesthetic view of
Debbusys music. For example, Kramer (1985) found that there
is a perceptual link between loudness and brightness (that is, we
naturally associate loudness with brightness). Other studies have
come to similar conclusions, for example

2. Thus in examing Debussy as an impressionist, it is necessary to take

into account his own views and goal in music. Was he simply trying to
paint musical pictures (that is depict, in the sense of impressionism)?
Debussys main focus is subtle; it is essentially the synesthetic
experience the evocation of non-musical feelings through music.
Aesthetically this is much closer to symbolism than impressionism.
However, we must note that music has never had the same problems
as literature or painting; while the later art forms are naturally
representative, clearly describing their form, music has never been
representative; it is already a purely abstract art. Debussys
achievement was not the abstraction of music, but rather the deabstraction of music. Or, perhaps more accurate, a focus on musical
sounds and the feelings they naturally evoke. Debussy had a keen ear
for they way in which sound effects us, and was able to manipulate this
into his own unique art form.
3. symbolist artists and writers faced the challenge of dislodging
words/pictures from their original meanings; music on the other hand
has never had to deal with this problem, as an essentially abstract art
form. Hence Debussy faced a slightly different challenge than that of
symbollists; rather than find a way to change the meaning of music, he
had to find a way to give meaning to music in the first place.
4. As it turns out, the solution, for both Debussy and symbolists alike lay
in the artificial synesthetic experience (an interest of Wagners as
well). music did not face this problem, as it is a naturally abstract art
5. It is Debussys more abstract pieces (i.e. not the preludes) that are
particularly representative of symbolism.
P. 330 CP
Pasler admits that, even though Impressionism is not an ideal term, it
has stuck in popular usage as a handy collective title for a group of
similar notions, and this is why it has such widespread acceptance
today (impressions and symbols, pg. 20)
- Impressionism has stuck out of pragmatics/usefulness rather
than accuracy. And as a gereral term it is not inaccurate; it is
simply limiting. Any deeper study of debbusy must admit that
there is far more to his music than impressionist thought