Publication de Debussy’s Resonance

L’OICRM est heureux d’annoncer la publication de Debussy’s Resonance (Rochester, University of Rochester Press, 2018), un ouvrage collectif dirigé par deux membres de l’observatoire, François de Médicis et Steven Huebner. Parmi les signataires des articles, outre les deux co-directeur déjà cités, on retrouve le nom d’un autre membre de l’OICRM, Michel Duchesneau. 

Au sujet de cet ouvrage, Simon Trezise (Trinity College Dublin) écrit : « A major contribution to the theoretical study of Debussy’s musical structures. The articles, which include fascinating reflections on the rediscovery of early Debussy works and the creation of the complete edition and, most strikingly, a rich and extensive body of essays on the analysis of the music, are at the cutting edge of Debussy scholarship. The volume will become a staple in the future work on Debussy. »

Debussy’s Resonance

The music of Claude Debussy has always been widely beloved by listeners and performers alike, more perhaps than that of any of the other pioneers of musical modernism. However rich in itself, his creative output also participated, and continues to participate, in a network of cultural connections, the scope and meaning of which can only be gleaned through multiple interpretive frameworks. Debussy’s Resonance offers twenty new studies by some of the most active and respected English- and French-language scholars of French music. The book treats a large swath of the composer’s music, from previously unexplored mélodies of his early years to late pieces such as the ballet Jeux and the Douze Études, and takes into consideration the numerous contexts that helped shape the works and the different ways that musicologists and critics have explained them.

Avec la contribution de Michel Duchesneau

In his article « Debussy and Japanese Prints », Michel Duchesneau explores little-known encounters between Debussy and Japanese art, in particular, underlining the importance of the Parisian international exhibition held in 1900. As much as the 1889 international exhibit has attracted a lot of scholarly attention, the 1900 event is frequently overlooked. Duchesneau identifies homologies between Debussy’s music and aesthetic principles in Japanese painting, an approach very much aligned with Locke’s « submerged exoticism. »

Procurez-vous l’ouvrage ici.

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