Debussy & Ravel


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Acquisto, Joseph. 2006. French Symbolist Poetry and the Idea of Music. New York: Routledge. {GB}

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Alegant, Brian. 2016. "Reconsidering Debussy’s Bruyères." Intégral 30: 1-11. {}

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Baur, Steven. 1999. "Ravel's 'Russian' Period: Octatonicism in His Early Works, 1893-1908." Journal of the American Musicological Society 52/3 (Autumn 1999):pp. 531–592.

Beavers, Jennifer P. 2016. "Integrating Incompatibilities: Melodic, Harmonic, and Formal Dissonance in Ravel's Duo and Violin Sonata." Indiana Theory Review 32/1-2 (Spring/Fall 2016): 120–160. {JSTOR}

_______________. 2021. "Ravel’s Sound: Timbre and Orchestration in His Late Works." Music Theory Online 27/1. {MTO}

Bhogal, Gurminder K. 2019." Orchestral Tissue, Subordinate Arabesques, and Turning Inward in Maurice Ravel's Boléro.* Music Theory Online 26/2 (September 2020). {MTO}

Biamonte, Nicole. 2008. "Augmented-Sixth Chords vs. Tritone Substitutes." Music Theory Online 14/2 (June 2008). {MTO}

______________. 2010. “Triadic Modal and Pentatonic Patterns in Rock Music.” Music Theory Spectrum 32/2 (Fall 2010): 95-110.

______________. 2016. "Online Music Theory in Music Theory Online." Zeitschrift der Gesellschaft für Musiktheorie 13/2 (2016): 297-309. {ResearchGate}

Brown, Matthew. 1993. "Tonality and Form in Debussy's Debussy's 'Prélude à 'L'Après-midi d'un faune'." Music Theory Spectrum 15/2 (Autumn, 1993): 127-143. {JSTOR}

_____________. 2012. Debussy Redux: The Impact of His Music on Popular Culture. Bloomington, IN:  Indiana University Press. {GB}

Briscoe, James R. 1984. "Debussy's Earliest Songs." College Music Symposium (October 1, 1984). {CMS}

Bruhn, Siglind. 2010. Images and Ideas in Modern French Piano Music: The Extra-musical Subtext in Piano Works by Ravel, Debussy, and Messiaen. Hillsdale, NY: Pendragon Press. {GB}

_____________. 2018, Debussy's Vocal Music and its Poetic Evocations. Hillsdale, NY: Pendragon Press. {GB}

Cambouropoulos, Emilios and Gerhard Widmer. 2000. "Automated Motivic Analysis via Melodic Clustering." Journal of New Music Research 29/4 : 303-317. {JNMR; ResearchGate}

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_______. 2007. "Parting the veils of Debussy's 'Voiles'." Scottish Music Review 1/1: 43–67.

Cohn, Richard. 2012. Audacious Euphony: Chromaticism and the Triad's Second Nature. New York: Oxford University Press. {GB}

Cone, Edward T. 1968. Musical Form and Musical Performance. New York: Norton. {GB}

_____________. 1985. "'Musical Form and Musical Performance" Reconsidered." Music Theory Spectrum 7 (Spring 1985): 149–158. {JSTOR}

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Davidian, Teresa. 1990. "Intervallic Process and Autonomy in the First Movement of Debussy's Sonata for Cello and Piano." Theory and Practice 14/15 (1989/1990): 1-12. {JSTOR}

Day-O'Connell, Jeremy. 2009. "Debussy, Pentatonicism, and the Tonal Tradition." Music Theory Spectrum 31/2 (Fall 2009): 225–261. {JSTOR}

De Médicis, François and Steven Huebner. 2018. Debussy's Resonance. New York: Boydell & Brewer. {GB}

Debussy, Claude. 1962. "Monsieur Croche the dilettante hater," in Three Classics in the Aesthetic of Music. New York: Dover. {Internet Archive}

DeVoto. Mark. 2004. Debussy and the Veil of Tonality: Essays on His Music. Hillsdale, NY: Pendragon Press. {GB}

___________. 2005. “Some Aspects of Parallel Harmony in Debussy,” in Liber Amicorum Isabelle Cazeaux: Symbols, Parallels and Discoveries in Her Honor. Hillsdale, NY: Pendragon Press. {Author's Website}

___________. 2014. "Memory and Tonality in Debussy's Prélude à l'après-midi d'un faune. Cahiers Debussy 37-38 (2014). {Author's Website}

Fillerup, Jessie. 2021. Magician of Sound: Ravel and the Aesthetics of Illusion. Berkeley: University of California Press. {GB}

Forte, Allen. "Debussy and the Octatonic." Music Analysis 10/1 & 2 (March-July 1991): 125–169. {JSTOR}

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_______________. 2007. Music in the Galant Style. New York: Oxford University Press. {GB; Full text: Ebook Central}

Guttman, Peter. 2018. "Debussy and Ravel String Quartets." Classical Notes. Available online at: <>.

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Harrison, Daniel. 1994. Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents. Chicago: University of Chicago Press. {GB}

Heinzelmann, Sigrun B. 2011. "Playing with Models: Sonata Form in Ravel's String Quartet and Piano Trio." In Peter Kaminsky, ed., Unmasking Ravel: New Perspectives on the Music. Rochester: University of Rochester Press. {GB}

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Hinson, Maurice, ed. 1988.  Ravel: 'Valses nobles et sentimentales', teaching/performance-oriented edition. Van Nuys, CA: Alfred. {Alfred Music}

Hoffman, Richard. 2022. "Debussy's Canope as Narrative Form." College Music Symposium (October 2022). {CMS}

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Howat, Roy. 1983. Debussy in Proportion. Cambridge: Cambridge University Press. {GB;}

_________. 1977. "Debussy, Ravel and Bartók: Towards Some New Concepts of Form." Music & Letters 58/3 (July 1977): 285-293. {JSTOR}

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_____________. 2003. "Composers' Words, Theorists' Analyses, Ravel's Music (Sometimes the Twain Shall Meet)." College Music Symposium (October 1, 2003). {CMS}

_____________. 2004. "Ravel's Late Music and the Problem of 'Polytonality'" Music Theory Spectrum 26/2 (Fall 2004): 237–264. {JSTOR}

_____________, ed. 2011. Unmasking Ravel: New Perspectives on the Music. Rochester: University of Rochester Press. {GB}

Kelly, Barbara L. 2001. "Ravel, (Joseph) Maurice." Oxford Music Online. {Grove}

Kilpatrick, Emily. 2011. "‘Therein Lies a Tale’: Musical and Literary Structure in Ravel’s Ma mère l’Oye." Context 34 (2009): 81–98. {Context}

____________. 2015. The Operas of Maurice Ravel. London: Cambridge University Press. {GB}

Kleppinger, Stanley. 2011. "Reconsidering Pitch Centricity." Theory and Practice 36 (2011): 65–109. {JSTOR}

Kopp, David. 1997. "Pentatonic Organization in Two Piano Pieces of Debussy." Journal of Music Theory 41/2 (Autumn 1997): 261–287. {JSTOR}

__________. 2002. Chromatic Transformations in Nineteenth-Century Music. Cambridge: Cambridge University Press. {GB}

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Lesure, François and Roy Howat. 2001. Debussy, (Achille-) Claude." Oxford Music Online. {Grove}

Levine, Mark. 1995. The Jazz Theory Book. Petaluma, CA: Sher Music Co. {GB}

Lewin, David. 1987. "Some Instances of Parallel Voice-Leading in Debussy." 19th-Century Music 11/1 (Summer 1987): 59–72. {JSTOR}

__________. 2010. "Debussy's 'Feux D'Artifice,'" in Musical Form and Transformation: Four Analytic Essays. New York: Oxford University Press. {GB}

Leydon, Rebecca Victoria. 1996. "Narrative Strategies and Debussy's Late Style." PhD Dissertation: Montreal, CA: McGill University. {McGill}

Lockspeiser, Edward. 1979. Debussy: His Life and Mind, 2nd ed. (Vol. 1: 1862-1902 and Vol. 2: 1902-1918). London: Cambridge University Press. {Vol. 1: GB; Vol. 2 GB}

Marion, Gregory J. 2006. "Debussy and Recollection: trois aperçu." Music Theory Online 13/1 (March 2007). {MTO}

Mawer, Deborah, ed. 2000. The Cambridge Companion to Ravel. Cambridge: Cambridge University Press. {GB; TOC}

______________, ed. 2010. Ravel Studies. London: Cambridge University Press, Cambridge. {GB}

McFarland, Mark. 2004. "Debussy: The Origins of a Method." Journal of Music Theory 48/2 (Fall 2004): 295-324. {JSTOR}

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Novak, John K. 2015. "Whole-Tone as Extension of Tonal Harmony in the Music of Debussy: An Underestimated Technique of Conjunction." International Journal of Musicology 1 (2015): 79–99. {JSTOR}

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Pomeroy, Boyd. 2004. "Tales of Two Tonics: Directional Tonality in Debussy's Orchestral Music." Music Theory Spectrum 26/1 (Spring 2004): 87-118.  {JSTOR}

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Puri, Michael J. 2012. Ravel the Decadent: Memory, Sublimation and Desire. New York: Oxford University Press. {GB}

___________. 2017. "Ravel’s Valses nobles et sentimentales and its Model." Music Theory Online 23/3 (September 2017). {MTO}

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_________. 1995. "Chromatic Third-Relations and Tonal Structure in the Songs of Debussy." Music Theory Spectrum 17/2 (Autumn 1995): 215-241. {JSTOR}

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______________. 2004. "Scale Networks and Debussy." Journal of Music Theory 48/2 (Fall 2004): 219–294. {JSTOR}

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______________. 2017. "Harmonic qualities in Debussy's 'Les sons et les parfums tournent dans l'air du soir'." Journal of Mathematics and Music 11/2-3: 155–173. {EBSCOhost}

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Updated: January 5, 2023

Reginald Bain | University of South Carolina | School of Music