BAIN MUSC 726D Bibliography

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

Agawu, Kofi. 2008. Music as Discourse: Semiotic Adventures in Romantic Music. New York: Oxford. {GB}

Agmon, Eytan. 1995 “Functional Harmony Revisited: A Prototype-Theoretic Approach.” Music Theory Spectrum 17/2 (Autumn 1995): 196-214.

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

Alvira, Jose Rodriguez. 2015. "Ravel, 'Quatour pour intruments à cordes', First Movement." Available online: <https://www.teoria.com/en/articles/ravel_quatour/>.

Antokoletz, Elliott, 2014. A History of Twentieth-Century Music in a Theoretic-Analytical Context. New York: Routledge. {GB}

Antokoletz, Elliott and Marianne Wheeldon, eds. 2011. Rethinking Debussy. New York: Oxford University Press. {GB}

Austin, William, ed. 1970. Prelude to the afternoon of a faun. An authoritative score; Mallarmé's poem; backgrounds and sources; criticism and analysis. New York: Norton. {Archive.org}

Baron, Carol K. 1982. "Varèse's Explication of Debussy's Syrinx in Density 21.5 and an Analysis of Varèse's Composition: A Secret Model Revealed." The Music Review 43 (May 1982): 121-34.

Bass, Richard. 1994. "Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors." Journal of Music Theory 38/2 (Autumn 1994): 155–186. {JSTOR}

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}

________________. 2018. Claude Debussy's 'Clair de Lune'. New York: Oxford University Press. {GB}

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}

Code, D.J. 2001. "Hearing Debussy Reading Mallarmé: Music après Wagner in the Prélude à l'après-midi d'un faune" Journal of the American Musicological Society 54/3: 493–554. {JSTOR}

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

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

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}

Durand, Emile. 1881. Traité complet d'harmonie théorique et pratique. Paris: Ledue. {Archive.org}

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}

Gjerdingen, Robert. 2020. Child Composers in the Old Conservatories: How Orphans Became Elite Musicians. New York: Oxford University Press. {GB; YouTube Channel}

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

Grant, M. J. 2001. "Webern and Debussy," in Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe. Cambridge: Cambridge University Press. {GB}

Guttman, Peter. 2018. "Debussy and Ravel String Quartets." Classical Notes. Available online at: <http://classicalnotes.net/classics6/debrav.html>.

Hanninen, Dora A. 2012. A Theory of Music Analysis: On Segmentation and Associative Organization. Rochester, NY: University of Rochester Press. {GB}

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}

Helmholtz, Hermann von, and Alexander John Ellis. 1954/1885. On the Sensations of Tone as a Physiological Basis for the Theory of Music, 2nd ed. Mineola, NY: Dover. {GB}

Hepokowski, James. 2010. "Clouds and Circles: Rotational Form in Debussy’s ‘Nuages’." Dutch Journal of Music Theory 15/1 (February 2010). {Author's Website}

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}

Hook, Julian. 2022. Exploring Musical Spaces: A Synthesis of Mathematical Approaches. New York: Oxford University Press. {GB}

Hopkins, G. W. 1968. "Portrait of Debussy. 10: Debussy and Boulez." The Musical Times 109/1506 (August 1968): 710–714.

Howat, Roy. 2009. The Art of French Piano Music: Debussy, Ravel, Fauré, Chabrier. London: Yale University Press. {GB}

_________. 1198. Debussy in Proportion. Cambridge: Cambridge University Press. {GB; Archive.org}

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

Howe, Blake, et al. 2016. The Oxford Handbook of Music and Disability Studies. New York: Oxford University Press. {GB}

Jankélévitch, Vladimir. 2003. Music and the Ineffable, translated by Carolyn Abbate. Princeton: Princeton University Press. {GB}

Jensen, Eric Frederick. 2014. Debussy. New York: Oxford University Press. {GB}

Kaminsky, Peter. 2016. "Listening to Performers’ Writings and Recordings: An Analysis of Debussy’s “Colloque sentimental." Music Theory Online 22/3 (September 2016). {MTO}

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

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

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

_____________. 2000. "Of Children, Princesses, Dreams and Isomorphisms: Text-Music Transformation in Ravel's Vocal Works." Music Analysis 19/1 (March 2000): 29–68. {JSTOR}

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

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}

Laitz, Steven. The Complete Musician: An Integrated Approach to Theory, Analysis and Listening. 4th ed. New York: Norton. {GB}

LaRue, Jan. 2011/1970. Guidelines for Style Analysis, Revised Edition. Sterling Heights, MI: Harmonie Park Press. {GB}

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

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

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}

Lochhead, Judy. 2015. Reconceiving Structure in Contemporary Music: New Tools in Music Theory and Analysis. New York: Routledge.

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}

Nattiez, Jean-Jacques. 1990. Music and Discourse: Toward a Semiology of Music. Translated by Carolyn Abbate. Princeton, NJ: Princeton University Press. {GB}

Nattiez, Jean-Jacques and Jonathan M. Dunsby. 1977. " Fondements d'une sémiologie de la musique." Perspectives of New Music 15/2 (Spring-Summer 1977): pp. 226–233. {JSTOR}

Nonken, Marilyn. 2012. The Spectral Piano: From List, Scriabin, and Debussy to the Digital Age. London: Cambridge University Press. {GB}

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}

Orenstein, Arbie. 1967. "Maurice Ravel's Creative Process." The Musical Quarterly 53/4 (October 1967): 467-481. {JSTOR}

Oravitz, Michael. 2015. "Meter as a Formal Delineator in Two Debussy Préludes." Res Musica 7. {Res Musica}

Parker, Sylvia. 2012. "Claude Debussy's Gamelan." College Music Symposium (August 27, 2012). {CMS}

Parks, Richard S. 1989. The Music of Claude Debussy. New Haven: Yale University Press. {GB}

Pasler, Jann. 1982. " 'Jeux': Playing with Time and Form." 19th-Century Music 6/1 (Summer 1982): 60–75. {JSTOR}

__________. 2012. "Debussy the Man, His Music, and his Legacy: An Overview of Current Research." Notes 69/2 (December 2012): 197–216. {JSTOR}

Perle, George. 1996. The Listening Composer. Berkeley, CA: University of California Press. {GB}

Piston, Walter. 1987/1941. Harmony, 5th ed. (Revised by Mark DeVoto). New York, Norton. {GB}

Poe, Edgar Allan. 1950. "The Poetic Principle." Home Journal 1850/36-238 (August 31, 1850): 1. {eapoe.org}

______________. 1846. " The Philosophy of Composition." Graham's Magazine 28/4 (April 1846): 163-167. {eapoe.org; PF}

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

Pressing, Jeff. 1978. “Towards an Understanding of Scales in Jazz.” Jazz Research 9: 25–35.

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}

Reti, Rudolph. 1961/1958. Tonality in Modern Music. New York: Collier. {GB; Internet Archive}

Richards, Richard Jean. 2015. "Unraveling Ravel: The Prélude from Le Tombeau de Couperin." Musical Insights 4. {MACRO}

Rings, Steven. 2008. "Mystéres limpides: Time and Transformation in Debussy's 'Des pas sur la neige'." 19th-Century Music (2008) 32/2: 178–208. {UChicago.edu}

Rogers, Jillian C. 2022. "Musical ‘Magic Words’: Trauma and the Politics of Mourning in Ravel's Le Tombeau de Couperin, Frontispice and La Valse." Nineteenth-Century Music Review 20 (April 2023): 185–226. {Cambridge Core}

_____________. 2021. Resonant Recoveries: French Music and Trauma Between the World Wars. New York: Oxford University Press. {GB; Review; Companion Website}

Ross, Alex. 2018. "The Velvet Revolution of Claude Debussy: How a reclusive Frenchman created some of the most radical, beautiful music of the modern era." The New Yorker (Oct. 22, 2018). {New Yorker}

Sayre, Paul Daniel. 2002. "Technique and Structure in the First Movement of Maurice Ravel's Sonatine for Piano: Comparative Analytic Approaches." Musical Insights 2 {MACRO}

Schmitz, Elie Robert. 1966. The Piano Works of Claude Debussy. Mineola, NY: Dover. {GB}

Schoenberg, Arnold. 2011/1911. Theory of Harmony, 100th Anniversary Edition. Berkeley: University of California Press. {GB}

Shattuck, Roger. 1968. The Banquet Years: The Origins of the Avant-Garde in France, 1885 to World War I. New York: Knopf Doubleday. {GB}

Shearin, Arthur. 1979. "The Choral Music of Debussy and Ravel." The Choral Journal 19/6 (February 1979), 7-9. {JSTOR}

Shibatani, Naomi. 2008. "Contrasting Debussy and Ravel: A stylistic analysis of selected piano works and 'Ondine'." DMA Dissertation. Houston: Rice University. {Rice}

Somer, Avo. 2005. "Musical Syntax in the Sonatas of Debussy: Phrase Structure and Formal Function." Music Theory Spectrum 27/1 (Spring 2005), 67–96. {JSTOR}

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

Stankis, Jessica E. 2015. "Maurice Ravel’s 'Color Counterpoint' through the Perspective of Japonisme." 21/1 (March 2015). {MTO}

Straus, Joseph N. 2022. The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses. New York: Oxford University Press. {GB; Oxford; Companion Website}

______________. 2016. Introduction to Post-Tonal Theory, 4th ed. New York: Norton. {GB}

Taruskin, Richard. 2010. Music in the Early Twentieth Century. New York: Oxford University Press. {GB}

Terefenko, Dariusz. 2016. "Fin de Siècle Harmony – A Jazz Perspective." Engaging Students: Essays in Music Pedagogy, Vol. 4: Engaging Students Through Jazz. {Flipcamp.org}

Tommasini, Anthony. 2012. "Shocking or Subtle, Still Radical: Rite of Spring and Jeux as Radical Music." New York Times (Sept. 18, 2022). {NY Times}

Toussaint, Godfried T. 2019/2013. The Geometry of Musical Rhythm: What Makes a "Good" Rhythm Good?, 2nd ed. Boca Raton, FL: CRC Press. {GB; Full text: Ebook Central}

Trezise, Simon, ed. 2003. The Cambridge Companion to Debussy. Cambridge: Cambridge University Press. {GB}

Trezise, Simon, 1994. Debussy: La Mer. Cambridge: Cambridge University Press. {GB}

Turek, Ralph. 1995. The Elements of Music: Concepts and Applications, 2nd ed. New York: McGraw Hill. {GB}

Tymoczko, Dmitri. 1997. "The Consecutive-Semitone Constrain on Scalar Structure: A Link Between Impressionism and Jazz." Intégral 11: 135-179. {Rochester.edu}

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

______________. 2011. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. New York: Oxford University Press. {GB; Full text: Ebook Central}

Walsh, Stephen. 2018. Debussy: A Painter in Sound. New York: Knopf Doubleday. {GB}

Waters, Keith. 2012. "Other Good Bridges: Continuity and Debussy’s Reflets dans l’eau." Music Theory Online 18/3 (September 2012). {MTO}

Watkins, Glenn. 2002. Proof through the Night: Music and the Great War. Berkeley: University of California Press. {GB; Oxford Academic}

Wright, Craig and Bryan Simms. 2006. Music in Western Civilization. New York: Thomson/Schirmer. {GB}

Yih, Annie K. 2000. "Analysing Debussy: Tonality, Motivic Sets and the Referential Pitch-Class Specific Collection." Music Analysis 19/2 (July 2000): 203-229. {JSTOR}

Yust, Jason. 2016. "Special Collections: Renewing Set Theory." Journal of Music Theory 60/2 (October 2016): 213–262. {JSTOR}

______________. 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}

Zank, Stephen. 2009. Irony and Sound: The Music of Maurice Ravel. Rochester: University of Rochester Press. {GB}

Updated: July 14, 2024

Reginald Bain | University of South Carolina | School of Music
https://reginaldbain.com/vc/musc726d/