Answer:
Timbre is doubtlessly one of the main paradigms of Debussy’s music. It is thus obvious to consider timbre research as a promising tool for the analysis of Debussy’s works. Within the scope of this text, this process is exemplified by an analysis of Nuages, the first movement of Debussy’s Nocturnes for orchestra (1897–99). Timbre constellations are investigated by close listening and by implementation of the MIRtoolbox software (developed by Olivier Lartillot and Petri Toi-viainen in 2007). By comparing four different recordings, a close relationship between bars 5–8 and 80–82 of Nuages is revealed. In respect to their properties of sound and harmony, these passages are ambiguous. This might tempt us to call Debussy’s treatment of sound ‘mysterious’ or ‘inscrutable’. It should always be kept in mind, however, that these ambiguities are composed out with the utmost precision. This insight leads to a reflection on questions of form. If we locate and describe specific constellations of timbre and their pre-cisely defined properties, we are able to compare different areas of form that feature similar properties of sound. As a result, we realise that musical elements are not merely juxtaposed in Debussy’s music, but interwoven in a complex fashion. By re-evaluating formal aspects in their relation to timbre, we approach a new perspective of form that is informed by current timbre research.
Explanation:
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