Notes

Notes
1
Robin Holloway, Debussy and Wagner (Lon- don, 1979)
Holloway
Debussy and Wagner
1979
William W. Austin's re- ply to Holloway in "Debussy, Wagner, and Some Others," this journal 6 (1982), 82-9110.2307/746234
82
Carolyn Abbate's deepen- ing of the entire question through sketch evidence in "Tris- tan in the Composition of Pellkas," this journal 5 (1981), 117-4110.2307/746402
117
2
Prelude to "The Afternoon of a Faun" by Claude Debussy, ed. William W. Austin (New York, 1970), p. 133
Debussy
133
The Afternoon of a Faun
1970
3
Leo Treitler's definition of a formula in " 'Centonate' Chant: Ubles Flickwerk or E pluribus unus?," Journal of the Amer ican Musicological Society 28 (1975), 15-1710.2307/830914
15
4
Claudia Zenck-Maurer, "Arabeske," in Versuch fiber die wahre Art, Debussy zu analysieren, Berliner Mu- sikwissenschaftliche Arbeiten (Munich, 1974), pp. 105-38
Zenck-Maurer
Arabeske
105
Versuch fiber die wahre Art, Debussy zu analysieren
1974
Frangoise Gervais, "La Notion d'arabesque chez De- bussy," La Revue musicale, no. 241 (1958), pp. 3-22
Gervais
3
La Revue musicale
1958
5
Beethoven's Ninth Symphony and Wagner's Das Rheingold
Beethoven
Das Rheingold
6
Holloway in Debussy and Wagner, for exam- ple, speaks of La Damoiselle dlue as beginning with "two wafts of sonority" (p. 24)
Wagner
24
La Damoiselle dlue
Pierre Louys's letter to Debussy of 29 October 1896
Edward Lockspeiser, Debussy: His Life and Mind [London, 1962] I, 164.
Lockspeiser
I
Debussy: His Life and Mind
1962
La Revue blanche on 1 June 1901, "Music in the Open Air," in Debussy on Music, ed. by François Lesure, trans. and ed. Richard Langham Smith (New York, 1977), p. 41
Lesure
Music in the Open Air
41
Debussy on Music
1977
Baudelaire's Harmonie du soir
Baudelaire
Harmonie du soir
Paula Gilbert Lewis, The Aesthetics of Stiphane Mallarme in Relation to His Public (Ruther- ford, 1976), p. 140
Lewis
140
The Aesthetics of Stiphane Mallarme in Relation to His Public
1976
8
Dahlhaus, "Issues in Composition," in Between Romanti- cism and Modernism: Four Studies in the Music of the Later Nineteenth Century [1974], trans. Mary Whittall (Berkeley and Los Angeles, 1980), pp. 40-78.
Dahlhaus
Issues in Composition
40
Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century
1980
9
Ibid., p. 42.
42
10
Ibid., pp. 44, 59.
44
11
Dahlhaus' discussion of eighteenth-century con- cepts of taste and the correction and absorption of individ- ual eccentricity and accident into the sensus communis, in his Esthetics of Music [1967], trans. William Austin (Cam- bridge, England, 1982), pp. 8-9.
Dahlhaus
8
Esthetics of Music
1982
12
Dahlhaus, "Issues," pp. 44, 61.
Dahlhaus
44
Issues
13
Martin Cooper on a "typical" Massenet melody (the prelude 'to scene 2 of the oratorio Eve of 1875) in French Mu- sic: From the Death of Berlioz to the Death of Fauré (Lon- don, 1951), p. 24
Cooper
typical
24
French Music: From the Death of Berlioz to the Death of Faurd
1951
Cooper's remarks on Massenet's "symmetrical, short-breathed" melodies that rely on "extensive repeti- tion" in his article on that composer in the New Grove Dic- tionary of Music and Musicians, ed. Stanley Sadie (London, 1980), vol. 11, especially p. 805.
Cooper
805
New Grove Dictionary of Music and Musicians
1980
14
Dahlhaus, Richard Wagner's Music Dramas [1971], trans. Mary Whittall (Cambridge, England, 1979), pp. 143-44
Dahlhaus
143
Richard Wagner's Music Dramas
1979
Dahlhaus refers to Religion and Art as "the philo- sophical complement to Parsifal" (p. 143)
Dahlhaus
The philosophical complement to Parsifal
143
Religion and Art
15
Hough, "The Aesthetic of Pre-Raphaelitism" (pp. 142-43)
Hough
142
The Aesthetic of Pre-Raphaelitism
Doughty, "Rossetti's Conception of the 'Poetic' " (pp. 158- 61)
Doughty
158
Rossetti's Conception of the 'Poetic'
Heath-Stubbs, "Pre-Raphaelitism and the Aes- thetic Withdrawal," (pp. 166-85)
Stubbs
166
Pre-Raphaelitism and the Aesthetic Withdrawal
Pre-Raphaelitism, ed. James Sambrook (Chicago, 1974)
Sambrook
Pre-Raphaelitism
1974
p. 169
Robert D. Johnston, Dante Gabriel Rossetti (New York, 1969), pp. 136-40 (cf. also pp. 16, 54-56)
Johnston
136
Dante Gabriel Rossetti
1969
16
"Debussy and the Pre-Raphaelites," this journal 5 (1981), 95-109.
95
5
journal
1981
17
Rpt. New York, 1958, p. 5
5
Rpt
1958
Koenraad Swart, The Sense of Decadence in Nineteenth-Century France (The Hague, 1964)
Swart
The Sense of Decadence in Nineteenth-Century France
1964
18
Lockspeiser, I, 150-59
150
Austin, ed., Prelude, pp. 9-16
Austin
9
Prelude
49
Mallarmé, (Euvres completes, ed. H. Mondor and G. Jean- Aubry (Paris, 1945), pp. 388-89
Mallarmé
388
Euvres completes
1945
Lewis, p. 72
72
Leon Vallas, Claude Debussy: His Life and Works, trans. Maire and Grace O'Brien [1933] (New York, 1973), p. 147
Vallas
147
Claude Debussy: His Life and Works
1973
20
Mallarmé, cEuvres completes, p. 393
Mallarmé
393
cEuvres completes
Lewis, pp. 45-85 ("The Function of Art")
Lewis
45
The Function of Art
Wallace Fowlie, "The Poet as Ritualist," in Mallarme (Chicago, 1953), pp. 21 -49
Fowlie
The Poet as Ritualist
21
Mallarme
1953
21
Austin, ed., Prelude, p. 11.
Austin
11
Prelude
22
Margaret Cobb, ed., The Poetic Debussy: A Collection of His Song Texts and Selected Letters (Boston, 1982), p. 187
Cobb
187
The Poetic Debussy: A Collection of His Song Texts and Selected Letters
1982
Debussy's 1911 statement on religion, religious music, and "the mysteries of nature" in "M. Claude Debussy and Le Martyre de Saint-Sebastien" (interview by Henry Malherbe), Debussy on Music, pp. 247-49
Debussy
The mysteries of nature" in "M. Claude Debussy and Le Martyre de Saint-Sebastien
247
Debussy on Music
1911
23
Debussy on Music, p. 247.
247
Debussy on Music
24
Lockspeiser, I, 171-72.
171
25
Debussy on Music, pp. 85, 155.
85
Debussy on Music
26
Lewis, pp. 45-47.
45
27
Mallarmé, Plaisir sacrd, in cEuvres completes, p. 390
Mallarmé
Plaisir sacrd
390
cEuvres completes
Lewis, p. 47
47
28
Eliade, The Sacred and the Profane: The Nature of Reli- gion [1957], trans. Willard R. Trask (New York, 1959), pp. 24-26.
Eliade
24
The Sacred and the Profane: The Nature of Religion
1959
29
Lewis, pp. 65-70
65
30
Claude Debussy: Lettres 1884-1918, ed. François Lesure (Paris, 1980), p. 18
Lesure
18
Claude Debussy: Lettres 1884-1918
1980
Dahlhaus, "The Twofold Truth in Wagner's Aesthetics: Nietzsche's Fragment 'On Music Words'," in Between Romanticism and Modernism, pp. 19- 39
Dahlhaus
The Twofold Truth in Wagner's Aesthetics: Nietzsche's Fragment 'On Music Words'
19
Between Romanticism and Modernism
Dahlhaus, "Die Idee des musikalisch Absoluten und die Praxis der Programmusik," in Die Idee der absoluten Musik (Kassel, 1978), pp. 128-39
Dahlhaus
Die Idee des musikalisch Absoluten und die Praxis der Programmusik
128
Die Idee der absoluten Musik
1978
31
John Trevitt, in the article on Franck in the New Grove Dictionary of Music and Musicians, vol. 6, remarks on the influence of Franck's juxtapositions of unrelated chords on the early Debussy (p. 781)
Trevitt
781
New Grove Dictionary of Music and Musicians
Trevitt also remarks that Franck attributed to F# major "a kind of cosmic joy" (p. 781)
Trevitt
781
a kind of cosmic joy
Laurence Davies, in Cesar Franck and His Circle (London, 1970), p. 103
Davies
103
Cesar Franck and His Circle
1970
F# major in Vallas, p. 42
33
Mallarmé, p. 152
152
Mallarme
Euvres completes, p. 869
869
Euvres completes
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