Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-g7gxr Total loading time: 0 Render date: 2024-11-14T04:14:09.411Z Has data issue: false hasContentIssue false

Recommendations for Further Reading and Research

Published online by Cambridge University Press:  23 May 2024

Simon Trezise
Affiliation:
Trinity College Dublin
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Debussy in Context , pp. 311 - 323
Publisher: Cambridge University Press
Print publication year: 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Berton, Claude and Ossadzow, Alexandre, Fulgence Bienvenüe et la construction du métropolitain de Paris (Paris: Presses de l’école nationale des ponts et chaussées, 1998).Google Scholar
Fourcaut, Annie and Bourillon, Florence (eds.), Agrandir Paris: 1860–1970 (Paris: Éditions de la Sorbonne, 2012).CrossRefGoogle Scholar
Kalifa, Dominique, La Culture de masse en France, 1: 1860–1930 (Paris: La Découverte, 2001).CrossRefGoogle Scholar
López-Galviz, Carlos, Cities, Railways, Modernities: London, Paris, and the Nineteenth Century (London: Routledge, 2019).CrossRefGoogle Scholar
Prochasson, Christophe, Paris 1900: Essai d’histoire culturelle (Paris: Calmann-Lévy, 1999).Google Scholar
Rearick, Charles, Paris Dreams, Paris Memories: The City and Its Mystique (Stanford, CA: Stanford University Press, 2011).CrossRefGoogle Scholar
Whiting, Steven Moore, Satie the Bohemian: From Cabaret to Concert Hall (New York: Oxford University Press, 1999).CrossRefGoogle Scholar
Yon, Jean-Claude, Une histoire du théâtre à Paris: De la Révolution à la Grande Guerre (Paris: Aubier, 2012).Google Scholar

Secondary Sources

Agulhon, Maurice, The French Republic, 1879–1992 (Oxford: Blackwell, 1993).Google Scholar
Cahm, Eric, The Dreyfus Affair in French Society and Politics (London: Longman, 1996).Google Scholar
Charle, Christophe, ‘Debussy in Fin-de-Siècle Paris’, in Fulcher, Jane F. (ed.), Debussy and His World (Princeton, NJ: Princeton University Press, 2001), pp. 271–95.Google Scholar
Fortescue, William, The Third Republic in France, 1870–1940: Conflicts and Continuities (London: Routledge, 2000).Google Scholar
Fulcher, Jane F., French Cultural Politics and Music: From the Dreyfus Affair to the First World War (New York: Oxford University Press, 1999).CrossRefGoogle Scholar
Kelly, Barbara L., ‘Debussy and the Making of a musicien français: Pelléas, the Press, and World War I’, in Kelly, Barbara L. (ed.), French Music, Culture, and National Identity, 1870–1939 (Rochester, NY: University of Rochester Press, 2008), pp. 5876.Google Scholar
Larkin, Maurice, Church and State after the Dreyfus Affair: The Separation Issue in France (London: Palgrave Macmillan, 2014).Google Scholar
McAuliffe, Mary, Dawn of the Belle Époque: The Paris of Monet, Zola, Bernhardt, Eiffel, Debussy, Clemenceau, and Their Friends (Lanham, MD: Rowman & Littlefield, 2014).Google Scholar
Moore, Rachel, Performing Propaganda: Musical Life and Culture in Paris during the First World War (Woodbridge: The Boydell Press, 2018).Google Scholar
Pasler, Jann, ‘Pelléas and Power: Forces behind the Reception of Debussy’s Opera’, 19th-Century Music 10 (1983), pp. 243–64.Google Scholar
Wheeldon, Marianne, Debussy’s Late Style (Bloomington, IN: Indiana University Press, 2009).Google Scholar
Brown, Matthew, Debussy’s ‘Ibéria’ (New York: Oxford University Press, 2003).CrossRefGoogle Scholar
Howat, Roy, ‘Russian Imprints in Debussy’s Piano Music’, in Antokoletz, Elliott and Wheeldon, Marianne (eds.), Rethinking Debussy (New York: Oxford University Press, 2011), pp. 3151.CrossRefGoogle Scholar
Kelly, Barbara L., (ed.), French Music, Culture, and National Identity, 1870–1939 (Rochester, NY: University of Rochester Press, 2008).Google Scholar
Médicis, François de, La maturation artistique de Debussy dans son contexte historique, 1884–1902 (Turnhout: Brepols, 2020).Google Scholar
Smith, Richard Langham (ed.), Debussy Studies (Cambridge: Cambridge University Press, 1997).Google Scholar
Wheeldon, Marianne, Debussy’s Late Style (Bloomington, IN: Indiana University Press, 2009).Google Scholar
Abbott, Helen, ‘Baudelaire’s “Le jet d’eau” and the Politics of Performance’, Dix-Neuf 17 (2013), pp. 3756.CrossRefGoogle Scholar
Fauser, Annegret, ‘La Guerre en dentelles: Women and the Prix de Rome in French Cultural Politics’, Journal of the American Musicological Society 51 (1998), pp. 83129.CrossRefGoogle Scholar
Holmes, Diana and Tarr, Carrie (eds.), A ‘Belle Époque’?: Women and Feminism in French Society and Culture, 1890–1914 (New York: Berghahn Books, 2006).Google Scholar
Kelly, Barbara L. and Moore, Christopher (eds.), Music Criticism in France, 1918–1939: Authority, Advocacy, Legacy (Woodbridge: The Boydell Press, 2018).Google Scholar
Kieffer, Alexandra, Debussy’s Critics: Sound, Affect, and the Experience of Modernism (New York: Oxford University Press, 2019).CrossRefGoogle Scholar
Pasler, Jann, ‘Pelléas and Power: Forces behind the Reception of Debussy’s Opera’, 19th-Century Music 10 (1987), pp. 243–64.CrossRefGoogle Scholar
Roberts, Mary Louise, Disruptive Acts: The New Woman in Fin-de-Siècle France (Chicago, IL: Chicago University Press, 2002).CrossRefGoogle Scholar
Blake, Jody, Le Tumulte noir: Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900–1930 (University Park, PA: Pennsylvania State University Press, 1999).Google Scholar
Jensen, Eric Frederick, Debussy (Oxford: Oxford University Press, 2014).Google Scholar
Sumarsam, , Javanese Gamelan and the West (Rochester, NY: University of Rochester Press, 2013).Google Scholar
Tamagawa, Kiyoshi, Echoes from the East: The Javanese Gamelan and Its Influence on the Music of Claude Debussy (Lanham, MA: Lexington Press, 2019).Google Scholar
Ashworth, Amanda, ‘Associations with the Visual Arts in the Music of Debussy’, PhD thesis, Open University (2021).Google Scholar
Bhogal, Gurminder Kaur, Details of Consequence: Ornament, Music, and Art in Paris (New York: Oxford University Press, 2013).Google Scholar
Byrnside, Ronald L., ‘Musical Impressionism: The Early History of the Term’, The Musical Quarterly 66 (1980), pp. 522–37.Google Scholar
Lethève, Jacques, ‘La Connaissance des peintres préraphaélites anglaise en France (1855–1900)’, Gazette des beaux-arts (1959), pp. 315–28.Google Scholar
Mauclair, Camille, ‘La Peinture musicienne et la fusion des arts’, La Revue bleue 6 (1902), pp. 297303.Google Scholar
Schaeffner, André, ‘Debussy et ses rapports avec la peinture’, in Weber, Edith (ed.), Debussy et l’évolution de la musique au XXe siècle (Paris: CNRS, 1965), pp. 151–62.Google Scholar
Venturi, Lionello, Les Archives de l’impressionnisme (Paris: Durand-Ruel, 1939).Google Scholar
Bergeron, Katherine, Voice Lessons: French Mélodie in the Belle Epoque (Oxford: Oxford University Press, 2010).Google Scholar
Bhogal, Gurminder Kaur, Details of Consequence: Ornament, Music, and Art in Paris (Oxford: Oxford University Press, 2013).Google Scholar
Code, David J., ‘The “Song Triptych”: Reflections on a Debussyan Genre’, in de Médicis, François and Huebner, Steven (eds.), Debussy’s Resonance (Rochester, NY: University of Rochester Press, 2018), pp. 127–74.Google Scholar
Lesure, François, Claude Debussy: A Critical Biography, rev. and trans. Marie Rolf (Rochester, NY: University of Rochester Press, 2019).Google Scholar
Nectoux, Jean-Michel, Harmonie en bleu et or: Debussy, la musique et les arts (Paris: Fayard, 2005).Google Scholar
Nichols, Roger and Smith, Richard Langham, Claude Debussy: Pelléas et Mélisande, Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1989).Google Scholar
Rolf, Marie, ‘Semantic and Structural Issues in Debussy’s Mallarmé Songs’, in Smith, Richard Langham (ed.), Debussy Studies (Cambridge: Cambridge University Press, 1997), pp. 179200.Google Scholar
Charle, Christophe, ‘Debussy in Fin-de-Siècle Paris’, in Fulcher, Jane F. (ed.), Debussy and His World (Princeton, NJ: Princeton University Press, 2001), pp. 271–95.Google Scholar
Compagnon, Antoine, Cinq paradoxes de la modernité (Paris: Éditions du Seuil, 1990).Google Scholar
Kieffer, Alexandra, Debussy’s Critics: Sound, Affect, and the Experience of Modernism (Oxford: Oxford University Press, 2019).CrossRefGoogle Scholar
Médicis, François de, La maturation artistique de Debussy dans son contexte historique, 1884–1902 (Turnhout: Brepols, 2020).Google Scholar
Nectoux, Jean-Michel, Harmonie en bleu et or: Debussy, la musique et les arts (Paris: Fayard, 2005).Google Scholar
Chimènes, Myriam, ‘Élites sociales et pratiques wagnériennes’, in Fauser, Annegret and Schwartz, Manuela (eds.), Von Wagner zum Wagnérisme: Musik, Literatur, Kunst, Politik (Leipzig: Leipziger Universitätsverlag, 1999), pp. 155–97.Google Scholar
Huebner, Steven, French Opera at the Fin de Siècle: Wagnerism, Nationalism, and Style (Oxford: Oxford University Press, 1999).Google Scholar
Leblanc, Cécile and Pistone, Danièle (eds.), Le Wagnérisme dans tous ses états, 1913–2013 (Paris: Presses Sorbonne Nouvelle, 2016).Google Scholar
Maynard, Kelly, ‘Strange Bedfellows at the Revue Wagnérienne: Wagnerism at the Fin de Siècle’, French Historical Studies 38 (2015), 633–59.CrossRefGoogle Scholar
Schwarz, Manuela, Wagner-Rezeption und französische Oper des Fin de siècle: Untersuchungen zu Vincent d’Indys ‘Fervaal’ (Sinzig: Studio, 1999).Google Scholar
Duchesneau, Michel, ‘Debussy and Japanese Prints’, in de Médicis, François and Huebner, Steven (eds.), Debussy’s Resonance (Rochester, NY: University of Rochester Press, 2018), pp. 301–25.Google Scholar
Hartman, Elwood, ‘Japonisme and Nineteenth-Century French Literature’, Comparative Literature Studies 18 (1981) (East-West Issue), pp. 141–66.Google Scholar
Howat, Roy, ‘Debussy and the Orient’, in Gerstle, Andrew and Milner, Anthony (eds.), Recovering the Orient: Artists, Scholars, Appropriations (Reading: Harwood, 1994), pp. 4581.Google Scholar
Miner, Earl, The Japanese Tradition in British and American Literature (Princeton, NJ: Princeton University Press, 1958).Google Scholar
Mueller, Richard, ‘Javanese Influence on Debussy’s “Fantaisie” and Beyond’, 19th-Century Music 10 (1986), pp. 157–86.CrossRefGoogle Scholar
Nichols, Roger (ed.), Debussy Remembered (London: Faber and Faber, 1992).Google Scholar
Pasler, Jann, ‘Revisiting Debussy’s Relationships with Otherness: Difference, Vibrations, and the Occult’, Music and Letters 101 (2020), pp. 321–42.CrossRefGoogle Scholar
Weisberg, Gabriel P. (ed.), Japonisme: Japanese Influence on French Art 1854–1910 (Kent, OH: Kent State University Press, 1975).Google Scholar
Dorf, Samuel N., Performing Antiquity: Ancient Greek Music and Dance from Paris to Delphi, 1890‒1930 (New York: Oxford University Press, 2019).CrossRefGoogle Scholar
Howat, Roy, The Art of French Piano Music: Debussy, Ravel, Fauré, Chabrier (New Haven, CT: Yale University Press, 2009).Google Scholar
Howat, Roy, Debussy in Proportion (Cambridge: Cambridge University Press, 1983).Google Scholar
Lesure, François, Claude Debussy: A Critical Biography, rev. and trans. Marie Rolf (Rochester, NY: University of Rochester Press, 2019).Google Scholar
Pasler, Jann, ‘Revisiting Debussy’s Relationship with Otherness: Difference, Vibrations, and the Occult’, Music and Letters 101 (2020), pp. 321–42.CrossRefGoogle Scholar
Wheeldon, Marianne, Debussy’s Late Style (Bloomington, IN: Indiana University Press, 2009).Google Scholar
Berenson, Edward, Duclert, Vincent, and Prochasson, Christophe, The French Republic: History, Values, Debates (Ithaca, NY: Cornell University Press, 2011).Google Scholar
Kertzer, David I. and Barbagli, Marzio, The History of the European Family (New Haven, CT: Yale University Press, 2001).Google Scholar
Mainardi, Patricia, Husbands, Wives, and Lovers: Marriage and Its Discontents in Nineteenth-Century France (New Haven, CT: Yale University Press, 2003).Google Scholar
Offen, Karen M., European Feminisms, 1700–1950: A Political History (Stanford, CA: Stanford University Press, 2000).CrossRefGoogle Scholar
Debussy, Claude, Correspondance 1872-1918, ed. Lesure, François and Herlin, Denis (Paris: Gallimard, 2005).Google Scholar
Goblot, Edmond, La Barrière et le niveau: Étude sociologique sur la bourgeoisie française moderne (Paris: Félix Alcan, 1925).Google Scholar
Herlin, Denis, ‘Un cercle amical franco-belge de Debussy: Les Dansaert, les Loewenstein et les Peter’, in Herlin, Claude Debussy: Portraits et études (Hildesheim: Olms, 2021), pp. 131–46.Google Scholar
Holt, Richard, ‘Social History and Bourgeois Culture in Nineteenth-Century France: A Review Article’, Comparative Studies in Society and History 27 (1985), pp. 713–26.CrossRefGoogle Scholar
Lallement, Michel, ‘Social Trajectory and Sociological Theory: Edmond Goblot, the Bourgeoisie, and Social Distinction’, Social Epistemology 30 (2016), pp. 692709.CrossRefGoogle Scholar
Lesure, François. Claude Debussy: A Critical Biography, rev. and trans. Marie Rolf (Rochester, NY: University of Rochester Press, 2019).Google Scholar
Perrot, Michelle (ed.), A History of Private Life: From the Fires of Revolution to the Great War, trans. Arthur Goldhammer (Cambridge, MA: Harvard University Press, 1990).Google Scholar
Plott, Michèle, ‘The Rules of the Game: Respectability, Sexuality, and the Femme Mondaine in Late-Nineteenth-Century Paris’, French Historical Studies 25 (2002), pp. 531–56.CrossRefGoogle ScholarPubMed
Joly-Segalen, Annie, Segalen et Debussy (Monaco: Éditions du Rocher, 1962).Google Scholar
Lloyd, Rosemary, Mallarmé: The Poet and His Circle (Ithaca, NY: Cornell University Press, 1999).Google Scholar
Pasler, Jann, ‘Revisiting Debussy’s Relationships with Otherness: Difference, Vibrations, and the Occult’, Music and Letters 101 (May 2020).CrossRefGoogle Scholar
Shattuck, Roger, The Banquet Years: The Origins of the Avant-Garde in France, 1885 to World War I, rev. ed. (London: Jonathan Cape, 1969).Google Scholar
Wenk, Arthur B., Claude Debussy and the Poets (Berkeley, CA: University of California Press, 1976).CrossRefGoogle Scholar
Durand, Jacques, Quelques souvenirs d’un éditeur de musique, 2 vols. (Paris: Durand, 1924–5).Google Scholar
Herlin, Denis, ‘An Artist High and Low, or Debussy and Money’, in Antokoletz, Elliott and Wheeldon, Marianne (eds.), Rethinking Debussy (New York: Oxford University Press, 2011), pp. 149–202; French revised version: Herlin, ‘Grandeur et servitude d’un artiste ou Debussy et l’argent’, in Herlin, Claude Debussy: Portraits et études (Hildesheim: Olms, 2021), pp. 147–96.Google Scholar
Macdonald, Hugh, ‘Georges Hartmann, “éditeur idéal”’, in Colas, Damien, Gétreau, Florence, and Haine, Malou (eds.), Musique, esthétique et société au XIXe siècle (Sprimont: Mardaga, 2007), pp. 285–98.Google Scholar
Nectoux, Jean-Michael, ‘Un début dans la vie d’artiste: Gabriel Fauré et ses premiers éditeurs’, in Reynaud, Cécile and Schneider, Herbert (eds.), Noter, annoter, éditer la musique (Genève: Droz, 2012), pp. 565–77.Google Scholar
Orledge, Robert, ‘Debussy, Durand et Cie: A French Composer and His Publishers (1884–1917)’, in Talbot, Michael (ed.), The Business of Music (Liverpool: Liverpool University Press, 2002), pp. 121–51.Google Scholar
Goubault, Christian, ‘Chausson et Debussy à la croisée des chemins’, Ostinato rigore: Revue internationale d’études musicales, 14 (2000), pp. 2979.Google Scholar
Orledge, Robert, ‘Debussy, Satie, and the Summer of 1913’, Cahiers Debussy 26 (2002), pp. 3144.Google Scholar
Orledge, Robert, ‘Satie’s Personal and Musical Logic’, in Potter, Caroline (ed.), Erik Satie: Music, Art and Literature (Aldershot: Ashgate, 2013), pp. 117.Google Scholar
Perret, Simon-Pierre, ‘Debussy et Dukas: Une amitié méconnue’, Cahiers Debussy 34 (2010), pp. 552.Google Scholar
Southon, Nicolas, ‘Paul Dukas and Gabriel Fauré: Portrait of a Friendship’, in Minors, Helen Julia and Watson, Laura (eds.), Paul Dukas: Legacies of a French Musician (Abingdon: Routledge, 2019), pp. 5368.CrossRefGoogle Scholar
Watson, Laura, ‘Dukas, Critical Conversations, and Intellectual Legacies’, in Helen Julia Minors and Watson (eds.), Paul Dukas, pp. 1737.CrossRefGoogle Scholar
Weilbaecher, Daniel, ‘Ernest Guiraud: A Biography and Catalogue of Works’, DMA thesis, Louisiana State University (1990).Google Scholar
Wheeldon, Marianne, Debussy’s Late Style (Bloomington, IN: Indiana University Press, 2009).Google Scholar
Woldu, Gail Hilson, ‘Debussy, Fauré, d’Indy and Conceptions of the Artist: The Institutions, the Dialogues, the Conflicts’, in Fulcher, Jane F. (ed.), Debussy and His World (Princeton, NJ: Princeton University Press, 2001), pp. 235–53.Google Scholar
Andrieux, Françoise (ed.), Gustave Charpentier: Lettres inédites à ses parents (Paris: Presses universitaires de France, 1984).Google Scholar
Bongers, Cyril (ed.), Gabriel Pierné: Correspondance romaine (Lyon: Symétrie, 2005).Google Scholar
Bongrain, Anne and Poirier, Alain (eds.), Le Conservatoire de Paris, 1795–1995: Deux cents ans de pédagogie (Paris: Buchet-Chastel, 1999).Google Scholar
Fulcher, Jane F. (ed.), Debussy and His World (Princeton, NJ: Princeton University Press, 2001).CrossRefGoogle Scholar
Hondré, Emmanuel (ed.), Le Conservatoire de musique de Paris: Regards sur une institution et son histoire (Paris: Association du bureau des étudiants du Conservatoire national supérieur de musique de Paris, 1995).Google Scholar
Lu, Julia, ‘The Prix de Rome in the Age of Romanticism’, PhD thesis, Royal Holloway, University of London (2010).Google Scholar
Lu, Julia and Dratwicki, Alexandre (eds.), Le Concours du Prix de Rome de musique, 1803–1968 (Lyon: Symétrie, 2011).Google Scholar
Herlin, Denis, ‘An Artist High and Low, or Debussy and Money’, in Antokoletz, Elliott and Wheeldon, Marianne (eds.), Rethinking Debussy (New York: Oxford University Press, 2011), pp. 149202; French revised version: Herlin, ‘Grandeur et servitude d’un artiste ou Debussy et l’argent’, in Herlin, Claude Debussy: Portraits et études (Hildesheim: Olms, 2021), pp. 147–96.CrossRefGoogle Scholar
Herlin, Denis, ‘Un cercle amical franco-belge de Debussy: Les Dansaert, les Loewenstein et les Peter’, in Herlin, Claude Debussy: Portraits et études (Hildesheim: Olms, 2021), pp. 131–46.Google Scholar
Orledge, Robert, ‘Debussy, Durand et Cie: A French Composer and His Publishers (1884–1917)’, in Talbot, Michael (ed.), The Business of Music (Liverpool: Liverpool University Press, 2002), pp. 121–51.Google Scholar
Lacombe, Hervé (ed.), Histoire de l’opéra français, vol. 2: Du Consulat aux débuts de la IIIe République (Paris: Fayard, 2020); vol. 3: De la Belle Époque au monde globalisé (Paris: Fayard, 2022).Google Scholar
Lesure, François, Claude Debussy: A Critical Biography, rev and trans. Marie Rolf (Rochester, NY: University of Rochester Press, 2019).Google Scholar
Médicis, François de, La maturation artistique de Debussy dans son contexte historique, 1884–1902 (Turnhout: Brepols, 2020).Google Scholar
Orledge, Robert, Debussy and the Theatre (Cambridge: Cambridge University Press, 1982).Google Scholar
Cooper, Jeffrey, The Rise of Instrumental Music and Concert Series in Paris, 1828–1871 (Ann Arbor, MI: UMI Research Press, 1983).Google Scholar
Deruchie, Andrew, The French Symphony at the Fin de Siècle: Style, Culture, and the Symphonic Tradition (Rochester, NY: University of Rochester Press, 2013).CrossRefGoogle Scholar
Duchesneau, Michel, L’Avant-garde musicale et ses sociétés à Paris de 1871 à 1939 (Sprimont: Mardaga, 1997).Google Scholar
Hart, Brian, ‘The Symphony and National Identity in Early Twentieth-Century France’, in Kelly, Barbara L. (ed.), French Music, Culture, and National Identity, 1870–1939 (Rochester, NY: University of Rochester Press, 2008), pp. 131–48.Google Scholar
Holoman, D. Kern, The Société des Concerts du Conservatoire, 1828–1967 (Berkeley, CA: University of California Press, 2004).Google Scholar
Pasler, Jann, Composing the Citizen: Music as Public Utility in Third Republic France (Berkeley, CA: University of California Press, 2009).CrossRefGoogle Scholar
Strasser, Michel, ‘Ars Gallica: The Société Nationale de Musique and Its Role in French Musical Life, 1871–1891’, PhD thesis, University of Illinois (1997).Google Scholar
Strasser, Michel, ‘Grieg, the Société Nationale, and the Origins of Debussy’s String Quartet’, in Kelly, Barbara L. and Murphy, Kerry (eds.), Berlioz and Debussy: Sources, Contexts and Legacies (Aldershot: Ashgate, 2007), pp. 103–15.Google Scholar
Strasser, Michael, ‘The Société Nationale and Its Adversaries: The Musical Politics of L’Invasion germanique in the 1870s’, 19th-Century Music 24 (2001), pp. 225–51.CrossRefGoogle Scholar
Caddy, Davinia, ‘Parisian Cake Walks’, 19th-Century Music 30 (2007), pp. 288317.CrossRefGoogle Scholar
Gutsche-Miller, Sarah, Parisian Music-Hall Ballet, 1871–1913 (Rochester, NY: University of Rochester Press, 2015).Google Scholar
Mawer, Deborah, French Music and Jazz in Conversation: From Debussy to Brubeck (Cambridge: Cambridge University Press, 2014).CrossRefGoogle Scholar
Orledge, Robert, Debussy and the Theatre (Cambridge: Cambridge University Press, 1982).Google Scholar
Whiting, Steven Moore, Satie the Bohemian: From Cabaret to Concert Hall (Oxford: Oxford University Press, 1999).CrossRefGoogle Scholar
Debussy, Claude, Debussy on Music, ed. Lesure, François, trans. Richard Langham Smith (New York: Alfred A. Knopf, 1977).Google Scholar
Donnellon, Deirdre, ‘Debussy as Musician and Critic’, in Trezise, Simon (ed.), The Cambridge Companion to Debussy (Cambridge: Cambridge University Press, 2007), pp. 4358.Google Scholar
Goubault, Christian, La Critique musicale en France de 1870 à 1914 (Geneva: Slatkine, 1984).Google Scholar
Herlin, Denis, ‘Les Mésaventures de Monsieur Croche Antidilettante’, in Duchesneau, Michel, Dufour, Valérie, and Benoit-Otis, Marie-Hélène (eds.), Écrits de compositeurs: Une autorité en questions (Paris: Vrin, 2013), pp. 231–57, republished in Herlin, Claude Debussy: Portraits et études (Hildesheim: Olms, 2021), pp. 366–90.Google Scholar
Picard, Timothée (ed.), La Critique musicale au XXe siècle (Rennes: Presses universitaire de Rennes, 2020).Google Scholar
Branger, Jean-Christophe, Douche, Sylvie, and Herlin, Denis (eds.), Pelléas et Mélisande cent ans après: Études et documents (Lyon: Symétrie, 2012).Google Scholar
Depaulis, Jacques, Ida Rubinstein : Une inconnue jadis célèbre (Paris : H. Champion, 1995).Google Scholar
Huebner, Steven, French Opera at the Fin de Siècle: Wagnerism, Nationalism, and Style (Oxford: Oxford University Press, 2004).Google Scholar
Lacombe, Hervé (ed.), Histoire de l’opéra français, vol. 2: Du Consulat aux débuts de la IIIe République (Paris: Fayard, 2020); vol. 3: De la Belle Époque au monde globalisé (Paris: Fayard, 2022).Google Scholar
Lécroart, Pascal (ed.), Ida Rubinstein: Une utopie de la synthèse des arts à l’épreuve de la scène (Besançon: Presses universitaires de Franche-Comté, 2008).Google Scholar
Médicis, François de, La maturation artistique de Debussy dans son contexte historique, 1884–1902 (Turnhout: Brepols, 2020).Google Scholar
Debussy, Claude, Monsieur Croche et autres écrits, rev. ed. François Lesure (Paris: Gallimard, 1987).Google Scholar
Guest, Ivor, The Romantic Ballet in Paris (London: Sir Isaac Pitman and Sons, 1966).Google Scholar
François, Médicis de and Huebner, Steven (eds.), Debussy’s Resonance (Rochester, NY: University of Rochester Press, 2018).Google Scholar
Morrison, Simon, ‘Debussy’s Toy Stories’, The Journal of Musicology 30 (2013), pp. 424–59.CrossRefGoogle Scholar
Nectoux, Jean-Michel (ed.), Nijinsky: Prélude à l’après-midi d’un faune (Paris: Adam Biro, 1989).Google Scholar
Orledge, Robert, Debussy and the Theatre (Cambridge: Cambridge University Press, 1982).Google Scholar
Code, David J., Claude Debussy (London: Reaktion Books, 2010).Google Scholar
Code, David J., ‘Hearing Debussy Reading Mallarmé: Music après Wagner in the Prélude à l’après-midi d’un faune’, Journal of the American Musicological Society 54 (2001), pp. 493554.CrossRefGoogle Scholar
Crotty, John, ‘Symbolist Influences in Debussy’s “Prelude to the Afternoon of a Faun”’, In Theory Only 6 (1982), pp. 1730.Google Scholar
Deruchie, Andrew, The French Symphony at the Fin de Siècle: Style, Culture, and the Symphonic Tradition (Rochester, NY: University of Rochester Press, 2013).CrossRefGoogle Scholar
Hart, Brian, ‘Wagner and the Franckiste “Message Symphony” in Early Twentieth-Century France’, in Fauser, Annegret and Schwartz, Manuela (eds.), Von Wagner zum Wagnérisme: Musik, Literatur, Kunst, Politik (Leipzig: Leipziger Universitätsverlag, 1999), pp. 315–38.Google Scholar
Hart, Brian, ‘The Symphony in Debussy’s World’, in Fulcher, Jane F. (ed.), Debussy and His World (Princeton, NJ: Princeton University Press, 2001), pp. 187–91.Google Scholar
Trezise, Simon, Debussy: La Mer (Cambridge: Cambridge University Press, 1995).CrossRefGoogle Scholar
Bruhn, Siglind, Debussy’s Instrumental Music in Its Cultural Context (Hillsdale, NY: Pendragon Press, 2019).Google Scholar
Code, David J., ‘Debussy’s String Quartet in the Brussels Salon of the “La Libre Esthétique”’, 19th-Century Music 30 (2007), pp. 257–87.CrossRefGoogle Scholar
Debussy, Claude, String Quartet, ed. Bloom, Peter, Œuvres complètes de Claude Debussy, series III: Musique de chambre, vol. 1 (Paris: Durand, 2015).Google Scholar
DeVoto, Mark, Debussy and the Veil of Tonality: Essays on His Music (Hillsdale, NY: Pendragon Press, 2004).Google Scholar
Herlin, Denis, ‘Les Esquisses du Quatuor’, Cahiers Debussy 14 (1990), pp. 2354.Google Scholar
Wheeldon, Marianne, ‘Debussy and La Sonate cyclique’, The Journal of Musicology 22 (2005), pp. 644–79.CrossRefGoogle Scholar
Bergeron, Katherine, ‘The Echo, the Cry, the Death of Lovers’, 19th-Century Music 18 (1994), pp. 136–51.CrossRefGoogle Scholar
Bergeron, Katherine, Voice Lessons: French Mélodie in the Belle Époque (New York: Oxford University Press, 2010).Google Scholar
Code, David J., ‘The “Song Triptych”: Reflections on a Debussyan Genre’, in de Médicis, François and Huebner, Steven (eds.), Debussy’s Resonance (Rochester, NY: University of Rochester Press, 2018), pp. 127–74.Google Scholar
Guilbert, Yvette, L’Art de chanter une chanson (Paris: Bernard Grasset, 1928).Google Scholar
Monelle, Raymond, ‘A Semantic Approach to Debussy’s Songs’, Music Review 51 (1990), pp. 193207.Google Scholar
Rumph, Stephen, The French Song Cycle: Poetry and Music, 1861–1921 (Oakland, CA: University of California Press, 2020).Google Scholar
Bhogal, Gurminder Kaur, Claude Debussy’s Clair de Lune (New York: Oxford University Press, 2018).Google Scholar
Debussy, Claude, Debussy Letters, ed. Lesure, François and Nichols, Roger, trans. Nichols (Cambridge, MA: Harvard University Press, 1987).Google Scholar
Debussy, Claude, Debussy on Music, ed. Lesure, François, trans. Richard Langham Smith (New York: Alfred A. Knopf, 1977).Google Scholar
Dumesnil, Maurice, ‘Coaching with Debussy’, The Piano Teacher 5 (1962), pp. 1013.Google Scholar
Howat, Roy, The Art of French Piano Music: Debussy, Ravel, Fauré, Chabrier (New Haven, CT: Yale University Press, 2009).Google Scholar
Long, Marguerite, At the Piano with Debussy, trans. Olive Senior-Ellis (London: Dent, 1972).Google Scholar
Nichols, Roger, Debussy Remembered (London: Faber and Faber, 1992).Google Scholar
Nonken, Marilyn, The Spectral Piano: From Liszt, Scriabin, and Debussy to the Digital Age (Cambridge: Cambridge University Press, 2014).CrossRefGoogle Scholar
Roberts, Paul, Images: The Piano Music of Claude Debussy (Portland, OR: Amadeus, 1996).Google Scholar
Briscoe, James R. (ed.), Debussy in Performance (New Haven, CT: Yale University Press, 1999).Google Scholar
Debussy, Claude, Correspondance (1872–1918), ed. Lesure, François and Herlin, Denis (Paris: Gallimard, 2005).Google Scholar
Debussy, Claude, Debussy on Music, ed. Lesure, François, trans. Richard Langham Smith (New York: Alfred A. Knopf, 1977).Google Scholar
Ho, Jocelyn, ‘Debussy and Late-Romantic Performing Practices: The Piano Rolls of 1912’, in de Médicis, François and Huebner, Steven (eds.), Debussy’s Resonance (Rochester NY: University of Rochester Press, 2018), pp. 513–61.Google ScholarPubMed
Howat, Roy, ‘Between and Beyond the Perforations in Debussy’s Welte Rolls’, in Popović, Tihomir and Mutter, Peter (eds.), Claude Debussy: Die Klavieraufnahmen (Hofheim: Wolke Verlag, 2023), pp. 62–91.Google Scholar
Howat, Roy, ‘Debussy’s Welte Roll of La plus que lente’, in Popović, Tihomir and Mutter, Peter (eds.), Claude Debussy: Die Klavieraufnahmen (Hofheim: Wolke Verlag, 2023), pp. 356–72.Google Scholar
Bhogal, Gurminder Kaur, Details of Consequence: Ornament, Music, and Art in Paris (New York: Oxford University Press, 2013).Google Scholar
Cafafa, Marielle, La Chanson polyphonique française au temps de Debussy, Ravel et Poulenc (Paris: L’Harmattan, 2017).Google Scholar
Ellis, Katharine, Interpreting the Musical Past (Oxford: Oxford University Press, 2005).CrossRefGoogle Scholar
Lockspeiser, Edward and Halbreich, Harry, Debussy: Sa vie et sa pensée (Paris: Fayard, 1980).Google Scholar
Suschitzky, Anya, ‘Rameau, d’Indy, and French Nationalism’, The Musical Quarterly 86 (2002), pp. 398448.CrossRefGoogle Scholar
Vendrix, Philippe (ed.), La Renaissance et sa musique au XIXe siècle (Paris: Klincksieck, 2000).Google Scholar
Bhogal, Gurminder Kaur, Claude Debussy’s Clair de Lune (New York: Oxford University Press, 2018).Google Scholar
Brown, Matthew, Debussy Redux: The Impact of His Music on Popular Culture (Bloomington, IN: Indiana University Press, 2012).Google Scholar
Mawer, Deborah, French Music and Jazz in Conversation: From Debussy to Brubeck (New York: Cambridge University Press, 2014).CrossRefGoogle Scholar
Nichols, Roger (ed.), Debussy Remembered (London: Faber and Faber, 1992).Google Scholar
Smith, Richard Langham, ‘Debussy Fifty Years Later: Has the Barrel Run Dry?’, in de Médicis, François and Huebner, Steven (eds.), Debussy’s Resonance (Rochester, NY: University of Rochester Press, 2018), pp. 1937.Google ScholarPubMed
Timbrell, Charles, ‘Debussy in Performance’, in Trezise, Simon (ed.), The Cambridge Companion to Debussy (Cambridge: Cambridge University Press, 2003), pp. 259–77.Google Scholar
Brown, Matthew, Debussy’s ‘Ibéria’ (Oxford: Oxford University Press, 2003).CrossRefGoogle Scholar
Brown, Matthew, Debussy Redux: The Impact of His Music on Popular Culture (Bloomington, IN: Indiana University Press, 2012).Google Scholar
Cox, David, Debussy: Orchestral Music (London: British Broadcasting Corporation, 1974).Google Scholar
Debussy, Claude, La Mer, ed. Rolf, Marie, Œuvres complètes de Claude Debussy, series V: Œuvres pour orchestre, vol. 5 (Paris: Durand, 1997).Google Scholar
Trezise, Simon, Debussy: La Mer (Cambridge: Cambridge University Press, 1994).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×