Contents

pp v-viii

List of Illustrations

pp ix-x

Acknowledgments

pp xi-xii

List of Abbreviations

pp xiii-xiv

Introduction

pp 1-16

Part One - Historiographical and Editorial Issues

pp 17-18

1 - Debussy Fifty Years Later: Has the Barrel Run Dry?

pp 19-37

2 - The Œuvres complètes de Claude Debussy Thirty Years On

pp 38-56

3 - The Kunkelmann Manuscripts: New Sources for Early Mélodies by Claude Debussy

pp 57-104

4 - “Paysage sentimental”: “Si doux, si triste, si dormant …”

pp 105-124

Part Two - Style and Genre

pp 125-126

5 - The “Song Triptych”: Reflections on a Debussyan Genre

pp 127-174

6 - Composing after Wagner: The Music of Bruneau and Debussy, 1890–1902

pp 175-224

7 - Between Massenet and Wagner

pp 225-253

8 - Debussy's Concept of Orchestration

pp 254-271

9 - Oriental and Iberian Resonances in Early Debussy Songs

pp 272-298

Part Three - History and Hermeneutics

pp 299-300

10 - Debussy and Japanese Prints

pp 301-325

11 - “Les sons … tournent”: Debussy, the Waltz, and Embodied Hermeneutics

pp 326-352

12 - Secrets and Lies, or the Truth About Pelléas

pp 353-365

13 - Vertige!: Debussy, Mallarmé, and the Edge of Language

pp 366-392

Part Four - Theoretical Issues

pp 393-394

14 - Follow the Leader: Debussy's Contrapuntal Games

pp 395-418

15 - Debussy's Absolute Pitch: Motivic Harmony and Choice of Keys

pp 419-434

16 - Debussy's G♯/A♭ Complex: The Adventures of a Pitch-Class from the Suite bergamasque to the Douze études

pp 435-475

17 - The Games of Jeux

pp 476-510

Part Five - Performance and Reception

pp 511-512

18 - Debussy and Late-Romantic Performing Practices: The Piano Rolls of 1912

pp 513-561

19 - Marius-François Gaillard's Debussy: Controversies and Pianistic Legacy

pp 562-580