Directionality in two melodies of the twentieth century
Syrinx, by Claude Debussy and the first of Three pieces for solo clarinet, by Igor Stravinsky
Keywords:
Melodic analysis, Directionality in music, Twentieth-century music, Debussy, StravinskyAbstract
The present work analyses the melodic structure of the pieces Syrinx, by Claude Debussy, and the first of the Three pieces for solo clarinet, by Igor Stravinsky, in search of procedures employed to generate the sensation of directionality along the discourse. In order to do so, aspects such as dynamics, rhythmic structure, the organization of the intervals and the movement through the register were taken into consideration. The analysis shows that both composers make use of traditional procedures to make their lines directional, and yet they contribute with new and particular resources.
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References
BARON, Carol C. Varèse’s explications of Debussy’s Syrinx in Density 21.5: a secret model revealed. In The Music Review, XLIII-2, pp. 121-134. Cambrige: Black Bear Press Ltd., 1982.
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DEBUSSY, Claude. Syrinx. Paris: Société des Édition Jobert, 1927.
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STRAVINSKY, Igor. Three Pieces for Clarinet Solo. Londres: Chester Music, 1920.
TOCH, Ernst. La Melodía. Barcelona: Editorial Labor, S.A., 1994.
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