The problem of producing excellent melodies in the music industry has been the focus of scholars over the years (McFarland 300). Many studies have established that Debussy was important in the development of the current string quartet (Day-O’Connell 250; Fulcher 12; Greenbaum 350). This paper seeks to examine the method of Debussy and his impact on symphonic music across the world. It achieves this by exploring various sources of literature that are related to the composer’s composition method and harmonic progression. There is a gap in the literature about the composition by Debussy and his influence on the music industry (Trezise 67; Wheeldon 650). Through a detailed analysis of the sources that are related to the Debussy’s production, this project has suggested ways of making music compositions better. The original argument adopted in the project was that Debussy’s compositions could be viewed as unique works that continue to have great impacts on the music industry. The time is now ripe for music composers to adopt novel approaches that would reflect on the relatively high levels of dynamism that are evident in the sector.
Works Cited
Day-O’Connell, Jeremy. “Debussy, Pentatonicism, and the Tonal Tradition.” Music Theory Spectrum 31.2 (2009): 225-261. Print.
Fulcher, Jane, ed. Debussy and his world. New York, NY: Princeton University Press, 2001. Print.
Greenbaum, Matthew. “Debussy, Wolpe and Dialectical Form.” Contemporary Music Review 27.2-3 (2008): 343-359. Print.
McFarland, Mark. “Debussy: The origins of a method.” Journal of Music Theory (2004): 295-324. Print.
Trezise, Simon, ed. The Cambridge Companion to Debussy. Cambridge, United Kingdom: Cambridge University Press, 2003. Print.
Wheeldon, Marianne. “Debussy and La Sonate Cyclique.” The Journal of Musicology 22.4 (2005), 644–679. Print.