IMPRESSIONISM

Chapter:

CHAPTER 2 Getting Rid of Glue

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

If voiles is taken to mean “sails,” Debussy’s music can seem “painterly”—that is, concerned in its subtly calibrated timbres (=colors) and blurry harmony with depictions of outdoor scenes or, more generally, with establishing correspondences between the aural and the visual. That is how many viewed him during his lifetime. As early as 1887, the term “Impressionism” was applied to his music, on an analogy with the famous school of French painters that had begun to flourish somewhat earlier, and which took its name from a painting by Claude Monet (1840–1926) called Impression: Sunrise, first exhibited in 1872 (Fig. 2-3).

Citation (MLA):

Richard Taruskin. "Chapter 2 Getting Rid of Glue." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Sep. 2023. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-002004.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 2 Getting Rid of Glue. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-002004.xml

Citation (Chicago):

Richard Taruskin. "Chapter 2 Getting Rid of Glue." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-002004.xml