Claude Debussy’s La Mer : The Timbral-Acoustical Image of the Aquatic Element
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Abstract
Among the characterizations of sound exerting influence on the processes of sonic perception,
timbre presents itself as the most important. Intrinsic to any of the acoustic phenomena of the
physical world, it not only determines its specific individual coloration, but also, endowed with
the immanent property of generalizing and concentrating the fundamental traits of the objects and
phenomena of animate and inanimate nature, forms integral auditory image on their basis. The
designated capability of the timbre expands the boundaries of the traditional perception about it
as exclusively about a qualified characteristic feature of a concrete musical instrument or voice. It
is widely used in programmatic instrumental music for artistic manifestation of the natural world
surrounding man.
In this connection special interest is aroused by analysis of timbral components involved in
the musical-artistic depiction of the sound image of the sea by Claude Debussy. The author choses
a methodology of art studies, psychology of perception and musical acoustics as her point of
departure. The main accent in the process of analysis is the disclosure of techniques of the recreation
of the aggregate of the characteristic acoustic signals of the calm sea in the first movement of the
symphonic triptych La Mer. The author comes to the conclusion about the dominating role of
timbre in the formation in human perception of an integral artistic image, similar to its natural
analogy in its physical characteristics.
Keywords: Claude Debussy, timbre, image of the sea, musical acoustics, musical-artistic
reconstruction.
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