On the Problem of Research of the Models of Conceptual Space in Claude Debussy’s Music
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Abstract
In this article various models of conceptual space in music of Claude Debussy are being examined. When considered from a viewpoint assumed by B. A. Uspensky’s theory of perspective (or various spatial positions of the subject/author and the object described by him) Debussy’s music illustrates that the portrait, aesthetic, existential, landscape, theatrical and narrative models of conceptual space are applicable to his works. Techniques, specific to other art forms, influenced his works’ genesis and caused Debussy to turn to genres with loose structure, namely to rhapsody, prelude, sketch and estampe, having anticipated creative aspirations of the composers of the 20th century to synthesis of arts.
Keywords: Claude Debussy, musical space, synthesis of arts
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