Humor and programmatic effect are the two primary reasons for Debussy's musical borrowings. Debussy draws his borrowed material from classical music, popular songs, and national anthems. These points are illustrated through detailed analyses of pieces in which Debussy incorporates national anthems.

Works: Chabrier: Souvenirs de Munich (20); Debussy: "Golliwog's Cake-walk" from Children's Corner (20), "La Boite à joujoux," from Images oubliées (20), "Jardins sous la pluie" from Estampes (20), "Rondes de printemps" from Images (20), 9th Prelude (Book II) (20), Berceuse heroique (20, 22-23), En blanc et noir (second piece) (20, 23-26), "Feux d'artifice" from Préludes, Book II (21); Fauré: Fantasie en forme de quadrille sur des motifs du Ring (20); Tchaikovsky: 1812 Overture (20); Clementi: Symphony No. 3 in G Major, "Great National Symphony" (21).

Sources: Wagner: Tristan und Isolde (20); Mendelssohn: "Wedding March" from Midsummer Night's Dream (20); Arne: God Save the King (20-22); Campenhout, François van: "Brabançonne" (20, 22-23); Rouget de Lisle: La Marseillaise (21-22, 24, 26); Luther: Ein feste Burg (24-25); Haydn: Symphony in G Major, Hob. I:100, "Military" (24)

Index Classifications: 1800s, 1900s

Contributed by: Paula Ring Zerkle