Musical Borrowing
An Annotated Bibliography

Individual record

[+] Lewin, David. "A Transformational Basis for Form and Prolongation in Debussy's 'Feux d'artifice.'" In Musical Form and Transformations: Four Analytic Essays, 97-159. New Haven: Yale University Press, 1993.

A detailed analysis of Debussy's "Feux d'artifice," the last of his twenty-four Préludes for piano, reveals a network of musical ideas and transformational relations that shape the overall form and character of the piece. A melodic fragment of the French national anthem "La Marseillaise" appears during the coda. The most obvious role of this quotation on the surface level is to evoke a spirit of French nationalism, which seems especially appropriate considering the immediate prewar period when Debussy composed this music. Yet on a deeper level of structure, the quotation of "La Marseillaise" achieves greater significance in that its headnote represents the culmination of a large-scale ascending chromatic progression initiated at the second reprise (from m. 82).

Index Classifications: 1900s

Contributed by: Mark S. Spicer

Except where otherwise noted, this website is subject to a Creative Commons Attribution 4.0 International License
Musical Borrowing and Reworking - - 2024
Creative Commons Attribution License