s translation of Debussy’s phrase that music is of “couleurs et de temps rhythmés,” Eimert, p. 20, in Nichols, 1987, p. 184, from Debussy letter to Jacques Durand, Tuesday 3 September 1907. Pasler, 1982, p. 72, and 2004, p. 133, goes more into what Debussy may have meant by this phrase, i.e., as “rhythmicized color (timbres) and time.” Debussy’s remarks also imply that the nature of time is a non-measured flow (durée) which is given rational measure or “rhythmicized” through music. Debussy’s use of speeding and slowing of tempo and tempo rubato is a means of preserving the sense of flow of natural time, here used within the context of wave processes.
[8] Cox, p. 50, Kramer,1988, pp. 48-49, Orledge, p. 170, Salzman, p. 22, Wenk pp. 73, 121, Wheeldon, p. 9. To some extent, there is a wave-particle duality in analytical approaches to Jeux, with some authors stressing continuity, others discontinuity, and some incorporating both. The complexities of the dualities involved in Jeux has lead some authors to describe it as difficult to analyze, e.g., Eimert, p. 20, Pasler, 1982, p. 60, Kinariwala, p. 198, Bloom, p. 1.
[9] Langer, pp. 108-109, Zuckerkandl, pp. 83-84.
[10] Smith, p. 261, quoting Vincent d’Indy, originally in d’Indy’s article in SIM, February 1913, see also p. 298. With matched cuts, common elements between the successive shots make the changes seem smooth, whereas jump cuts abruptly change to a different scene and are used to boldly change or terminate action. Other cinematographic techniques that can be applied to music, but which Debussy does not use in any obvious way in Jeux, are accelerated motion, compressed time, flashbacks and flashforwards, replays (often in slow motion), reverse (retrograde) motion, different cutting rates and rhythms, insert shots, montage editing, wipes, and dissolves (involving mixing or cross-fading).
[11] Cone, 1972, p. 156, see also Leydon, Kinariwala, pp. 207-209, Toch, p. 191.
[12] Pasler, 1982, p. 75.
[13] Meyer, 1956, p. 93, 1989, p. 304.
[14] Smith, p. 21, from Debussy (Monsieur Croche) article “The Nursery, Poem and Music by M. Moussorgsky” in La Revue blanche, 15 April 1901.
[15] The terms ‘organic’ and ‘organicism’ are used in a specific sense in classical-romantic music, referring to motivic homogeneity, coherence, and linear development. However, the term organic in a more general sense has also been applied to aspects of Debussy’s music, e.g., Eimert’s mention of “organic growth” and the “ornamental-vegetative formal principle.” The term organic relates to similarity with organic forms and processes, homogeneity, coherence, connectedness, and gradual development from motivic “seeds,” while inorganic relates to heterogeneity, diversity, and juxtaposition. In this sense, Debussy’s music has elements of both the organic and inorganic. Debussy’s use of organic elements differs from traditional methods. The terms analytic versus synthetic clarify this difference in that classical-romantic music is analytic because it generally develops themes by breaking them down into motivic fragments, whereas Debussy’s method is synthetic because it develops motivic fragments by combining them into larger patterns. See Lipkis, p. 10. This latter method is also similar to Baroque motivic development processes, and further shows Debussy’s affinity for Bach’s music.
[16] Meyer, 1989, p. 269, also p. 332. These function as motivic ideas or sometimes similar to “nuclear themes” such as used in Middle-Eastern and gamelan music.
[18] Trezise, 1994, p. 84, Wenk, p. 71. Meyer, 1973, p. 44, calls such similarity relationships conformant relationships.
[19] Pasler, 2004, p. 134, 1982, pp. 69-70. Gelleny, p. 26, quotes Lionel de La Laurencie on Debussy’s “monodic cells” that “incessantly germinate new forms.” Wenk, p. 121, mentions “Fleeting motives, capable of being combined in a number of ways, take the place of self-sufficient themes.” Motives are easier to manipulate and interject into the musical process than themes.
[20] Trezise, 1994, pp. 82, 84. Reti, p. 244, also writes of “thematic identity beneath outer variety” as a general ideal of classical-romantic music.
[21] This is related to Bergson’s ‘unconscious’ perception of time. See also Hedges, p. viii, Walker on “background unity,” pp. 91, 107-108, Reti, pp. 243-244, and Kramer on “nonlinear listening,” 1988, pp. 20-22.
[22] Reti, pp. 66-105, 194-206, Sommer, p. 72.
[23] See Gelleny‘s article on similar procedures in Nocturnes.
[25] See Pomeroy, pp. 156-159. Debussy also practiced the combination of “primitive music with all the modern conveniences” as he said of Stravinsky. McFarland, 2000, p. 95, also notes that “In Jeux, the young man’s diatonic music contrasts with the girls’ chromatic music.” Parks, 1989, pp. 114-124 further analyzes chromatic and diatonic pitch materials in Jeux. Wenk, pp. 73-82 also discusses the tonal framework and advanced harmonic ideas used in Jeux, some of which were influenced by Stravinsky. In Jeux, the chromatic materials very often but not always “resolve” to diatonic material. Dissonance and consonance are thus related to the tension and relaxation, or intensification and de-intensification, of the wave process. There is generally also a ‘brighter’ sense of pentatonic and diatonic versus chromatic as part of the play of diatonic and chromatic.
[27] Kinariwala, p.48, Pasler, 2004, p. 137, and Trezise, 1994, p. 53 on Barraqué.
[28] Parks, 1989, p. 99, uses this term for change of function through a common pivoting element.
[29] Ruwet derived this term from from André Schaeffner. Barraqué, Benjamin, Kinariwala (p. 47), and others later refined and diversified the use of this and related terms, including free duplication and replication. Further terms include correlate, analogue, model, and different levels of reproduction of ideas. The rondo-like recurrence of an idea in early and non-western music, e.g., raga, forms an elementary form of duplication, i.e., same head with a different tail. In Jeux, the “alpha” theme is often used as head, sometimes varied, followed by different tails (e.g., diatonic, pentatonic, chromatic, or mixed), thus often signaling the beginning of a new wave, or “excursion into a tonal or durational unknown” (Al-Faruqi). See also Beck, pp. 20-21. Treize, 1994, pp. 76-86, and 2003, p. 244, mentions further motivic-thematic methods used by Debussy.
[30] Carpenter, p. 80, Kinariwala, p. 24, also Meyer, 1956, p. 152, on the principle of successive comparison.
[31] Smith, p. 27, from Debussy article “Good Friday” in La Revue blanche, 1 May 1901. See also p. 84. This also shows an emphasis on overall melodic shape or contour as an element in itself.
[32] Eimert, pp. 13, 9, 12, 10.
[33] Pomeroy, p. 159, Gelleny, pp. 28-33.
[34] Pasler, 1982, p. 62, notes the “passing the motive among instruments” and the timbral variety created. See also Chimenes, Parks, 1989, pp. 261-263.
[35] Trezise, 1994, p. 69.
[36] Trezise, 1994, p. 85, Eimert, p. 10. Reti, pp. 11-12, 193, 351-352, treats motives and themes as essentially the same as far as their structural function within the thematic process, and shows, pp. 193-206, how Debussy achieves “structural consistency” and “evolution” within the motivic realm in La Cathédrale engloutie.
[37] See also Trezise, 1994, pp. 62-63, DeVoto, 2003, p. 181, and Erickson, p. 155.
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