Estudio de Pagodas de Claude Debussy: análisis de la relación del arte japonés con la composición y percepción de la obra.

Abstract

Throughout history, multiple relationships have been established between distinct pieces of Art, but Music, is perhaps the discipline that has always generated the most discussions and diverse opinions. The abstract shade that defines this discipline is possibly the reason for its constant comparison with other artistic mediums and the multiplicity of views. The correspondence on which this paper is focused is related to the meteoric success that was called Chinoiserie or Japonisme in Paris, fin-de-siècle, rising as one of the influences that has marked the various French art forms of the time. The main objective this study aims to achieve is to clarify, through a thorough study of the historical and social context surrounding the composer Claude Debussy, of all relevant data in relation to his work for piano, of the elements of its musical language and the origin and meaning of the Japanese Art School Ukiyo-e, the presence or not of different kinds of correspondences between his work for piano Pagodas and Japanese art. This research is based on the inductive method as the final conclusions have been made by observing and interpreting the results obtained from the two tools on which this study has been articulated. These tools are the harmonic analysis-formal of the Pagodas score and the questionnaire as well as the audiovisual experimental design on the relationship between the work in question and the chosen Japanese art form, a series of Estampas by Katsushika Hokusai.