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Impressionism in music was a movement among various composers in Western classical music (mainly during the late 19th and early 20th centuries) whose music focuses on mood and atmosphere, "conveying the moods and emotions aroused by the subject rather than a detailed tone‐picture". [1] "
Charles Tomlinson Griffes (US: / ˈ ɡ r ɪ f ə s / GRIFF-fiss; September 17, 1884 – April 8, 1920) was an American composer for piano, chamber ensembles and voice.His initial works are influenced by German Romanticism, but after he relinquished the German style, [2] his later works make him the most famous American representative of musical Impressionism, along with Charles Martin Loeffler.
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Ernest Fanelli (29 June 1860 – 24 November 1917) was a French composer who is known for his works which have been considered as precursing Impressionism.He gained renown when his symphonic poem Thèbes premiered in Paris; this was a work incorporating elements associated with music ahead of its time, such as unique harmonies, extended chords, and polytonality.
Western Impressionistic composers such as French composer Claude Debussy [49] and Maurice Ravel used the pentatonic scale extensively in their works. Pentatonic scale in Debussy's Voiles, Preludes, Book I, no. 2, mm. 43–45. [50] Pentatonic scale in Ravel's Ma mère l'Oye III. "Laideronnette, Impératrice des Pagodes", mm. 9–13. [1] Giacomo ...
Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience.
In European art music, the common practice period was the period of about 250 years during which the tonal system was regarded as the only basis for composition. It began when composers' use of the tonal system had clearly superseded earlier systems, and ended when some composers began using significantly modified versions of the tonal system, and began developing other systems as well.
The left-hand accompaniment to the melodic line is simple and generally unvaried, and the harmony looks forward to later composers of the 20th century, using a whole-tone scale. Most of the piece is inward-looking and pensive, presaging the style of Fauré's final works, although it ends optimistically in a major key. [36]