Os Faunos de Nijinsky: As (Re) Interpretações de L’Après-Midi D’um Faune by Amanda Bortoluzzi

“… Com música por Claude Debussy, design de Liev Bakst e coreografia de Vaslav Nijinsky, L'Après-midi d'un Faune estreou, no palco do Théâtre du Châtelet, em Paris, no dia 29 de maio de 1912, com grande polêmica. …”
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Razak Abdul Aziz’s Pepatah Episodes: Re-Imaging the Malay Proverbs through Piano Music by Mohd Fairuz Zamani

“…The composer follows the tradition of piano programme music that uses figurative language elements championed by composers such as Alexander Scriabin, Claude Debussy, and Maurice Ravel. This paper aims to investigate the pepatahs chosen to be paired with the written music, expounding the programme in the movements for piano. …”
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SCRIABIN AND KODÁLY IN THE READING OF ANTAL MOLNÁR, IMRE MOLNÁR AND EMIL HARASZTI by Ákos WINDHAGER

“…Kodály found his music peculiar and disinteresting, judging it to be a poorer disciple of Richard Strauss and Claude Debussy. However, following the composer’s death, his pupils discovered new values in him, characterizing him as mythical (like A. …”
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“Modulate! modulate! modulate! but do not change the key.” The development and transformation of the term <i>modulation</i> in the 19^th-century French theory by Nikola Komatović

“…Historical sources recount an anecdote about a class on organ improvisation taught by the already renowned composer and organist César Franck (1822 – 1890) and attended by young Claude Debussy (1862 – 1918) in the 1880s. According to this testimony, Franck persistently kept telling his young, self-assured student to “Modulate! …”
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