A study of Debussy's unorthodox use of musical form.An analysis that accounts precisely for the nature of Debussy's musical forms and how forms of different works are related. Geometric systems found here throw new light on Debussy's intense interest in the other arts and provide links with artists he admired in other fields.An analysis that accounts precisely for the nature of Debussy's musical forms and how forms of different works are related. Geometric systems found here throw new light on Debussy's intense interest in the other arts and provide links with artists he admired in other fields.This is the first paperback edition of Roy Howat's stimulating and provocative study of Debussy's unorthodox use of musical form. Throught detailed analyses of the piano pieces Reflets dans l'eau and L'isle joyeuse and the symphonic poem La mer, Dr Howat shows how the pieces are built precisely and intricately around the two ratios of Golden Section and bisection so that the music is organised in various geometrical patterns which contribute substantially to its expansive and dramatic impact. The final chapter traces evidence of whether the proportional systems were designed consciously, and if so, where and why Debussy might have learnt such techniques. The evidence includes his involvement in the Symbolist movement and in esotericism.Preface; Part I. Exposition: 1. Proportional structure and the Golden Section; 2. Analytical aims and methods; 3. 'Reflets dans l'eau'; Part II. Earlier Developments: 4. Early works - up to 1892; 5. L'isle joyeuse; Part III. La Mer: 6. Introduction; 7. 'De l'aube ? midi sur la mer'; 8. 'Dialogue du vent et de la mer'; 9. 'Jeux de vagues'; Part IV. Other Evidence: 10. Brief studies of other works; 11. External evidence; Appendices; Bibliography; Index.'Roy Howat, in Debussy in Proportion, brilliantly dragoons every analytical and historical method at his command in his assault on the elusive question of Debussy's musical structures. Howat dispaslÓ}