Impressionism in music
[3] Other elements of musical Impressionism also involve new chord combinations, ambiguous tonality, extended harmonies, use of modes and exotic scales, parallel motion, extra-musicality, and evocative titles such as “Reflets dans l'eau” (“Reflections on the water”), “Brouillards” (“Mists”), etc.[4][5] Debussy's Impressionist works typically "evoke a mood, feeling, atmosphere, or scene" by creating musical images through characteristic motifs, harmony, exotic scales (e.g., whole-tone and pentatonic scales), instrumental timbre, large unresolved chords (e.g., 9ths, 11ths, 13ths), parallel motion, ambiguous tonality, extreme chromaticism, heavy use of the piano pedals, and other elements.One trait shared with both aesthetic trends is "a sense of detached observation: rather than expressing deeply felt emotion or telling a story"; as in symbolist poetry, the normal syntax is usually disrupted and individual images that carry the work's meaning are evoked.[2] In 1912, the French composer Ernest Fanelli (1860–1917) received significant attention and coverage in the Parisian press following a performance of a symphonic poem he wrote in 1886, titled Thèbes,[7] incorporating elements associated with Impressionism, such as extended chords and whole-tone scales.[10] Other composers linked to Impressionism include Lili Boulanger,[11][12] Isaac Albéniz,[13] Frederick Delius,[14] Paul Dukas,[13] Alexander Scriabin,[15] Manuel de Falla,[13] John Alden Carpenter,[13] Ottorino Respighi, Albert Roussel, Karol Szymanowski, Charles Tomlinson Griffes, and Federico Mompou.