Sylveline Bourion, Debussy's Tombeau des Naïades: The process of duplication

The elaboration of a generative grammar appears particularly appropriate as an approach of the process of duplication in Debussy's work. After an attempt at creating the broad lines of a generative system, we propose here a practical application and a demonstration based on a single melody for voice and piano, Le tombeau des Naïades (1898). This approach unexpectedly leads to another interrogation: what are the functions of the duplications identified in the musical discourse and what are their links with the other aspects of the work, first of all the text and its dramatic implications?