Musical Forces as a Tool for Music Analysis: Understanding Syrinx by Claude Debussy Differently

Abstract

Claude Debussy’s solo flute composition, Syrinx, originally titled La Flûte de Pan, by Claude Debussy (1862-1918) is regarded as one of the  most important solo compositions in flute literature. Numerous analyses and interpretations of this composition exist, utilising  various analytical methods, including unconventional ones like Gestalt perception and spectral analysis of flute tone quality. Many  analyses delve into complex explanations, often discussing hierarchies and interactions of musical tones in Syrinx. This article aims to  demonstrate how existing analyses of Syrinx can be reinterpreted using Steve Larson's theory of musical forces. The purpose is not to  criticise the existing analyses but to offer a different understanding by applying Larson’s theory. This approach simplifies the intricate  explanations found in previous analyses. Larson’s theory posits the existence of stable and unstable tones in tonal music, with unstable  tones being drawn towards more stable ones due to musical forces: musical gravity (the tendency of an unstable tone to descend to a  more stable tone), musical magnetism (the tendency of an unstable tone to ascend or descend to the closest stable tone), and musical inertia (the tendency of a musical pattern to continue in the same fashion it started). My analysis of Debussy's Syrinx reveals that  Larson’s theory serves as a valuable analytical tool, simplifying the complexities often present in written music analyses due to its  standardised terms. This analytical method can be applied not only to Syrinx but also to various compositions, simplifying existing  analyses and opening up new avenues for interpretation and discussion.