Matthew Brown is Professor of Music Theory at the Eastman School of Music. He is author of Debussy Redux: The Impact of His Music on Popular Culture (IUP, 2011), (with Th. Emil Homerin) Ariane & Bluebeard: From Fairy Tale to Comic Book Opera (IUP, 2022), and (with Robert W. Wason) Heinrich Schenker's Conception of Harmony.

"Matthew Brown is as well qualified as any Debussy scholar practising today to write a full monograph on the tantalising subject of Debussy and his use of the arabesque. . . . Brown is an excellent writer and even when he makes use of music theory, his goals are clearly communicated. This makes this volume of potential value to a readership beyond the relatively narrow confines of musical academia. Indeed, his vast knowledge and reference to other arts and society at large, which has distinguished his other studies of Debussy, must make Divine Arabesque attractive in multi-disciplinary studies."—Simon Trezise, editor of The Cambridge Companion to Debussy

• AcknowledgmentsI: PreliminariesIntroduction: Debussy's Concept of the Musical Arabesque1. Arabesques, Moresques, and GrotesquesII: Decoration and Counterpoint2. Debussy's Première Arabesque and the Legacy of J. S. Bach3. Exoticism, Escapism, and Ennui4. Prélude à L'Après-midi d'un fauneIII: Part and Whole5. "A Premeditated Design"6. La Mer and the Case of the Missing Fanfares7. Bitten by the Tarantella: Debussy and Self-Generating FormIV: Borrowing and Self-Generation8. Pelléas et Mélisande, Arabesques, and Texts within Texts9. Fake Beards and False Mustaches10. Jeux: Poetry as DanceV: Emotions and Images11. "Les miroirs ternis"12. Debussy's Cinematic Obsessions13. Arabesques as ConfessionsConclusion: Coming Full CircleBibliographyIndex

Matthew Brown is Professor of Music Theory at the Eastman School of Music. He is author of Debussy Redux: The Impact of His Music on Popular Culture (IUP, 2011), (with Th. Emil Homerin) Ariane & Bluebeard: From Fairy Tale to Comic Book Opera (IUP, 2022), and (with Robert W. Wason) Heinrich Schenker's Conception of Harmony.

"Matthew Brown is as well qualified as any Debussy scholar practising today to write a full monograph on the tantalising subject of Debussy and his use of the arabesque. . . . Brown is an excellent writer and even when he makes use of music theory, his goals are clearly communicated. This makes this volume of potential value to a readership beyond the relatively narrow confines of musical academia. Indeed, his vast knowledge and reference to other arts and society at large, which has distinguished his other studies of Debussy, must make Divine Arabesque attractive in multi-disciplinary studies."—Simon Trezise, editor of The Cambridge Companion to Debussy

• AcknowledgmentsI: PreliminariesIntroduction: Debussy's Concept of the Musical Arabesque1. Arabesques, Moresques, and GrotesquesII: Decoration and Counterpoint2. Debussy's Première Arabesque and the Legacy of J. S. Bach3. Exoticism, Escapism, and Ennui4. Prélude à L'Après-midi d'un fauneIII: Part and Whole5. "A Premeditated Design"6. La Mer and the Case of the Missing Fanfares7. Bitten by the Tarantella: Debussy and Self-Generating FormIV: Borrowing and Self-Generation8. Pelléas et Mélisande, Arabesques, and Texts within Texts9. Fake Beards and False Mustaches10. Jeux: Poetry as DanceV: Emotions and Images11. "Les miroirs ternis"12. Debussy's Cinematic Obsessions13. Arabesques as ConfessionsConclusion: Coming Full CircleBibliographyIndex

Matthew Brown is Professor of Music Theory at the Eastman School of Music. He is author of Debussy Redux: The Impact of His Music on Popular Culture (IUP, 2011), (with Th. Emil Homerin) Ariane & Bluebeard: From Fairy Tale to Comic Book Opera (IUP, 2022), and (with Robert W. Wason) Heinrich Schenker's Conception of Harmony.

"Matthew Brown is as well qualified as any Debussy scholar practising today to write a full monograph on the tantalising subject of Debussy and his use of the arabesque. . . . Brown is an excellent writer and even when he makes use of music theory, his goals are clearly communicated. This makes this volume of potential value to a readership beyond the relatively narrow confines of musical academia. Indeed, his vast knowledge and reference to other arts and society at large, which has distinguished his other studies of Debussy, must make Divine Arabesque attractive in multi-disciplinary studies."—Simon Trezise, editor of The Cambridge Companion to Debussy

• AcknowledgmentsI: PreliminariesIntroduction: Debussy's Concept of the Musical Arabesque1. Arabesques, Moresques, and GrotesquesII: Decoration and Counterpoint2. Debussy's Première Arabesque and the Legacy of J. S. Bach3. Exoticism, Escapism, and Ennui4. Prélude à L'Après-midi d'un fauneIII: Part and Whole5. "A Premeditated Design"6. La Mer and the Case of the Missing Fanfares7. Bitten by the Tarantella: Debussy and Self-Generating FormIV: Borrowing and Self-Generation8. Pelléas et Mélisande, Arabesques, and Texts within Texts9. Fake Beards and False Mustaches10. Jeux: Poetry as DanceV: Emotions and Images11. "Les miroirs ternis"12. Debussy's Cinematic Obsessions13. Arabesques as ConfessionsConclusion: Coming Full CircleBibliographyIndex