Concerning Debussy, Wes writes:

>The fact remains that Debussy was quoted as sayign that form has no place
>whatsoever in music.

and in a reply to Mr. Major, these questions are asked:

>>If the 12-tone system was created to bring about a new set of boundaries,
>thereby making one's music more creative, then why do it at all?
>
>>.....does a person HAVE to create a new system to make their music more
>>creative?

Wes, there is quite a bit of irony here if you are implying that Debussy
wrote perfectly respectable, original, and creative music without inventing
a new system and without regard to boundaries or form.

Debussy, feeling the need to escape from the shackles of large-scale form,
did not disregard form--he compensated by transfering the burden of musical
coherence to the individual notes, groups of notes, or rhythms in his
compositions.  This *new system* helped Debussy *create* new sounds that
have tickled the ears of listeners and performers the world over.

I hate to intellectually spank you with your own rod, / though I've
noticed that noone have been spared from yours, but it is Debussy who is
most recognized as the composer who laid the groundwork for the "hog-vomit"
to come!  A professor once pointed out to me that his composition, "Jeux,"
has sections which can actually be analyzed with that silly 12-note
numbering system.  (Though this professor might be one of those who are
also trying to undermine our understanding of Bach's "Art of the Fugue.")

Debussy realized intuitively what many talented modern composers have
preached, and other less talented composers have hidden behind: to save
Western Music from boundaries of tonality and late 19th Century excess,
some new techniques are gonna be necessary.

John Smyth