Signification, Objectification, and the Mimetic Uncanny in Claude Debussy’s “Golliwog’s Cakewalk”
On October 30, 1905, Emma Bardac gave birth to Claude Debussy’s only child, a daughter named Claude-Emma (1905-1919). Debussy was a doting father; he dedicated his 1908 piano suite entitled “Children’s Corner” to her, and named four of the six movement after her toys. One of them is called “Golliwo...
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| Format: | Article |
| Language: | English |
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Columbia University Libraries
2010-09-01
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| Series: | Current Musicology |
| Online Access: | https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5187 |