{'fraction_non_alphanumeric': 0.02759381898454746, 'fraction_numerical': 0.0033112582781456954, 'mean_word_length': 4.773885350318471, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
George Whitefield Chadwick: The Life and Music of the Pride of New England by Bill F. Faucett (review)

these studies is designed to explore a particular gesture . . . it is often difficult to say whether a recurring idea is a duplication or whether it is repeated because it is the subject of the study.” In chapter 17 we finally see an examination of complete pieces with full scores (the Book 2 Préludes “Bruyères” and “Canope,” and the Image “Et la lune descend sur le temple qui fût”); as often is the case in the book, the analysis is clearly articulated in the text but the scores are sparsely annotated. Several movements or pieces are analyzed under different subheadings though not cross-referenced, such as “Fêtes,” the second of the orchestral Nocturnes, a rich case study for this topic and happily one with a central section that is relevant to the military metaphor. The index of names is perfunctory and oddly incomplete, several names being listed without page references. Bourion writes clearly and engagingly, once comparing duplication procedures to Lego construction (p. 480). While the listener experience is not mentioned explicitly in the book, Bourion’s primary focus is on elements that are either easily perceived by the listener and grounded in real-time experience of the music, or that are obvious once pointed out. One might assume that duplication is, by its very nature, a repetitive and straightforward topic, but Bourion demonstrates that in Debussy, it is a structuring device that is surprisingly varied and subtle. She deals comprehensively with the issues in her book’s subtitle, while the bigger question of Debussy’s style is often touched on but never addressed in depth. Her book sets out the stall impressively while leaving plenty of scope for future analytical work.