Yale professor Craig Wright teaches this session of Listening to Music (MUSI 112), arguing that musical Impressionism grew alongside Impressionist painting and Symbolist poetry rather than in isolation. He traces Debussy's musical responses to Stephane Mallarme's poetry, then turns to the prelude La Cathedrale Engloutie to show how Debussy's harmonic haze parallels the blurred forms in Monet's canvases. Wright draws in other composers and poets working in the same aesthetic vein before shifting to Ravel, whose exoticism and water imagery culminate the lecture. The class ends with pianist Naomi Woo performing Ravel's Ondine, giving the analysis a live musical payoff. Recorded in Fall 2008, the lecture runs just under an hour and moves chronologically through four chapters, from a general introduction to Impressionism through to the closing performance.