Debussy Studies 2 follows on from the first volume under that title a little over a quarter of a century later (1997) and enters a field of extraordinarily rich recent research activity devoted to Claude Debussy. The co-edited OUP collection Rethinking Debussy (2011)1 appeared just before several international conferences for Debussy’s birth sesquicentenary in 2012. Indeed, the commemoration of Debussy in 2012 and then in 2018, to mark the centenary of his death, gave rise to a number of events in France, Belgium, Canada and the UK, providing multiple opportunities to reflect on Debussy over the century, and to stimulate new research by well-established scholars and by a whole new generation of researchers. Jann Pasler carried out the clearest reflective survey of the state of Debussy research in 2012 in an article published in Notes entitled ‘Debussy the Man, his Music and his Legacy: an overview of current research’.2 She used it as an opportunity to take stock on Debussy scholarship and how it had changed since the composer’s centenary in 1962, focusing in particular on the last ten years.