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Atonality, modality, and incantation in two works for trumpet by André Jolivet, with a discussion of his technical and aesthetic principles. Item Type text; Dissertation-Reproduction (electronic) Authors Tucker, Benjamin Scott. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 22:33:22 Link to Item http://hdl.handle.net/10150/186692 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. 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Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U-M-I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. M148106-1346 USA 313/761-4700 800/521-0600 Atonality, modality, and incantation in two works for trumpet by Andre Jolivet, with a discussion of his technical and aesthetic principles Tucker, Benjamin Scott, D.M.A. The University of Arizona, 1994 U·M·I 300 N. Zeeb Rd. Ann Arbor, MI 48106 ATONALITY, MODALITY, AND INCANTATION IN TWO WORKS FOR TRUMPET BY ANDRE JOLIVET, WITH A DISCUSSION OF HIS TECHNICAL AND AESTHETIC PRINCIPLES by Benjamin Scott Tucker A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1994 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by SQnj ami n SCQ'tt. Tucker. entitled ATONALITY, MODALITY, AND INCAN'l'ATION IN TWO WORKS .- FOR TRUMPET BY ANDRE JOLIVET, WITH A DISCUSSION OF HIS TECHNICAL AND AESTHETIC PRINCIPLES and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts Date /l;;~bJ Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. Director Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his of her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED:~kL 4 TABLE OF CONTENlS LIST OF ILLUSTRATIONS .......................................5 ABSTRACT .........................................................6 INTRODUCTION ...................................................8 LIFE AND MUSICAL DEVELOPMENT ..........................11 TECHNICAL AND AESTIfETIC PRINCIPLES ....................25 MUSICAL ANALYSIS: ARIOSO BAROCCO ..........................39 Jolivet's Five Technical Principle ................................39 Form and Thematic Process .....................................52 Atonality ..................................................86 Incantation .................................................101 Summary .................................................109 MUSICAL ANALYSIS: SECOND CONCERTO ...................114 First Movement ...........................................121 Second Movement ...........................................160 Third Movement ...........................................168 SUMMARY AND CONCLUSION ...............................188 REFERENCES .................................................193 5 LIST OF ILLUSTRATIONS Figure 1: Graph of rhythmic density in Arioso Barocco, measured in articulations per beat, averaged over each measure ........31 Figure 2: Muting of the trumpet superimposed on the graph of rhythmic density in Arioso Barocco ................................54 Figure 3: Composite graph showing rhythmic density, trumpet muting, "modulations," and tempo variation in Arioso Barocco ........55 6 ABSTRACT This document presents the most salient features of Jolivet's mature musical style as exemplified in two of his major solo works for trumpet. The two works which serve as the musical focus of the document are one of his latest works, Arioso Barocco (1968) for trumpet and organ, and a work situated near the center of his compositional output, the Second Concerto (1954) for trumpet and a thirteen-member chamber ensemble. Following an exposition of Jolivet's life and musical development, we begin by examining five technical principles of harmony, texture, melody, and rhythm, which Jolivet set forth in a 1946 article. His aesthetic principles as stated in this and other articles by the composer are also examined. The most important of these aesthetic principles holds that music is by nature incantatory or has an incantatory mission-that is, it has the power to connect man with the cosmos, eternity, or that which is greater than man himself. At the heart of this incantatory aesthetic ideal is Jolivet's belief in the primacy of expressive melody, free of the harmonic restraints of traditional tonality. The musical analysis proceeds by identifying in Arioso Barocco the specific application of Jolivet's technical and aesthetic principles to the music, as well as considering formal structure and thematic process. The Second Concerto is then examined in the same way, and a stylistic and technical comparison is drawn between the two works. The study concludes that while both works serve the same underlying atonal and incantatory musical aesthetic, they are markedly different in many significant technical characteristics and stylistic traits. In view of the fact that 7 both works come from what is considered Jolivet's third and final creative period, these findings give cause for further research into Jolivet's compositions from this period to determine whether they do in fact constitute one creative period or two separate and distinct periods. 8 INTRODUCTION The two concertos for trumpet of Andre Jolivet are among the most challenging and highly regarded works in the instrument's repertoire. Yet, too little is known about the compositional style of this "very considerable but neglected composer."l His two later solo trumpet works, Arioso Barocco (1968) for trumpet and organ, and Heptade (1971) for trumpet and percussion, are written in a style which seems completely different from that of the concertos, which date from two decades earlier. Yet all four works are from what is considered his third creative period. He has been described by his contemporaries as "an unpredictable enfant terrible" and as "the cosmic musician ... a free man in a tonal jungle."2 But there are also the inevitable critics who contend that his music is nothing but "intelligent trash," "skillful, uncomplicated, and unsubtle surface music," or "clotted, oppressive, serving to disguise the plain ideas which lurk beneath."3 Has his Concertino (1948) for trumpet, strings, and piano really, as Suzanne Demarquez says, "exhausted the magnificent possibilities of the ... instrument," or is it merely a "morceau de Shostako'llitch ala fran~aise," as Richard F. Goldman would have us believe?4 1 Andrew Thomson, Rev. of Sarabande sur Ie nom d'Erik Satie, Ouverture en rondeall, Choral et fllgato, Dance incantatoire, Poemes pOllr I'enfant, and Quatre melodies sur des poesies anciennes, by Andre Jolivet, Musical Times 134 (1993): 84. 2Irving Lowens, "Current Chronicle: Washington, D. c.," Musical Quarterly 45 (1959): 387; Richard Freed quoting French critic Bernard Gavoty in "One Hundred Years of Neglected French Music: A Specialist's Library," Stereo Review 32.2 (1974): 75. 3James Ringo, "The 'Intelligent Trash' of Jolivet and Milhaud,"