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A Comparison of Rhythm, Articulation, and Harmony in Jean-Michel Defaye's À La Manière De Stravinsky Pour Trombone Et Piano

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A Comparison of Rhythm, Articulation, and Harmony in Jean-Michel Defaye's À La Manière De Stravinsky Pour Trombone Et Piano A COMPARISON OF RHYTHM, ARTICULATION, AND HARMONY IN JEAN- MICHEL DEFAYE’S À LA MANIÈRE DE STRAVINSKY POUR TROMBONE ET PIANO TO COM MON COMPOSITIONAL STRATEGIES OF IGOR STRAVINSKY Dustin Kyle Mullins, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Tony Baker, Major Professor Eugene Corporon, Minor Professor John Holt, Committee Member and Chair of the Division of Instrumental Studies James Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Mullins, Dustin Kyle. A Comparison of Rhythm, Articulation, and Harmony in Jean-Michel Defaye’s À la Manière de Stravinsky pour Trombone et Piano to Common Compositional Strategies of Igor Stravinsky. Doctor of Musical Arts (Performance), August 2014, 45 pp., 2 tables, 27 examples, references, 28 titles. À la Manière de Stravinsky is one piece in a series of works composed by Jean- Michel Defaye that written emulating the compositional styles of significant composers of the past. This dissertation compares Defaye’s work to common compositional practices of Igor Stravinsky (1882 – 1971). There is currently limited study of Defaye’s set of À la Manière pieces and their imitative characteristics. The first section of this dissertation presents the significance of the project, current literature, and methods of examination. The next section provides critical information on Jean-Michel Defaye and Igor Stravinsky. The following three chapters contain a compositional comparison of À la Manière de Stravinsky to Stravinsky’s use of rhythm, articulation, and harmony. The final section draws a conclusion of the piece’s significance in the solo trombone repertoire. This study will add to the published material on Jean-Michel Defaye and this influential series of pieces and is intended to further the interest of research into the works of this important composer. Copyright 2014 by Dustin Kyle Mullins ii ACKNOWLEDGEMENTS I would first like to take the opportunity to thank Tony Baker for all of his guidance. He has not only taught me about musicianship and scholarship, but also about professional protocol and how to be a respectable colleague. Vern and Jan Kagarice have also been extremely influential. They have taught me many important lessons about the importance of musicianship. My friends have helped me survive the many trials of being a graduate student, as well as helped me celebrate my greatest triumphs. Thank you for always being there. Your loyalty in all of my endeavors is truly a blessing. Last but not least, my wonderful family who has endlessly supported me on my entire academic journey. I am forever grateful of your unconditional love. All images in this document are reproduced under Public Domain or Fair Use Provisions. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ................................................................................................ iii LIST OF TABLES ............................................................................................................. v LIST OF EXAMPLES ...................................................................................................... vi Chapters 1. INTRODUCTION ........................................................................................ 1 Significance ...................................................................................... 1 Current Literature ............................................................................. 2 Methods of Examination .................................................................. 5 2. COMPOSER BIOGRAPHY ........................................................................ 6 Jean-Michel Defaye ......................................................................... 6 Igor Stravinsky ................................................................................. 7 3. COMPARISON OF RHYTHM ................................................................... 13 Ostinato .......................................................................................... 13 Metric Displacement ...................................................................... 19 4. COMPARISON OF ARTICULATION ........................................................ 24 General Usage ............................................................................... 24 Glissando ....................................................................................... 29 Ornamentation ............................................................................... 31 5. COMPARISON OF HARMONY ................................................................ 34 Scales ............................................................................................ 34 Intervals ......................................................................................... 37 6. CONCLUSIONS ....................................................................................... 42 BIBLIOGRAPHY............................................................................................................. 44 iv LIST OF TABLES Page 1. Articulation, Defaye – À la Manière de Stravinsky, Fig. 11-23 ................................... 25 2. Articulation, Stravinsky – Piano Rag Music, mm. 1-81 .............................................. 27 v LIST OF EXAMPLES All images in this document are reproduced under Public Domain or Fair Use Provisions. Page 1. Ostinato – Defaye, À la Manière de Stravinsky, mm. 24-25, 29-37 ........................... 14 2. Ostinato – Defaye, À la Manière de Stravinsky, mm. 51-59 ...................................... 15 3. Ostinato – Defaye, À la Manière de Stravinsky, mm. 66-79 ...................................... 17 4. Ostinato – Stravinsky, The Rite of Spring, “Augurs of Spring”, mm. 38-53 ................ 18 5. Ostinato – Stravinsky, Five Easy Pieces, “Gallop” mm. 22-35 ................................... 19 6. Metric Displacement – Stravinsky, The Rite of Spring, “Sacrificial Dance”, mm. 2-9 ....................................................................................... 20 7. Metric Displacement – Stravinsky, The Soldier’s Tale, “Royal March”, mm. 1-11 21 ...................................................................................... 21 8. Metric Displacement – Defaye, À la Manière de Stravinsky, mm. 20-25 ................... 22 9. Metric Displacement – Defaye, À la Manière de Stravinsky, mm. 26-28 ................... 23 10. Articulation – Defaye, À la Manière de Stravinsky, mm. 1-8................... .......... .......26 11. Articulation – Stravinsky, Piano Rag Music, mm. 1-19..................... .......... .............28 12. Articulation – Stravinsky, Petrushka, “Dance of the Coachmen”, mm. 44-111 ........ 29 13. Glissando – Stravinsky, Firebird, “Infernal Dance”, mm. 84, 86 ............................... 30 14. Glissando – Defaye, À la Manière de Stravinsky, mm. 84-85 .................................. 30 15. Glissando – Defaye, À la Manière de Stravinsky, mm. 148-152, 159-163 ............... 31 16. Glissando – Stravinsky, The Rite of Spring, “Sacrificial Dance”, mm. 151-175 ....... 31 17. Ornamentation – Defaye, À la Manière de Stravinsky, mm. 62-63 .......................... 32 18. Ornamentation – Defaye, À la Manière de Stravinsky, mm. 52-59 .......................... 33 vi 19. Ornamentation – Stravinsky, The Rite of Spring, “Spring Rounds”, mm. 1-6 .......... 33 20. Whole-Tone – Defaye, À la Manière de Stravinsky, mm. 4-8 .................................. 35 21. Pentatonic – Defaye, À la Manière de Stravinsky, mm. 50-61 ................................. 36 22. Pentatonic – Stravinsky, The Song of the Nightingale, “Chinese March”, mm. 50-77 ................................................................................... 37 23. Major-Minor Thirds – Defaye, À la Manière de Stravinsky, mm. 1-4 ........................ 38 24. Major-Minor Thirds – Stravinsky, The Rite of Spring, “Dance of the Young Girls”, mm. 1-4 ....................................................................... 39 25. Juxtaposed Fourths – Defaye, À la Manière de Stravinsky, mm. 153-160 .............. 40 26. Juxtaposed Fourths – Stravinsky, The Firebird, “Finale”, mm. 41-42 ...................... 40 27. Juxtaposed Fourths – Stravinsky, Three Children’s Stories, mm. 1-4 ..................... 41 vii CHAPTER 1 INTRODUCTION Significance Jean-Michel Defaye (b. 1932) has been a significant French composer of brass solo and chamber music since the middle of the 20th century. He has written for many of the world’s greatest brass musicians including Michel Becquet, Jacques Mauger, and David Taylor. These collaborations have produced a substantial amount of quality compositions for brass. One of Defaye’s most widely recognized works for solo trombone, Deux Danses (1953), has been studied extensively by scholars and performers. Since this composition, Defaye has contributed many other works for the trombone. Over the past two decades, Defaye has composed a collection of six pieces for solo trombone that emulate the styles of important historical composers. These pieces begin their title with À la Manière de, which translates to In the Manner of: À la Manière de Bach (1990) À la Manière de Schumann (2000) À la Manière de Debussy (2001) À la Manière de Vivaldi (2002) À la Manière de Stravinsky (2005) À la Manière de Brahms (2011) The purpose of this study is to compare the compositional traits of À la Manière de Stravinsky to those of Igor Stravinsky (1882–1971). I identify rhythmic, articulation,
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