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The Influence of Jazz on French 37? AIO.M 7/ THE INFLUENCE OF JAZZ ON FRENCH SOLO TROMBONE REPERTORY DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of Doctor of.Musical Arts By Michael L. Samball, B.F.A., M.M. Denton, Texas May, 1987 Tape recordings of all performances submitted as dissertation requirements are on deposit in the North Texas State University Library. Samball, Michael L., The Influence of Jazz on French Solo Trombone Repertory, A Lecture Recital, Together with Three Recitals of Selected Works by Paul Bonneau, Jacques Casterede, Paul Hindemith, Darius Hilhaud, Henri Tomasi, and Others. Doctor of Musical Arts, May, 1987, 46 pp. 20 illustrations, bibliography, 47 titles. This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed and examined. TABLE OF CONTENTS Page PERFORMANCE PROGRAMS First Solo Recital v Second Solo Recital vi Third Solo Recital , vii Lecture Recital: The Influence of Jazz on French Solo Trombone Repertory .... vxt t n« LIST OF FIGURES . ix Chapter I. THE INFLUENCE OF JAZZ ON FRENCH COMPOSERS .... 1 A. Historical Overview 1. Erik Satie 2. Les Six a. Francis Poulenc b. Arthur Honegger c. Darius Milhaud 3. Maurice Ravel II. JAZZ INFLUENCES ON TROMBONE PERFORMANCE PRACTICE 20 A. Jazz Elements and Identified Traits 1. Melody 2. Harmony 3. Rhythm A. Form 5. Timbre 6. Improvisatory Style, Devices, and Effects B. The Position of the Trombone in the Jazz Band 1. Idioms perctiliar to the trombone a. tailgate style b. bass line accentuation c. talking effects d. gutbucket style e. lyrical and high tessitura style iii Page III. FRENCH SOLO TROMBONE REPERTORY TO MID-CENTURY . 29 A. Paris Conservatory Tradition 1. Teachers 2. Composers B. Paris Conservatory Solo Trombone Repertory Displaying Idiomatic Jazz Style 1. Paul Bonneau 2. Darius Milhaud 3. Henri Tomasi ^ 4. Jacques Casterede 5. Eugene Bozza 6. Jean-Michel Defaye C. Conclusion iv NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC presents Le Tfombcne Ffancais Michael L. Samball, Tfombcne assisted by Michael LJlickmari <Piatw Monday, August 4, 1975 5:00 P.M. Recital Hall PROGRAM Barcarolle et Chanson Bachique (1953) . Jules Semler-Collery Concerto (1956) • • • Henri Tomasi Andante et Scherzo-Valse Nocturne Tambourin INTERMISSION Aria, Scherzo et Final (1969) . jean Aubain Capriccio (1946) pauj Bonneau Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts V NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC presents a ChantfefJWusic JiecM {of Solo Jt'omfjcric Michael L. Saniball, Tfombone assisted by VIOLIN: Leslie Ing, Loren Laing, Gloria Orona, Barbara Sambail VIOLA: John Baker, Carl Barina CELLO: Chris Adkins, Fred Hood BASS: Marc Johnson TROMBONE: Gary Barkey, Joe Cox, A. G. McGrannahan, III PIANO AND ORGAN: Michael Rickman Wednesday, June 23, 1976 7:45 P.M. Recital Hall PROGRAM Sonata 'A3 Heinrich Ignaz Franz Biber (1644-1704) Concertino d'Hiver (1953) . Darius Milhaud Anime Tres Modere Anime INTERMISSION 'Trauermusik Paul Hindemith Langsam Ruhig bewegt Lebhaft Sehr langsam "Fiir deinen Thron tret ich hiermit" Etre Ou Ne Pas Etre(1963) . Henri Tomasi Mouvements (1966) Claude Arrieu Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts VI North Texas State University School of Music Graduate Recital Michael L. Samball, Trombone Assisted by Chong-Pil Um, Piano Allen French, Horn Dan Smith, Trumpet Monday, July 7, 1986 5:00 p.m* Concert Hall Hommage a Bach Eugene Bozza Sonatina ,Erhard Ragwitz Allegro ma non troppo Adagio Allegro molto Brass Trio .Arthur Fraekenpohl Prelude Air Scherzo Finale Intermission Sonata Paul Hindemith Allegro moderato maestoso Allegretto grazioso Allegro pesante Allegro moderato maestoso Variations on a March of Shostakovich . Arthur Fraekenpohl Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Vll North Texas State University School of Music presents a Lecture Recital The Influence of Jazz on French Solo Trombone Repertory Michael I. Sambatt Trombone Assisted by David Cloutier Piano Wednesday, November 26, 1986 5:00 p.m. Concert Hall Program Ballade for Trombone and Orchestra (1944) Eugene Bozza Deux Danses for Trombone and Piano (1952) Jean-Michel Defaye Danse Saeree Danse Profane Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts VI11 LIST OF FIGURES Figure Page 1. Darius Milhaud, La Creation du Monde, measures 37-40 . ~. 11 2. Darius Milhaud, La Creation du Monde, measures 107-121 ~ 12 3. Maurice Ravel, L'Enfant et les Sortileges, measures 330-331 15 4. Maurice Ravel, L*Enfant et les Sortileges, measures 478-479 . 7 16 5. Milford (Miff) Irving Mole, That's Aplenty .... 24 6. Zue Robertson, London Blues 25 7. Geechy Fields, Shoe Shiners Drag 26 8. Edward (Kid) Ory, Gutbucket Blues . 27 9. John (Jack) Weldon Teagarden, Knockin' a Jug ... 28 10. Paul Bonneau, Capriccio for Trombone and Piano, measures 58-91 T 7 33 11. Darius Milhaud, Concertino for Trombone and String Orchestra Movement I, measures 1-I?T~. 34 12. Darius Milhaud, Concertino for Trombone and String Orchestra Movement I, measures 165^181 . 35 13. Henri Tomasi, Concerto for Trombone and Orchestra Movement II, measures 37-5^F~ 36 14. Jacques Casterede, Sonatine for Trombone and Piano, measures 55-73 .... ^ I 7 T ... 37 15. Eugene Bozza, Ballade for Trombone and Orchestra, measures 1-33 . 39 16. Eugene Bozza, Ballade for Trombone and Orchestra, measures 73-102 . 40 ix Figure Page 17. Eugene Bozza, Ballade for Trombone and Orchestra, measures T22-132 . .......... 41 18. Jean-Michel Defaye, Deux Danses pour Trombone et Piano, measures 1-25 43 19. Jean-Michel Defaye, Deux Danses pour Trombone et Piano, measures 54-77 T~~ 44 20. Jean-Michel Defaye, Deux Danses pour Trombone et Piano, measures 89-143 45 x LIST OF TABLES Table Page 1. Jazz Idioms in French Solo Trombone Repertory . 31 XI CHAPTER I THE INFLUENCE OF JAZZ ON FRENCH COMPOSERS Historical Overview Jazz, originating in America, made its first important impact as an art form in Europe. Coming from the Negro culture, America's jazz found its roots in the cakewalks, hymns, coon songs, and ragtime music of the nineteenth century.1 As early as 1935, Robert Rogers wrote in the Musical Quarterly that "[America] needed the prompting of her European elders before she realized [jazz] developments . could be a definite contribution towards the growth of an art-music." Of the European countries attracted to jazz, France seemed the most intrigued by its artistic qualities. The French revered the jazz band and imported both black and white bands to perform in dance halls and on the concert stage. They heard in the music a contradictory array of contrapuntal noises and rhythms performed through the simple medium of an easy and ordinary dance hall tune. George Auric stated that practically every French composer ^Cakewalks and coonsongs are nineteenth-century American folk tunes with dance-like rhythms. 2 Robert Rogers, "Jazz Influence on French Music," Musical Quarterly, XXI (January, 1935), p. 53. since Claude Debussy was affected by its spirit and rhythmic individuality. He further stated that "jazz woke us up, . let us plug our ears ... no more.""* Debussy had already composed his "Golliwog's Cakewalk," a part of his suite The Children's Corner, but it failed to capture the real spirit of the true jazz dance. Other factors besides the importation of America's jazz musicians made jazz familiar to Europeans. The invention of the phonograph recording quickly disseminated jazz throughout Europe and played a primary role in its acceptability and influence. French composers often traveled to America's night clubs to hear "genuine" jazz music and to learn to imitate its sound. Evidence suggests that much of this music was not the "genuine" New Orleans article, but instead a music purged of its alleged primitivism, with a veneer of European refinement.4 Some down-to-earth jazz may have been heard in the small bistros of Paris and London, but if the European taste was anything like that of middle-class America, most of what passed for jazz in the leading hotels and fashionable clubs of Europe was commercial dance music, carefully planned and purified."* 3 David Baskerville, "Jazz Influence on Art Music to Mid-Century," unpublished doctoral dissertation, School of Music, University of California, Los Angeles, California, 1965, p. 104. 4Ibid., p. 103. 5Ibid., p. 103. It was as difficult to define jazz during the early twentieth century as it is today. Early jazz took on two roles: 1. what is today called commercial music, and 2. the more eclectic art form.
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