Evolution of a musical style: Stylistic transitions in Vivier’s first works i Martine Rhéaume Department of Music, University of Montreal, Canada martine.rheaume_at_umontreal.ca In: M. M. Marin, M. Knoche, & R. Parncutt (Eds.) Proceedings of the First International Conference of Students of Systematic Musicology (SysMus08) Graz, Austria, 14 15 November 2008, http://www.uni graz.at/muwi3www/SysMus08 Background. In Music, the Arts, and Ideas , Leonard Meyer states the internal dynamics hypothesis in the transformation of a musical style: a style emerges gradually and, thus, isn’t the product of a specific decision; a style is learned , even by the composers who invent it, and listeners learn in as well. A personal style can also be understood through its influences, be it from individuals or from culture in general. Accounts of influences on Canadian composer Claude Vivier’s (1948 1983) music are numerous: Tremblay (2000) spots traces of Stockhausen, gamelan, and Messiaen; Braes (2001) unveils links between Stockhausen’s Mantra and Vivier’s Orion ; and Gilmore (2007) accounts for influence of spectral music on Vivier’s Lonely Child . Aims. Since Vivier’s style is often described by its influences, I aim to shed new light onto it by explaining its internal process. How does Vivier go from one work to another? What are the choices he makes in each work and that he modifies from one another, on a given period of time? This is what I aim to understand in analysing the melodic parameter in the music of Claude Vivier. In this paper, I am going through the internal dynamics of Vivier’s emerging melodic style in five vocal works composed between 1973 and 1975: Chants, O! Kosmos, Jesus erbarme dich, Lettura di Dante and Hymnen an die Nacht , analysed in the chronological order of their composition. Main contribution. After a brief summary of paradigmatic analysis (Ruwet, 1972; Nattiez, 2003) of the five works showing they share much of the same melodic material, I follow the evolutional path of a simple yet very significant musical formula, i.e. a motive constantly repeated and transformed throughout the works. By observing the transformation of this specific formula into each work and from one to another, I show a microcosm of the evolution of Vivier’s melodic style: a very simple formula is used to structure entire sections of each work; it evolves into more complicated and implicative states, yet simpler versions can still be found. Complexity is by no means a goal in Vivier’s style, but merely a passing state. personal expression through recurring choices. However, when one wants to Le style n’est rien, mais rien n’est sans le style. understand a specific style, declaring it (Rivarol) impalpable cannot be an option; too much Style is nothing, but nothing is without style. research would end right where it started: “style is nothing”. Thus, by observing the Le style est la volonté de s’extérioriser par des means by which a composer choses to create moyens choisis. (Max Jacob) a work or a corpus of works, it may become Style is the willingness to exteriorize oneself by possible to understand what it is that is being chosen means . exteriorized. How does Canadian composer Claude Vivier ii Quite often, an aphorism will generate as proceed from one work to another? What are much or more sense than there would be in a the choices he makes in each work and that much more thorough theoretic text. This is so he modifies from one to the next, over a because of the simplicity of the formula; its given period of time? What are the succinct aspect makes each term more compositional processes that he uses, keeps important and fruitful for reflection and and transforms from one work to another? imagination. The definitions of “style” as a This is what I aim to understand in analyzing notion, be they generic or specifically related the melodic parameter in the music of Claude to art and music, are not too far from the Vivier in a wider ranging research goal that aphorisms of Rivarol and Max Jacob: style can includes the results discussed in the article be the object of a value judgment, since that follows. In this project, I attempt to “nothing is without style”; style is a form of reconstitute the stylistic evolution of Claude
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Vivier’s musical language in an endogenetic 2001) who unveils links between view, based on the assumption that music Stockhausen’s Mantra and Vivier’s Orion ; and can generate music, and that style evolves in an article by Bob Gilmore ( Tempo , 2007) through an internal dynamic process that can accounting for the influence of spectral music be identified and explained. I observe on Vivier’s Lonely Child . Further accounts of changes of style matter that can be noticed various influences are forthcoming in an issue from one work to the next and compile them of Circuit devoted to Vivier’s music, to be chronologically, thus trying to reconstitute the published in 2008. In light of this well logic of compositional choices that allowed supported evidence, it would be reckless to Vivier’s style to evolve. The internal dynamic state that Vivier’s style is solely the product process of Vivier's early melodic style is of internal development. Moreover, analysed here through five vocal works musicological literature on musical style is composed between 1973 and 1975: Chants, very clear about the fact that no style O! Kosmos, Jesus erbarme dich , Lettura di whatsoever is hermetic to its sociocultural Dante and Hymnen an die Nacht . environment. The analysis of Vivier’s style through its internal process simply offers an Following a brief summary of the alternate view for its understanding. paradigmatic analysis of the five works which highlights the similarities and differences between them, I will describe the evolutional Five works, eleven formulae path of a simple yet very significant musical formula among those works. By observing the When applied to an appropriate corpus of transformation of this specific formula in each works, paradigmatic analysis is a very work and from one to another, we witness a revealing tool of compositional process. This microcosm of the evolution of Vivier’s melodic analysis method is based on anthropologist style. Claude Lévi Strauss’ myths analysis. It has been applied to music by French linguist and musicologist Nicolas Ruwet (1972) for the Internal development and analysis of monody, and then quite developed external influences: by Jean Jacques Nattiez (2003). Without reconcilable views going too much into details that are thoroughly explained elsewhere, the In an interview published more than fifteen paradigmatic analysis of a work is made by years ago in the music journal Circuit , the locating repetitions of signifying musical late György Ligeti spoke of Vivier in these elements – be it motifs, cells or ideas – and words: “what strikes me most in Claude by laying them out in columns (one column Vivier’s music is his completely original for each melodic element including one or musical genius. He was alone despite various more repetitions and/or transformations influences , and he was able to bring to life his between related melodic segments). The multicoloured sonic imagination better than score remains legible from left to right, with anybody (ever) could.” iii (1991, p. 15, italics blanks spaces used as a simple graphic and translation are mine). By trying to spacing element rather than a representation understand the endogenetic aspect of Vivier’s of temporal value. These analyses are visually musical style, I do not aim to deny the instructive since they allow to grasp a work’s musical influences present in his music, but form at a single glance, while maintaining the rather to understand how, in the words of linear temporal evolution inherent to music. Ligeti, he was alone . However, they take up a lot of space, since a Accounts of influences on Vivier’s music are score is present integrally, and quite spaced. numerous, namely in an article by Jacques This is why no paradigmatic analysis of a Tremblay ( Circuit , 2000), who spots traces of complete work is given in this article, Karlheinz Stockhausen, Balinese gamelan, although large excerpts will be given later on. Montreal composer and Messiaen’s pupil Gilles By connecting paradigmatic analysis of Tremblay as well as Messiaen himself; in an Chants , Jesus erbarme dich , O! Kosmos, article by Ross Braes ( Discourses on Music , Lettura di Dante and Hymnen an die Nacht , I
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have identified something fascinating: eleven syntax, and the impression of either closure paradigmatic formulae – that is, eleven or surprise following musical events that can columns of a paradigmatic table – are be created, depending on whether they are sufficient to account for the melodic concordant with the implication or not. In repetitions that can be found in these five order to allow better understanding of the works. In other words, the melodic elements implications that can be generated by which that are subject to repetition and types of musical events, Meyer gives in transformation in these five works can be Explaining Music a taxonomy of melodic described with the same formulae. Thus, they structures. In his definition of what share, in some way, the same musical constitutes an axial melody, he writes: material. After a brief overview of their “Implication is absent because, since axial individual structures, this discussion follows melodies are essentially prolongations of a the path of one of these formulae from one single tone, no high level processive work to the next. This is an example of the relationships are possible.” (1973, p. 183). approach I intend to apply to the whole body Yet, Vivier uses melodies prolonging a single of Vivier’s works. note, or two notes, in a structural manner, thus justifying the specific taxonomy of static Chants melodic structures that follows. (Seven female voices and percussion) Among static melodic structures in these five This work of little more than twenty minutes works, one finds: axial melodies (turning in length was composed in Köln in 1973, around a central tone), oscillating melodies while Vivier was studying with Karlheinz (alternating between two tones) and constant Stockhausen. According to Vivier himself, melodies, discrete or sustained (i.e. on a “this works represents the very first moment single tone, repeated or held) v. In Chants , of my existence as a composer” iv (1991, p. oscillating and constant melodies are the 55, my translation). It is the first of his works most important. Indeed, the work starts with in which one can find most of the themes that a minor third, B flat – G, that will be found as are to become central to his artistic is or transposed throughout the piece, with sensibility. Even though these themes are not special emphasis on B flat, that Vivier brings the focus in this discussion, it is still back like a recitation tone. The minor third important to acknowledge their presence. has been assigned to the A formula of the Even more so because they manifest paradigmatic analysis. Oscillating seconds, themselves at the same moment as do the major and minor, are common enough foundations of his personal musical style. Let throughout the piece to become the B formula us recall that the French word "chant" does of the analysis. Finally, constant melodies, not translate into "chant" in English, but discrete or sustained, have the most rather "song" or "singing". In Vivier’s mind, prominent role in the work; it is the D Chants is a requiem, or at the very least a formula. The two latter formulae are, among ritual; the text is his and speaks of childhood, the eleven that can be found in Chants , death, and the maternal figure, with passages nothing less than the very structure of the in a “language” of his own invention (from piece, from beginning to end. Figures 1 to 3 now on referred to as “invented language”) show samples of these three formulae. and excerpts of the Roman Catholic Funeral Liturgy. In this piece, Vivier exploits various ways of creating static melodic outlines, meaning melodic formulae that imply nothing Figure 1. A formula. Chants , m. 81, soprano 1. but themselves or their own continuation and don’t create significant musical implications for the listener. Here, I am referring to Leonard Meyer's theories, based on the implicative relationships between musical events that can be perceived by listeners Figure 2. B formula. Chants , m. 83, soprano 1. acquainted with or acculturated to a musical
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Figure 3. D formula. Chants , mm. 71 74, soprano 1. with a quite rhythmic semitone oscillation in the bass that introduces an exchange Paradigmatic analysis of Chants shows a between the choir and the soloist. The choir block structure, sections of the work being sings a discrete constant motif on the syllable often dominated by the presence, multiple “Je”, to which the soprano answers by the repetitions and transformations of a single syllable “sus” a minor third above. Note in formula. It is the case for the B formula in figure 5 that the time signatures of the measures 167 to 173, followed by a section measures sung by the choir tutti present the centered on the D formula, measures 178 to series 8/4, 5/4, 3/4, 2/4, 1/4, being the first 191. A section can also be structured “by five values of the Fibonacci series backwards, interblock”, meaning that it is centered on while the soloist responds in measures in the two alternating formulae, for example same time signatures, in regular order. The between measures 119 and 135. However, Fibonacci series has close links to the golden despite these block structures constituted by number (or golden ratio), considered of divine static melodic outlines – that successfully proportions, found both in art and nature. create the ritual effect intended by Vivier – Combined with the subject of the work and some recognizable melodic contours further the ternary form, Catholic symbol of a perfect attract the listener's attention. Among these, whole (the Holy Trinity), it is a good example the initial melody of the second section of the Vivier's mysticism. The work ends like it work is worth noting (figure 4). began, with an oscillating minor second for the soprano soloist. In the description above, paradigmatic formulae appear clearly: the B formula “oscillating minor second”, the A formula “oscillating minor third”, and the D formula, Figure 4 . Chants , mm. 27 28, soprano 1. “repeated notes” (discrete constant) are present. Yet, it is fascinating to see that, in Jesus erbarme dich analyzing this work, the paradigmatic (SATB choir and solo soprano) formulae are the same as eight of the eleven formulae found in Chants . But they are This work of about three minutes, a tangible treated in a much simpler manner: the example of the importance of the Catholic oscillations of minor seconds are longer, in faith in Vivier’s life, is like a kyrie in German. more regular rhythms, and the repeated Vivier uses a single phrase “Jesus erbarme notes are presented in equal rhythmic values. dich” “Jesus have pity” as the only lyrics of the piece (excepting the syllables “tu ta ti”), We must resist the temptation to insinuate – in a ternary structure, with a first section which could seem legitimate since both works based on the semitone (first an oscillation were finished in 1973 and we don’t know the between A and B flat, soon transposed to F – exact composition dates – but we must resist G flat). The second section of the work starts however the temptation to insinuate that this work should , by its simplicity, have been
Figure 5. Jesus erbarme dich , mm. 20 29, soprani and soprano solo
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composed before Chants , chronologically. It Hymnen an die Nacht would be a misunderstanding of both Vivier’s (soprano and piano) style and this article's aim to grasp the evolution of a musical language and style. A This work composed in Montreal for the misunderstanding of Vivier because he had “Stepping Stone” competition of the Canada already composed very complex works before Music Competition in 1975 brings into music Chants , often mathematically predetermined. the first rhymes of Novalis’ fifth Hymn to the A misunderstanding of the evolution because Night . Even though he didn’t start to speak it is not an evolution from a simple to a before age six, Vivier was eager to learn complex state, from a primitive to an ideal languages – he spoke French, English, state, but rather change from an existing German, and Balinese – but was not so keen state to another. on grammar, which is probably why he didn’t change the word “Hymnen” to its singular O! Kosmos form. This work shows a block structure, (SATB choir) underlined by a somewhat ternary form. The first section is made of static formulae, The Cosmos also have a fundamental place in alternating between the long sustained tones the list of Vivier’s themes. The term can be of the D formula and grand pauses. Those found in his vocal works as well as in his long silences have their own paradigmatic writings; he often said he wanted to melt into formula, in this work as well as the others it, to become one with it. The lyrics of this 7 treated here, mainly because they are very minute work composed in Köln in 1973 are present. The importance of silence as a Vivier’s own and appeal to the forthcoming of communicative part of musical language has an apocalyptic non linear time. The block been discussed in relation to the music of structure is less important here than in Debussy, Webern or Stravinsky, but it doesn't preceding works, which leaves space for the always have the same function. It depends on presence of the B formula “oscillating what comes before and after. In the first part seconds” and the D formula “constant of Hymnen an die Nacht , the alternation melody”, discrete and sustained. Its melodic between long silence and long sustained material can be placed under nine of the tones prolongs their static effect (see figure eleven formulae presented in Chants . 7), while creating great implications in the central section (see figure 8). These two Lettura di Dante functions of silence are shared by the kind of (soprano, oboe, clarinet, bassoon, trumpet, melodic structures present in these sections: trombone, viola and percussion) static melodies of the D formula alternating With a quite different instrumentation, Lettura with long silences, opposed in blocks, di Dante is a first attempt on Vivier's part at structure the first section. More implicative taking the unbeaten path of timbre melodies, with characteristic outlines, form juxtaposition. His use of still limited melodic the blocks of the central section. formulae is very much similar as the preceding works, but the ensemble offers more possibilities, in terms of Klangfarben- melodie , for example. This 26 minutes work would be a lot like the preceding work with the oscillating intervals, the long held notes, the block structures if it were not for its principal melody that is gradually stated. It consists, unsurprisingly, of long held notes united by intervals (see figure 6) that are elsewhere repeated and oscillated.
Figure 6. Principal melody, Lettura di Dante , mm. 31 34, soprano.
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Figure 7. Hymnen an die Nacht , mm. 1 4, soprano. Figure 8. Hymnen an die Nacht , mm. 36 39, soprano. The Path of a Formula applied to a previously heard sustained constant melody. “Monnayage” simply means In the general description of the works and the act of changing a bill into coins, changing paradigmatic analyses above, some formulae a whole note into eighth notes, for example. are discussed more than others, which is not This “D formula” is transformed within works an unmeditated choice. The process in and from one to another, representing in this establishing paradigmatic formulae is the group of works a primary stylistic element following. One finds the meaningful elements whose path is interesting to follow. With the of a work that are repeated and/or very first measures of Chants , a first transformed. For practical reasons, those analytical problem is already presented (see formulae are given letter names, according to figure 9). Into which formula it fits is their order of appearance in the work. Hence, ambiguous. Is it a first minor third starting on there is no hierarchical superiority between B flat (oscillating minor third is the A formula, formulae A and B, for example. In fact, the an important one in Chants ), or a first experience of analysis shows the statistical occurrence of repeated notes, related to the D importance of the D formula, constituted, as formula? By trying to solve this practical seen above, by long single notes or by problem, one understands an essential notion successive repetitions of a single note, which of Vivier’s style: these two first measures are I name “sustained constant melody” and vi the kernel – in terms of melodic formulae – of “discrete constant melody” . They are the imposing work that is just beginning, to grouped under the same formula since a be considered as a precursor to both A and D discrete constant melody often comes from a formulae. There are few repeated notes, yet process that in French is called “monnayage” they are present. This first measure doesn’t imply solely that the work will be structured by constant melodies, but the listener is at the very least prepared to expect it. The D formula is foreshadowed here before its clearer occurrence a few measures later. Figure 9. Chants, mm. 1 3, soprano 1.
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Figure 10. Chants, mm. 45 46, mezzo soprano
The formula is heard later as well, whether as The block structure of the pieces have come a discrete constant repeated on the same up a few times in this article, and now is the rhythmic value (figure 10), or by combining time to demonstrate, by an excerpt of sustained and discrete constant melodies paradigmatic analysis, how those blocks are (figure 11). While being subject to internal structured. In figure 14, the D formula transformations, the formula is used to put predominates in the entire section, before forward the significant tones of Chants , be it alternating with the B formula (m. 205). the B flat pole (figures 9 and 10), or the Finally, in an outstanding synthesis on Vivier’s melodic summits (figure 12). By part, all morphologies of the D formula are strengthening the pole tones and melodic heard at the end of the piece (figure 15): the summit with long rhythmic values, Vivier final occurrence of the melodic summit (fig. combines two melodic structural elements; 14, ∂ symbol) and of the lower melodic tone the importance of the formula and that of the (ß symbol), in a block structured by the D pole tone amplify one another. Figure 11 . Chants , mm. 138 139, soprano. Figure 12 . Chants , mm. 141 147, soprano.
Figure 13 . Chants , mm. 181 188, soprano. The formula comes to its fullest bloom in very formula (∆ symbol), in very long rhythmic long rhythmic values. In figure 13, the values (π symbol), and in diminution in equal formula comes to a temporal melodic (* symbol) and unequal ( symbol) rhythmic importance it didn’t have before, with notes values. This synthesis of the formula will be held for a little more than 11 beats, 13 beats, discussed again in the conclusion. and 11 beats again, with a tempo marking of 75.5 at the quarter note.
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Figure 14. Extract from paradigmatic analysis, Chants , mm. 197 214.
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Figure 15. Extract from paradigmatic analysis, Chants , mm. 215 229.
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While heard through the few long notes at the The principal melody of Lettura di Dante beginning of Jesus erbarme dich , the D appears 14 times throughout the work in its formula takes an important place with the complete form. Not only it is used as a classic exchange between the choir and the soloist theme, but also as a formal mark: a section discussed above (see figure 5). Note in this of the work usually starts and ends with the example that, as is often the case in Vivier’s principal melody. In this specific work, Vivier vocal music, a repeated note doesn’t applies his tendency to repeat a specific necessarily lead to a repeated syllable. The interval as some kind of faux départ of the singers re attacking the note on the vowel principal melody. Then, the intervals that create somewhat of an echo effect. In this form it (see figure 6) are present and figure, we see a discrete constant melody in oscillated throughout the work, as is the D equal rhythmic values fading in with a formula that permeates it. sustained constant melody. This constitutes, As for Hymnen an die Nacht , the most recent as mentionned earlier, a simple type of use of work analyzed here, the D formula is again this formula. However, the way Vivier quite important; it dominates the first section opposes the two states of the formula – up to measure 32, reappears through the discrete and sustained – in fade in is a new piece, and comes back to end it from way to handle this formula. In O! Kosmos , the measure 49 on. The very first occurrence of use of the D formula retains its relationship to the formula (see figure 7, above) stays on the the works before, through a diminution same note which at this point in the process in unequal rhythmic values, either on discussion should not be surprising. However, new syllables or on the same vowel, as we at the third occurrence, already, the note at can also see in Jesus erbarme dich . It is just the very end of the formula is a semitone the same for melodic summit, also presented higher than the held note (figure 17). At the in the shape of the D formula. A new way of fourth occurrence (figure 18), the repeated treating this formula comes up in measures notes are followed by last two notes, a 19 and 20 (figure 16). A relevant analysis of diminished fourth lower. These somewhat melody can’t be made in total abstraction of plodding examples nevertheless illustrate the other parameters, and it would be unfair here gradual propensity of the D formula, in to consider figure 16 as a simple line A – A Hymnen , going from a constant melody flat – A; the fullness of the choir’s timbre and considered as a kernel, and then slowly its larger dynamic possibilities, as well as the moving away from it, first by conjunct, then harmonic progression whose friction is by more and more disjunct intervals. The resolved on a 7 th major chord, have a lot to possible processing of a constant melody, do with the impression of movement this through slight variations from one occurrence static melodic structure suddenly takes. to another, seems to reach a final state here, yet it is another stepping stone. Remember that in Vivier's music, a final state doesn't equal an ideal state; Hymnen shows other morphologies of the D formula as well, from the "monnayage" to the block structure.
Figure 16. O! Kosmos , mm. 19 20.
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mannerism (high level of information). It would be imprudent to transpose this entire theory onto Vivier's style, since Meyer writes about a style that declines on its own, not abruptly interrupted. However, the internal Figure 17. Hymnen an die Nacht , mm. 8 9, soprano. dynamics of an emerging style provide a very enlightening point of view here, since this part of his style cannot be affected by the tragic death of the composer. Yet, with Vivier, an emerging style is precisely what we witness vii . He says so himself about Figure 18. Hymnen an die Nacht , mm. 13 14, soprano. Chants , and the change is palpable between this work and those that were composed right Internal dynamics of a static before it. By repeating a few formulae in melodic formula numerous works, in other words through similar recurring compositional choices from What this analysis teaches us about Claude one work to another, Vivier teaches himself Vivier's style is not merely that the composer while teaching us his own style. This would sometimes uses long, sustained tones. The appear to be just what he does at the very first measures of Hymnen an die Nacht beginning of each piece. I gave the example (figure 6) would suffice to demonstrate this of the first measures of Chants and Hymnen observation. It teaches us above all that an die Nacht that show evidence of such style Vivier structures a considerable number of teaching. I chose to discuss them because works on only a few melodic formulae, and their beginning is filled with the D formula. that they are transformed, complexified, and But had I only chosen to follow the path of a simplified again . In the chapter "Variety of formula made by oscillating minor seconds, I Style Change", the late Leonard Meyer (1994) could have given the same example with states the hypothesis of internal dynamics of Jesus erbarme dich . By following the very a musical style transformation. While he simple D formula, we witnessed a microcosm addresses mostly styles shared by numerous of the evolution of Vivier’s emerging style. composers for example, the baroque style , The formula consisting of one tone, held or this view of stylistic development can be repeated over a large number of beats, is judiciously applied to the understanding of a transformed in the most subtle, meticulous personal style. According to Meyer, a style ways. These transformations are heard, gradually emerges, and is not the result of a however, alongside primitive or simpler states single decision; he thinks a style is learned , of the formula. What Vivier teaches himself even by the composers who invented it ( op. and us is that, in his musical language, the cit. , p. 116) and the listener learns it as well. complexity of processing of a melodic formula Then, it is not rare, in an emergent style, that is not an ideal state, but merely a possible a musical language would be constituted by state. He wrote something that resonates the redundancy of a single process. As the with this idea, about his work Chants : "At style slowly establishes itself, the composer first sight, the work may seem simple, but it tends to reduce the degree of redundancy to is more precisely on the level of a subtle introduce new information, meaning elements organization of music, of proportions, that the that can surprise the listener already issue of a new sensibility is given" viii (1991, p. acquainted with the style ( op. cit. , p. 114 and 56, translation mine). It seems that, just like 116). The redundancy will tend to decrease in the case of sayings and aphorisms, the while the amount of information will tend to emerging style of Vivier between 1973 and increase, until the style becomes barely 1975 resides in the simplicity of the formula. unidentifiable. Meyer considers these three phases of a style as a pre classicism (redundancy), classicism (equilibrium between redundancy and information) and
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References Vivier, C. (1986). Hymnen an die Nacht . Saint Nicolas : Éditions Yppan. Braes, R. (2001). "A response to Janette Tilley's Eternal Recurrence: Aspects of Melody in the Orchestral Music of Claude Vivier", Discourses in Music , vol. 2, no. 2, online : < i A previous version of this article has been published in http://www.discourses.ca/v2n2a2.html > French in Circuit - musiques contemporaines , vol. 18, no. Gardin, J. C., et al. (1987) La logique du plausible, 3 in 2008. The entire issue is devoted to the music of essais d’épistémologie pratique en sciences Vivier. humaines , Paris, Éditions de la maison des ii Born in Montreal in 1948 to unknown parents and sciences. stabbed to death in Paris in 1983. iii Gilmore, B. (2007). « On Claude Vivier’s ‘Lonely « Ce qui m'a le plus frappé dans la musique de Claude Vivier est son génie musical tout à fait original. Il était Child’ », Tempo , vol. 61, no. 239, p. 2 17. seul malgré les différentes influences et il a su mieux que Lévesque, P. (2004). Les voix de Vivier . Master quiconque réaliser son imagination sonore multicolore ». thesis. Montreal : McGill University. iv « Cette œuvre représente pour moi le moment premier de mon existence de compositeur ». Ligeti, G. and Duchesneau, L. (1991). « Sur la v This vocabulary will be explained later on. musique de Claude Vivier », Circuit, revue nord-américaine de musique du XXe siècle , vi These terms come from the notion of "constant" in vol. 2, nos 1 2, p. 7 16. mathematics. They are used in this text to specify this type of static melodies that are so important in Vivier's Meyer, L. B. (1994 [1967]). « Variety of Style music: literally, a "monotone" music, on a single tone. Change », Music, the Arts, and Ideas . Since the word "monotone" connotes boredom and value Chicago : The University of Chicago Press, p. judgment, it is necessary to look for another term. In an 114 à 122. essay of practical epistemology, Gardin addresses the question of language in scientific writings. While in pure Meyer, L. B. (1973). Explaining Music . Berkeley : science, like chemistry, they have their own specific University of California Press. language, he asks "Is it true, is it good that the language Mijnheer, J. and Desjardins, T. (1991). « La of social sciences can be so easily said as 'natural'?" chronologie des œuvres de Claude Vivier: (1987, p. 38). He notices "the necessarily metalinguistic character of any expression borrowed from a natural Historisation de la déshistoire », Circuit, e language... The word stress , in a French text about revue nord-américaine de musique du XX psychology, isn't part of the natural French language" siècle , vol. 2, nos 1 2, p. 17 30. (op. cit. , p. 41). He brings forth examples in which the Nattiez, J. J. (2003). « Modèles linguistiques et natural language is lacking an appropriate vocabulary analyse des structures musicales », Revue (the shades of a color), and in which the natural language is too connotative for a specific use in a de musique des Universités canadiennes , scientific context. In this research, the word "monotone" vol. 23, nos 1 2, p. 10 61. is precisely a case of the latter, as it would hamper the Ruwet, N. (1972 [1965]). « Méthodes d’analyse en precise meaning necessary to understand this analysis. musicologie », Langage, musique, poésie . This is an instance where words usually found in pure sciences can foster the accuracy of an analysis. Paris : Seuil, p. 100 134. vii Vivier graduates from the Montreal Conservatory in Tremblay, J. (2000). « L’écriture à haute voix : 1970 and studies in Europe between 1971 and 1974. Lonely Child de Claude Vivier », Circuit, Since the works analysed here were composed between musiques contemporaines , vol. 11, no. 1, p. 1973 and 1975, there are at the very beginning of his 45 67. career as a composer. viii Vivier, C. and Robert, V. (1991). « Les écrits de « À première vue, l’œuvre peut paraître simple[,] mais Claude Vivier », Circuit, revue nord- justement c’est au niveau d’une organisation subtile de la musique, des proportions[,] que l’enjeu d’une nouvelle américaine de musique du XX e siècle , vol. 2, sensibilité se pose ». nos 1 2, p. 39 136. Vivier, C. (1975). Chants . Paris : Éditions musicales transatlantiques. Vivier, C. (1977). Jesus erbarme dich . Toronto : Chanteclair Music. Vivier, C. (1977). O ! Kosmos . Toronto : Chanteclair Music. Vivier, C. (1979). Lettura di Dante . Montreal: Centre de musique canadienne.
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