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Beyond the Auvergne: a Comprehensive Guide to L'arada, an Original Song Cycle by Joseph Canteloube Karen Coker Merritt

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Beyond the Auvergne: a Comprehensive Guide to L'arada, an Original Song Cycle by Joseph Canteloube Karen Coker Merritt Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Beyond the Auvergne: A Comprehensive Guide to L'Arada, an Original Song Cycle by Joseph Canteloube Karen Coker Merritt Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BEYOND THE AUVERGNE: A COMPREHENSIVE GUIDE TO L'ARADA, AN ORIGINAL SONG CYCLE BY JOSEPH CANTELOUBE By KAREN COKER MERRITT A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2013 Karen Coker Merritt defended this treatise on November 12, 2013. The members of the supervisory committee were: Douglas Fisher Professor Directing Treatise Matthew Shaftel University Representative Larry Gerber Committee Member Valerie Trujillo Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my parents Warren Coker and Beverly Sink, who gave me the gift of music. iii ACKNOWLEDGMENTS The completion of this treatise would not have been possible without considerable assistance from several sources. First, I would like to acknowledge my treatise director Douglas Fisher, whose enthusiasm for the works of Joseph Canteloube helped guide me towards this topic. His expertise in editing has been invaluable throughout the writing process, and his general knowledge of all things musical has awed me from the moment I first stepped into his Opera Literature course at FSU. Secondly, for bringing the themes of L'Arada to life, my deepest thanks are also extended to Eric Jenkins, an extraordinary pianist and collaborative artist. This treatise would not have been possible without his substantial donation of time and talents, especially given the complete lack of recordings of these songs. My gratitude is also extended to Dr. William Calin at the University of Florida, who graciously provided his help with the Occitan pronunciation of these songs, as well as clarification on the troubled history of the language. And finally, I would like to express my deepest thanks to my husband Gregory, whose patience, support, and proofreading skills have been called upon frequently throughout the life of this project. iv TABLE OF CONTENTS List of Figures ............................................................................................................................... vii List of Tables .............................................................................................................................. viii List of Musical Examples ............................................................................................................. ix Abstract .......................................................................................................................................... xi 1. INTRODUCTION ..................................................................................................................1 1.1 Significance of the Project .............................................................................................1 1.2 Sources ...........................................................................................................................2 2. JOSEPH CANTELOUBE (1879-1957) ..................................................................................4 2.1 Early Life: Regionalist Roots and the Budding Musician ..........................................4 2.2 The Schola Cantorum Years: 1907-1914 ......................................................................8 2.3 The Composer: 1918-1957 ..........................................................................................16 3. ANTONIN PERBOSC (1861-1944) ....................................................................................23 3.1 Shared Ideals ..............................................................................................................23 3.2 The Collaboration ........................................................................................................26 4. OCCITAN: THE LANGUAGE OF L’ARADA ...................................................................27 4.1 Origins..........................................................................................................................27 4.2 Orthography .................................................................................................................29 4.3 Modern Demographics.................................................................................................30 4.4 Pronunciation Guide ....................................................................................................31 4.4.1 Introduction to Occitan Pronunciation .............................................................33 4.4.2 Word Stress ......................................................................................................34 4.4.3 Vowels .............................................................................................................34 4.4.4 Final Consonants ..............................................................................................35 4.4.5 Consonant Groups ............................................................................................37 4.5 Pronunciation Charts ....................................................................................................39 5. THE POETRY ......................................................................................................................44 5.1 Overview of Perbosc’s L’Arada ..................................................................................44 5.1.1 Sonnet Form .....................................................................................................45 5.1.2 Campèstre ........................................................................................................46 5.2 A Comparison of the Collections: Poetry vs. Songs ...................................................48 v 6. THE MUSIC: L’ARADA AS A WHOLE .............................................................................50 6.1 Historical Context ........................................................................................................50 6.2 Common Compositional Elements ..............................................................................52 6.2.1 Form .................................................................................................................54 6.2.2 Harmony ..........................................................................................................54 6.2.3 Melody .............................................................................................................55 6.2.4 Counterpoint ....................................................................................................56 6.2.5 Rhythm .............................................................................................................56 6.2.6 Accompaniment ...............................................................................................57 6.2.7 The Dual Language Issue .................................................................................57 7. THE SONGS OF L’ARADA: IPA, TRANSLATION & COMMENTARY .........................58 7.1 “Los lauraires” .............................................................................................................58 7.2 “La canson dels boiers” ...............................................................................................72 7.3 “La mosada”.................................................................................................................79 7.4 “L’Ibèrnada” ................................................................................................................85 7.5 “Mal sosc” ....................................................................................................................94 7.6 “Lauraires e trobaires” ...............................................................................................100 8. COPYRIGHT ISSUES ........................................................................................................107 9. CONCLUSION ...................................................................................................................109 APPENDIX A: POETIC TRANSLATIONS .............................................................................110 APPENDIX B: PERMISSION LETTER: PRESSES UNIVERSITAIRES DE FRANCE .......113 BIBLIOGRAPHY ........................................................................................................................114 BIOGRAPHICAL SKETCH .......................................................................................................117 vi LIST OF FIGURES 4.1 Geographic Distribution of Occitan Dialects in France .....................................................28 4.2 Historic Linguistic Regions of France ...............................................................................30 vii LIST OF TABLES 4.1 Single Vowels ....................................................................................................................39 4.2 Double Vowel Combinations (Glides) ...............................................................................40 4.3 Triple Vowel Combinations ...............................................................................................40
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