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Information to Users 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 îype of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing firom left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. 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. UMÎ University Microfilms international A Bell & Howell Information Company 300 Nortti Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9807710 Exoticism iu the mélodie: The evolution of exotic techniques as used in songs by David, Bizet, Saint-Saëns, Debussy, Roussel, Delage, Milhaud, and Messiaen Randles, Kathleen Martha, D.M.A. The Ohio State University, 1992 Copyright ©1992 by Randles, Kathleen Martha. All rights reserved. UMI 300 N. ZeebRd. Ann Arbor, MI 48106 EXOTICISM IN THE MÉLODIE: THE EVOLUTION OF EXOTIC TECHNIQUES AS USED IN SONGS BY DAVID, BIZET, SAINT-SAËNS, DEBUSSY, ROUSSEL, DELAGE, MILHAUD, AND MESSIAEN D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Kathleen Martha Randles, B.M., M.M. ********** The Ohio State University 1992 Document Committee: Approved by Professor Eileen Davis, Adviser Dr. Jerry Lowder / CX u I X) Adviser, Professor Marajean Marvin School of Music Copyright by Kathleen M. Randles 1992 To the memory of my father, the first Dr. Randles in the family 1 1 ACKNOWLEDGEMENTS I wish to extend my thanks to Eileen Davis, adviser, teacher, mentor and friend; the other members of my committee. Dr. Jerry Lowder and Professor Marajean Marvin for their support of this study; John Hartley for his affectionate and untiring assistance in locating scores and publishers; and Glendower Jones of Classical Vocal Reprints for his invaluable help in providing scores no longer in print. I also wish to thank music publishers CPP/Belwin, Alphonse Leduc et Cie., International Music, and Éditions Salabert for their permission to reprint excerpts from copyrighted material. Xll VITA June 27, I960.............. Bom - Columbus, Ohio 1981...................... Bachelor of Music, Ohio State University, Columbus, Ohio 1983...................... Master of Music, Northwestern University, Evanston, Illinois 1985-1992................. Broadcast producer, WOSU-FM, Columbus, Ohio 1988-1992................. Graduate Teaching Assistant, Ohio State University, Columbus, Ohio 1992-present............... Assistant Professor of Voice, Illinois State University, Normal, Illinois FIELD OF STUDY Major Field: Music Studies in Voice: Karen Peeler, Helen Swank, Eileen Davis, Norman Gulbrandson Song Literature: Eileen Davis, Marajean Marvin, Robin Rice Vocal Pedagogy: Helen Swank Opera Direction: Roger Stephens, Robert Gay Conducting: Maurice Casey, James Gallagher iv The Ohio State university School of Music Graduate Student Recital Series Tuesday, February 6, 1990 8:00 PM Hughes Hall Auditorium KATHLEEN RANDLES, MEZZO-SOPRANO Paul Dorgan, Piano This recital is presented in partial fulfillment for ths degree Doctor of Musical Arts for Ms. Randles. PROGRAM Lord, What is Man? Henry Purcell from "Harmonia Sacra" Hark! the ech'ing Air from "The Fairy Queen' Chanson d'Orkenise Francis Poulenc from "Banalités" Chanson triste Henri Duparc Adieux de l'hôtesse arabe Georges Bizet Heimliche Aufforderung, Op. 27, No. 3 Richard Strauss Der Nachtgang, Op. 29, No. 3 Befreit, Op. 39, No. 4 INTERMISSION Another Spring, Op. 93 Sir Lennox Berkeley Poetry Another Spring Afraid Siete Canciones Populares Espanolas Manuel de Falla El pano moruno Seguidilla Murciana Asturiana Jo ta Nana Canciôn Polo V The Ohio State University School of Music TEE O.S.Ü. SYMPHONY ORCHESTRA Third Concert, 90-91 Season Tuesday, February 5th 8:00 PM Weigel Hall Auditorium Marshall Haddock, Conductor Kathleen Randles, Mezzo-Soprano PROGRAM Hebrides Overture, Op. 26 Felix Mendelssohn (1809-1847) Shéhérazade Maurice Ravel (1875-1937) Asie La flûte enchantée L'indifferent Ms. Randles INTERMISSION Syitç)hony No. 9, Op. 7 0 Dmitri Shostakovich (1906-1975) Allegro Moderato Presto Largo A11egretto-Allegro vi The Ohio State University School of Music Graduate Student Recital Series Friday, February 22, 1991 8:00 PM Hughes Hall Auditorium KATHLEEN RANDLES, MEZZO-SOPRANO Paul Dorgan, Piano This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Ms. Randles. PROGRAM Les nuits d'été Hector Berlioz (1803-1869) Villanelle Le spectre de la rose Sur les lagunes Absence Au cimetière L'île inconnue INTERMISSION L'invitation au voyage Henri Duparc (1848-1933) L'extase Phidylé Deux poèmes chinois. Op. 12 Albert Roussel (1869-1937) A un jeune gentilhomme Amoureux séparées Beau soir Claude Debussy (1862-1918) La chevelure Noël des enfants qui n'ont plus de maisons vil The Ohio State University Opera/Music Theatre Presents Verdi's FALSTAFF Thursday, May 7 and Saturday, May 9 8:00 PM Mershon Auditorium at the Wexner Center Based on Shakespeare's The Merry Wives of Windsor and passages from Henry IV Music by Giuseppe Verdi Libretto by Arrigo Boito English version by Andrew Porter Producing Director Roger L. Stephens Music Director Marshall Haddock CAST OF CHARACTERS Sir John Falstaff.............................. Mark Baker Fenton, a young gentleman.................. Craig Montgomery Ford, a wealthy burgher....................... Jeffrey Kuhl Dr. Caius, a physician........................ J.R. Fralick Bardolph, a follower of Falstaff............. Timothy Tuttle Pistol, a follower of Falstaff John Dean Hardesty Mrs. Alice Ford...................... Belinda Andrews Smith Nannetta, her daughter Stephanie Tingler Mrs. Meg Page................................ Noelle Woods Dame Quickly Kathleen Randles Robin, Falstaff's page....................... Ryan Stephens Innkeeper Matthew Pittman viii TABLE OF CONTENTS Dedication................................................. ii Acknowledgements.......................................... iii Vita....................................................... iv Doctoral Performance Programs...............................v List of Figures............................................. x INTRODUCTION................................................ 1 CHAPTER I: The History of Exoticism in French Culture...... 5 CHAPTER II: David and "Perles d'Orient"....................15 CHAPTER III: Bizet and "Adieux de l'hôtesse arabe"........ 27 CHAPTER IV: Saint-Saëns and "Mélodies persanes"............35 CHAPTER V: Debussy and "Trois chansons de Bilitis"........ 48 CHAPTER VI: Roussel and "Deux poèmes chinois," Op. 12.....62 CHAPTER VII: Delage and "Quatre poèmes hindous"............75 CHAPTER VIII: Milhaud and "Chansons de négresse".......... 86 CHAPTER IX: Messiaen and Harawi............................ 96 CONCLUSION........................ 115 Selected Bibliography..................................... 117 IX LIST OF FIGURES Figure: 1: Repetitive rhythm in David's "Amour pour amour"....... 21 2; Grace notes in David's "Amour pour amour"............ 22 3: Lowered sixths and sevenths in David's "Tristesse de 1'odalisque"............ 23 4: Major and minor modes in David's "Amour perdu"........ 24 5: Chromatic scale in Bizet's "Adieux de l'hôtesse arabe".21 6: Augmented second in Bizet's “Adieux de l'hôtesse arabe"32 7: Open fifth, pedal tone, and repetitive rhythm in Bizet's "Adieux de l'hôtesse arabe"........................ 32 8: Melisma, chromaticism, and trill in Bizet's "Adieux de l'hôtesse arabe"...................................33 9: Modal melody, repeated rhythm, and open fifth in Saint-Saëns' "La brise"............................ 39 10: Mode change in Saint-Saëns' "La brise"......... 40 11: Melismatic writing with grace notes in Saint-Saëns' "La splendeur vide"................................ 41 12: Asymmetrical rhythm in Saint-Saëns' "La solitaire" 41 13: Melisma in the Dorian mode in Saint-Saëns' "Sabre en main"............................................. 43 14: Fluctuating F's in Saint-Saëns' "Au cimetière"........ 44 15: Asymmetrical phrase in Saint-Saëns' "Au cimetière" 44 16: Augmented second in Saint-Saëns' "Tournoiement"....... 45 17: Rhythmic complexity in Debussy's "La flûte de Fan- 56 18: Gong imitations in Debussy's "La flûte de Pan"....... 56 19: Percussive effects in Debussy's "La flûte de Pan"..... 57 20: Chromaticism in Debussy's "La chevelure".............58 21: Whole tone scale in Debussy's "La chevelure"......... 59 22: Gong and anklung effects in Debussy's
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