CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components. iii The first part of Chapter I deals with the issue of definition. 1 Hans Kohn has defined nationalism as a "state of mind." It is primarily a belief system which defies precise capsulization. To Aldous Huxley, nationalism in the 20th century has become similar 2 to a theology, which does not require logical rationalizations. Chapter I will draw upon Boyd Shafer's comprehensive analysis to build a broad framework in which Canadian nationalism can be examined. The second part of Chapter I will examine the various defini- tions of musical nationalism. In the 19th century, nationalist sentiments were strong in music. Due in part to the romantic preoccupation with nature, the rustic, and extra-musical associa- tion, music provided a vehicle for nationalism through the cultural conventions of folk music. The darker aspect of this combination was the political display which manifested itself in cultural muscle flexing. However, the definition of musical nationalism in 20th century music cannot be contained simply by folk music influences nor political denotations. Nationalism in a 20th century context re- quires a broader meaning since contemporary stylistic syntax has precluded tonal associations to a large extent. Similarly, cultural flag-waving, at best, has been looked upon as artistically naive. At worst, musical nationalism has been viewed as a dan- gerous, anachronistic manifestation of political propaganda; its social, emblematic function overriding any artistic considerations. In order to diffuse the rathet negative atmosphere surrounding national reference, Chapter I attempts a more inclusive definition ;' 'tT from the observations of Richard Gorer, Peter Perrin and John Beckwith. It is from a synthesis of these viewpoints that Canadian composition will be surveyed. Chapter II examines the thorny problem of 'the Canadian Identi­ ty.' This will be reviewed from several angles. First, Canadian culture will be analyzed from the definition of nationalism pro­ posed in the first part of Chapter I. This will be combined with a brief cultural overview to determine the applicability of conven­ tional delineations. Finally, the contradictory nature of the "Canadian Identity" will be examined through a short survey of Canadian literary criticism. In Chapter III, we will observe the parameters Canadian com­ posers and critics have used in defining musical nationalism. Opinion has been far from concordant, not only in definition but as to the desirability of national intent in Canadian music. The examination of various viewpoints will receive a rather discursive treatment. It is hoped that this methodology is appropriate in separating and examining the different threads of thought without severing or violating their interdependent connections. Chapter III will also discuss the semantic links between modernism and internationalism and note the unique connection that occurred in Canadian music between nationalism and modernism in the 1940's. The question of direct and indirect governmental support is the topic of Chapter IV. By examining the workings of the Canadian Broadcasting Corporation (CBC) and the Canada Council, this chapter focuses on the problems of sustaining government support. The policy of artistic non-interference will be examined along with v the didactic role the CBC has assumed in the cultivation of Canadian 'taste'. Briefly, other support organizations will be charted and given a capsule explanation. By using the expanded definition of musical nationalism arrived upon in Chapter I, Chapter V enumerates national reference in Canadian composition. This is organized by specific cultural features. Some duplication will naturally occur; however every effort has been made to assign works to a category by their most prominent cultural feature. This survey does not intend any com­ prehensiveness. Rather, it is to demonstrate the significance and wide range of such influences in Canadian composition. The survey will also underline the connection between the composers' opinions, listed in Chapter III and their works. As a summary, Chapter IV presents a brief historical overview of Canadian music since 1940 by decade. A summary of the various positions will include observations concerning the problems of contradiction. While the topic of Canadian nationalism in music hardly leads to any conclusive generalizations, Chapter VI attempts a perspective on a significant issue that continues to be part of Canadian musical expression. In this examination, a few clarifications need be noted. Since Canadian composition will be the focus of this thesis, composition will be defined from the 'conventional' parameters of 'art', 'con­ cert' or 'serious'music as opposed to 'commercial' or 'pop' music. Of course, art or serious music can be popular as well as pop music can be serious, artful, and non-commercial. As much as these vi distinctions blur in some forms of new music, the 'traditional' conventions will apply to this survey. Though stylistic aspects are briefly mentioned, stylistic ana­ lysis will not be the focus of this paper. National reference will be delineated by obvious extra-musical associations, through such elements as text, title, or musical 'program'. Also, while much documentation occurs throughout this thesis especially in Chapter III, I have attempted to choose the best illustrations of a particular point of view from many quotations. Though various quotations contain subtle shadings and inferences, I have attempted to eliminate a certain amount of redundancy in terms of the larger issues. In connection to this factor, there is the question of dated material. The recent publication of the Encyclopedia Qf Music in Canada (Toronto, 1981) and George Proctor's Canadian Music of the Twentieth Century (Toronto, 1980) has made research easier through excellent scholarship, however both volumes deal only peripherally with the question of nationalism. Opinions of composers and cri­ tics have been taken from the last 40 years and unless notated (two incidences are recorded in Chatper VI) no recent evidence would indicate a change in position. My requests for information on this topic as of this writing have gone unanswered and I can only specu­ late that the requests were somehow misinterpreted. Concerning mechanics, an annotated bibliography has been in­ cluded. While salient articles in periodicals are listed, quotes from critics and composers are given a parenthetical source vii reference within the text if the periodical source is minimal, and in my opinion, did not require annotation. The reader will probably note a certain conceptual bias in the presentation of this survey. In two articles prior to the formula­ tion of this thesis, I observed certain ramifications of musical nationalism that seemed to have little to do with convention ap­ praisal. Therefore, my views were more sympathetic to one side of the issue. However, every effort was made to present a total picture and hopefully, my~ priori opinion did not distort or misrepresent any viewpoint. Finally, this thesis does not attempt any appraisal of quality. It attempts to collate information and note a plurality of opinion regarding what Canadian composers and critics themselves think is significant, both in terms of ideas and musical works. As the writer Ernest Pawel noted (The New York Times Book Review, July, 1983), "the truth [is often] concealed in fragments of often treacherous depth and complexity." The fragments given form in this thesis represent only an aspect of Canadian musical life and it hopes that the observations presented here will not lead to any false generalizations. Canadian music is and no doubt will continue to be part of the international music community, concerned foremost with the quality of its musical products. The goal of this survey is to examine the particular relationship