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Fashionable Innovation: Debussysme in Early Twentieth-Century France

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Fashionable Innovation: Debussysme in Early Twentieth-Century France Fashionable Innovation: Debussysme in Early Twentieth-Century France Dissertation Presented in Partial Fulfillment for the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jane Ellen Harrison, M.A. Graduate Program in Music The Ohio State University 2011 Dissertation Committee: Danielle Fosler-Lussier, Advisor Arved Ashby David Huron Copyright Jane Ellen Harrison 2011 Abstract This dissertation traces the development between 1890 and 1930 of a French musical trend referred to in the press of the era as debussysme. Based on analysis of over 250 pieces by more than thirty composers, I describe debussysme as a cohesive collection of techniques that emerged in the works of the earliest debussystes, such as Ravel, Debussy, and Florent Schmitt, with aesthetic roots in contemporaneous philosophy of the ¦§¨¨ © ¨ ¨ ¨ § ¡ ¡ ¡ ¡ ¢£ ¤ ¢ ¥ ¥ mind. a diverse group of composers embraced techniques that made new perceptual demands of their listeners: I examine these techniques by drawing on research in the field of music cognition. This study deepens our understanding of French musical modernism, of which debussysme was a key stage. A study of debussysme also teaches us about the nature of shared compositional practices: how they are generated, how they are diffused through social channels, and how individuals align themselves with or disavow fashionable usages. I explore the distinct phases of the debussyste movement and the social motivations of the composers who joined it, with the aid of concepts from sociological research on the diffusion of innovations. As the composers associated with debussysme gained prestige in the French musical community and on concert stages, their shared idiom became commercially viable. By 1908 salon composers such as Gabriel Dupont had developed a commodified version of debussysme that offered amateur musicians novel sounds within music that ii ¥¦§¨ ¦ §¦§ § ¡¢ £¢ ¢ ¢ ¡ ¢ © retained familiar structural norms; ¤ debussyste is a case study of how elite innovations are transformed into cultural products that reach broad audiences. iii Acknowledgements I would like to thank first and foremost my advisor, Danielle Fosler-Lussier, for her tireless work on my behalf, which included editing countless pages of material, offering valuable advice about writing grant applications, and securing connections for me with colleagues in the field. David Huron and Arved Ashby graciously agreed to serve on my dissertation committee. The classes I took with Dr. Huron in music cognition opened my eyes to new kinds of research and methodology. Several other scholars aided me as I wrote the dissertation. Carlo Caballero and Leslie Sprout read through drafts of chapter 3 and offered helpful comments. Myriam Chimènes met with me in Paris and helped me to obtain necessary authorizations from publishers for my archival research. In conversations about my research, Jann Pasler and Louis Epstein posed critical questions, and François Leroux offered his knowledge of French chanson in email correspondence. Marianne Wheeldon also provided useful comments; I thank her and François de Médicis for their support. I would like to thank the librarians and workers at the Bibliothèque nationale de France in Paris for their patience, service, and advice, and the librarians at the Médiathèque Mahler, also located in Paris, who allowed me free access to the Fonds Charles Koechlin and the Fonds Paul Le Flem. French music publishers including Universal Music Publishing, Durand, and Jobert gave me permission to make iv photographs of rare scores under copyright that I found at the Bibliothèque nationale. My special thanks to Sandra Villeneuve and Jean Leduc at Leduc, who always answered my authorization requests promptly and warmly. I must express my gratitude to the U.S. State Department, which offered me a Fulbright Grant to France during the 2009-2010 academic year. The archival research that I was able to undertake in Paris formed the foundation of this dissertation, and without this opportunity my thorough investigation of so many obscure composers would have not been possible. The employees of the French-American Commission in Paris welcomed me warmly to Paris and made my stay there unforgettable, especially the director, Arnaud Roujou de Boubée, and Lindsay Turlan. Finally, I could not have asked for anything more from my time as a graduate student at The Ohio State University. Two university fellowships allowed me to progress quickly through my coursework and to devote the last year of my study to dissertation writing. The faculty in the Musicology Area offered invaluable help in the form of funding opportunities, letters of recommendation, courses that stimulated my thinking about my dissertation topic, and guidance, especially our area head, Lois Rosow. v Table of Contents ¡¢ £¤ £§§§§§§ §§§§§§§§§§§§§§§§§§§§§§§§§§¨¨ ¥¦ © £¢ §§§§§§§§§§§§§§§§§§§§§§§§§§§ ¨ ¦ §§§§§§§§§§§§§§§§§§§§§ § ¡ ¢§§§§ § List of ¥ .. ii List of Musical Examples§§§§§§§§§§§§§§§§§§§§§§§§ .vii Introduction: Did Debussysme Exist?..................................................................................1 ¢ ¤ £¨ ¡ ¨£¢ ¤ ¨¨ £ ¤ ¢§§§§ §§§§§§§§ ¥¦ ¦ ¥ Chapter 1: Debussysme ¥ ..13 Chapter 2: Debussysme in Light of Contemporaneous Philosophy of Mind§§§§ ¤ §§§§§§§§§§§§§§§ Chapter 3: The Stages of the Debussyste ..157 Chapter 4: The Novel Sensations of Pop Debussysme§§ §§§§§§§§§§ Bibliography§§§§§§§§§§§§§§§§§§§§§§§§§§§§§ 9 §§§§§§§ Appendix A: Complete Sample of Debussyste Compositions..§§ . .280 §§§§§ §§§ § Appendix B: Florent Schmitt, Sur un vieux petit cimetière§ . 287 vi List of Tables ¢£ ¡ Table 1.1. The Originators of Debussysme .., ¤ ¥¦ ¦ §¨ ©¨ § ¨§ Table 1.2. Operationalized Terms Measured in Debussyste ..18 ¥¥ ¦ ¨¨ ¨§ ¨ ¨ Table 3.1. Earliest Debussyste 172 ¢¢ ¢ Table 3.2. Influential Debussyste Composers aroun ¡ vii List of Musical Examples ¡¢¡£¤ ¥ ¦§ ¨¥ © © §§ Ex. 1.1. Koechlin, Matin calme 22 § Ex. 1.2. Ravel, Oiseaux tristes (1904-05), mm. 3- 24 ¡ ¡ ¢ ¤ ¢ § § § ©© ¥ © ¥ § - 26 $ ¡ ¢£ ¢ ¡ ! ! " # § % © &% © § § § ¥ - -97), mm. 6- 26 ! ! ! ¡¢¡ ¢ # ' §§§ © % © ¨ Ex. 1.5. Caplet, -16), mm. 27- 28 ¡ ! ¡¢) ¤ ¡ ' § (§ %¥ © ¥ § § -17, marked to show composite § shapes 30 ) * + ,-.,-/0 /1-0 2, 234-.14- 5 § Ex. 1.7a. Schmitt, (1913-17), mm. 37- 31 ¡ ¢¢ 63- 4617, 5 §§ Ex. 1.7b. Schmitt, Cette ombre, (1913-16), mm. 98- ( Ex. 1.8. Ravel, Noctuelles (1904-05), mm. 1- .32 ¨ §( Ex. 1.9a. Le Flem, Vieux Calvaire (1910), mm. 22- ) § Ex. 1.9b. Le Flem, Vieux Calvaire (1910), mm. 28- 36 ; 8 + ,09 124,: /, 61: :, ¨ §§ Ex. 1.10. Bonheur, (1923), mm. 19- .46 ¨ Ex. 1.11. Debussy, Pour un tombeau sans nom (1901-14), mm. 20- 47 ¡ ¡ ! ¢ ! ¡¢ )¤ = ' > ?# § § ¨§ < ¦% ¥ % ¨ § §§ ¨ ¥ § ¨¨ - .51 @ ' ' ¥ © §§ Ex. 1.13. Debussy, Pelléas et Mélisande (1893-1902), 56 ¡ ¡ ¡ ! ¡¢)¡¤ ¡E B C # ' D# ¥ ¥ § ¨ § § § A §§ - 58 ) ¡ ¡£ ! B F " % ©¥ ¨ §§ § § § < ¦% ¥ E (1908), mm. 11- 59 viii © © ¡¢ £¢ £¤¢ ¥ ¢ £¤ ¦§¨ §§ -07), mm. 30- 59 ! " & " ¡¢ £¢ £¢ # ¢ ¢¢ £$$ % § ¨¦ § § .63 + , ¡¢ £¢ £$¢ ' * £ ¢ ¢ £ % §) ¨ § § § § ( mm. 9- .71 ! ¡¢ £¢ £¢ - £$% ¢ ¢ £ ¦ ¨§ § -9 " / / £¤% ¢ . § Ex. 1.20. Koechlin, Promenade vers la mer (1915- .72 1 0 ££2 2 ¢¢¢ Ex. 1.21. Caplet, ¦) -16), mm. 1- 72 ! &! ¢ ¢¢ 2 ¡ £.2% ¢ ££ § ) Ex. 1.22. Caplet, ¦ -12 " + / / ¢¢2 ¢ . § ¨ § Ex. 1.23. Koechlin, Shéhérazade II, ¨ Ex. 1.24. Schmitt, Cette ombre, mon image (1916-17), ¢ 2 ..74 ! " + 1 ¢ £$.% ¢ £ ¢ § §) § ¨¦ ¦ ¦ ) Ex. 1.25a- ( e- .77 ! " 1 ¢ £$.% ¡¢ £¢ . ¢ 22 2¤ ¢ ¢ ¨ § §) § ( - .77 Ex. 1.26. Debussy, La terrasse des audiences au clair de lune (1912-13), mm. 3-4........77 ¢ ¦ ¦ Ex. 1.27a-b. Ravel, Ondine (1908), m. 58 and re-¨ ¦ 78 ¦ ¦ Ex. 1.27c-d. Ravel, Ondine (1908), m. 61 and re-¨ ¦ .79 Ex. 1.28a. Schmitt, Mauresque (1913-17), mm. 32- ¢ 82 Ex. 1.28b. Schmitt, Mauresque (1913-17), mm. 24-. .82 Ex. 1.28c. Schmitt, Mauresque (1913-17), mm. 26-. .82 Ex. 1.29. Le Flem, Par landes (1907), mm. 64-72; areas of perceptual & ! 3 + 4 © 4 ¢¢¢ ¨¦ ¦ ) § ))¦ 84 Ex. 1.30. Hypothetical (a,b,c,d) and actual (e) progressions in ¢¢¢ Le Flem, Par landes, mm. 70-£ 84 , © £. ¡¢ £¢ £¢ ¥ ¢¢ § § ¨¨ ¦ ¦§¨ -07), mm. 1- 93 ! , + +! ! ¡¢ ¢ £¢ # .. § § ) § 5¦ § ( (1897), mm. 20- .190 ix ¡¢ £¢ ¤¢ ¥ ¤¢ ¢ ¦§¨© ¦ §¦ mm. 1- 190 ¥ ¢ ¢ ¦ § Ex. 3.3. ¨ ir (1909), mm. 1- 199 ! # ! % ¢¢¢ " "" $ © Ex. 3.4. (1923), mm. 1- .207 %& Ex. 3.5. Emmanuel, Sonatine no. 3, mvt. II (1920), mm. 39- ¢ .213 ¤¢ ¢ " " ' ©¦¨ ¦ ¦ Ex. 4.1. (1908), mm. 1- .225 ! ( ¦ Ex. 4.2. Lenormand (1914), mm. 1-6, melodic schemata indicated .226 # % ¡¢ ¢ £¢ " ""- $ $ + § ¨ © ) *¨ ¨ ¨ ¦ ¨© ¨© , Calme en mer (1923) ! ¥ ¢¢¢ - ¦ . © Pagodes 228 && Ex. 4.4. Woollett, Cloches du soir (1910), mm. 47- ¢ ¢ .236 Ex. 4.5. Wurmser, Crépuscule (1910), mm. 1- ¤£ % / ¡¢ ¢ ¢ ¥ ¢¢¢ " ans le kiosque rose (1913), mm. 14- .241 # ¤0 + ¦ ¦ ¨ ¨ Ex. 4.7. Moret, (1913), mm. 25- .241 ¤ ¢ ¡ ¨ ¦ Ex. 4.8. Moret, ' (1913), mm. 22- .243 x Introduction: Did Debussysme Exist? During the first decade of the twentieth century in France, the term “debussysme ” saw frequent use in the musical press. Its meaning encompassed more than just the musical style or ideas of Claude Debussy: it had become a synonym for French musical modernism. In earlier studies other scholars have investigated
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