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Broman • AIl rights reserved National Ubrary Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Welington Ottawa ON K1 A ON4 Oftawa ON K1A 0N4 Canada canada The author has granted a non­ L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library ofCanada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seO reproduire, prêter, distnbuer ou copies ofthis thesis in microform, vendre des copies de cette thèse sous paper or electronic fonnats. la fonne de microfiche/film, de reproduction sur papier ou sur fonnat électronique. The author retains ownership ofthe L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. 0-612-43838-4 Canadl Table ofContents • Table of Contents ü Acknowledgments .ili Abstract iv Résumé v Introduction....... 1 The Concept ofWorld Music 6 An Outline.................•.................:..............•••..•...•..•.....••...•....••.•......•.•..•......................6 Historical. Influences-Exotismus and EthnomusicolOlY 8 Ingrid Fritsch's Four Classes ofWorldMusic 10 Exotic Material-The Compoaen' Points ofView 12 The Meditative Concept-A Case Apinst "DevelopincVariation" 15 The Idea ofGlobal Unity 17 Avant-garde. Modemism. and World Music.............................•.................................... 19 Critici.sm ofWorldMusic from the Neutral Level-Folk Music in Danger 28 Criticism ofWorld Music from the Poeitic Level--8choenberc. Nono. Femeyhough. and Adomo 33 Historical Background ofBengt Hambrœus 37 The Form.ative Years : 37 McGill University 1972-1996 _ 46 Bengt Hamb1'8!us's Notion ofWorldMusic 47 Nocturnals-"Hambrœus's Midsummer Vigil," Political Protest and a New Compositional Technique 55 The Poeitic !A!vel...............................................................................•.•....•..................55 Compositional Technique ~ :.:..........................................................•..................60 Conc1uding Remarks 68 Appendix 72 Bengt Hambreus's Unpublished Liner Notes on Nocturnals..................•....................72 Bibliography 74 Recordings 82 • Notes 83 ü • Acknowledgments 1 am grateful ta Professor Hambneus who opened thia whole tapie. 1 am also grateful for comments by Sylvia Grmela. Nora Engebretaen-Broman apent much time editiDg my English. Without her the text would have been far leas comprehensible. 1 am also most grateful ta Krister Malm and Gert Olsson who helpedme with references and answered my questions back in 1990, to Joakim TiIlman who read the entire manuscript at a late stace and who made me avoid 80me embarr~1miatakes~ and François de Medicia who tumed the abstract into un résumé~ Duringthe International SUDlDler Courses for New Music in Darmstadt in 1996-as weUu in a conversation later via email-Brian Femeyhough provided me with modemist view ofthe recent aesthetic developments. 1 round bis comments very enlightenjngfor myproject. Stephen Incham provided with information regarding bis work as we1l as provided me the musical example ûom bis Second Piano Sonata. Wamer/ChappeU. Music Sweden-Nordiska Musi.Jdbrlaget kindly permitted the use of excerpts from a Cew ofBengt Hambreus's scores. Most of all, 1 would like to th~Mitchell Morris for bis liberating, olten unrestrained, comments. sugp!stions. and encouragement without which this study would not have been possible. Stockholm August, 1997 • ili • Abstract The concept ofWorld Music is important for the explanation ofvarious twentieth<entury musical phenomena but ita application to virtuallyevery pore ofmusic creates an inevitable confusion. In the 1980s. World Music was a term WIeful for describing popular music in fusion with ethnie music. That ract huleadmany to an association ofthe term exclusively with that new genre. In this study 1 denne World Music in Western art-music-from an historical perspective as weil as with regardto Dlwrical style. ideololY. and aeatbetica and give examples ofvarious composera' approaches. In the ideologica1 discussion, the debate over "exotic" music and musical borroWÏDp turns out to have many points ofcontact with the notions ofmodemism and postmodernism. 1 exemplify and test my ideas by using the stylistic deve10pment ofSwedish-Canadian composer Bengt Hambreus as a case atudy and discuss ideological and musical applications ta the concept ofWorld Music in relation ta Hambrœus's piece Noctumals for Chamber Ensemble (1990). • iv • Résumé Le concept de «World Music» estimportantpour fexplication de divers phénomènes musicaux au vingtième sièder mais 900 application à la quasi totalité des genres musicaux crée inévitablement une confusion. Dans les années quatre-viDgtr «WorldMusiot constituait une expression pratique pour référer à la fusion des musiques populaire et ethnique. Cette situation a favorisé rétablissement cfme association exclusive entre ce terme et ce nouveau genre. Dans mon étuder je définis «World Muai~ daDsla musique d'artoccidentale à partir d'une perspective qui tient compte à la fois du contexte biatorique, du style musical, de l'idéologie et de l'esthétique, et je commente des exemples illustrant les approches de divers compositeurs. Dans la discussion idéologique, le débat entre musique «exotique» et emprunts musicaux révèle plusieurs similitudes avec les notions de modernisme et post­ modernisme. Pour illustrer et tester mes idées, futi1ise le développement stylistique du compositeur suédo-canadien Bengt Hambreus comme étude de cas, etje discute les applications idéologiques et musicales du concept de «World MusiOt en rapport avec le Noctu11UJ.ls de Hambneus pour ensemble de chambre (1990). • v Introduction • There are no 'theories ofliterature,' there is no 'theoEY ofcriticism: Sueh tags are armpnt bluB: or a borrowing~ transparent in ita pathos, from the enviable fortunes and forward motion of science and technolOlY. [...) What we do have are reasoned descriptions of procesaes. At veIY best, we find and seek, iD tum, to articu1ate, narrations of felt experienœ, heuristic or exempluy notations of work in pmgress. These have no 'scîentific' status.1 (George Steiner) This project was initiated.in 1990 ~uriDCBenet HambneU5~scraduate composition seminar at McGill University which. was covering thœe divergent topies: the music ofBruee Mather, the music ofKarlheiDz Stockhausen, and the concept ofWorld Music. The wide scope of approaches in the seminar combined with the lively discussions that took place resulted iD a paper investigatingthe concept ofWoddMusic iD an art music context. However, 1felt that much remained to he clone. Indeed, thi.s topie is wide enough to offer a lifetime's worth of research opportunities. During the course ofthe seminar, 1 became quite fascinated with Hambneus's broad outlook on a variety of tapies..1 was fSlmjJjar with bis vast erudition with respect 10 historical musicology and contemporary art music, but1 didn't expect 8uch deep lmowledge and understandingofother kinets ofmusics. For HambneU8 everything seemed to be of potential mterest. This attitude is ret1ected in bis articles for the 8wedish music dictionary Sohlmans from the 1970s. He coDtributed on a wide variety oftopics, mch as "Avant-garde," "Braille notation," "Darmstadt,'" -(jallop," "Gavotte," "Habanera," "Klanparbenmelodie," "Organ," "The Oxyrhynchus-Hymn," "Reger, Max," and OlSamba." The seminar was an eye-opeDÏDg experience (1 was then a classical violiDist with hardly any lmowledge ofany music outside Westem art music). Traditional musical dïscourses iD Sweden cover