EXAMINING FRANÇOIS ROSSÉ’S JAPANESE-INFLUENCED CHAMBER MUSIC WITH SAXOPHONE: HYBRIDITY, ORALITY, AND PRIMITIVISM AS A CONCEPTUAL FRAMEWORK Noa Even A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS December 2014 Committee: John Sampen, Advisor Donald Callen Graduate Faculty Representative Conor Nelson Marcus Zagorski © 2014 Noa Even All Rights Reserved iii ABSTRACT John Sampen, Advisor François Rossé (b. 1945) is a Bordeaux-based improvising pianist and prolific composer who has received relatively little scholarly attention. He has written over one hundred works involving the saxophone, and in many cases, featuring the saxophone, yet his music is not widely studied or performed in North America. This document draws attention to Rossé’s music for saxophone by tracing the application of hybridity, orality, and primitivism in Bear’s Trio, Nishi Asakusa, and Orients, his Japanese-influenced chamber pieces with saxophone. These concepts are presented within relevant discourses, as prominent features of Western art music history and saxophone repertory, and as philosophically motivated practices that form the core of Rossé’s approach to music-making and composition. An overview of relevant Japanese cultural elements, such as history, art forms, aesthetics, and spirituality, provides the necessary groundwork for identifying the manifestations of Japanese influence in Bear’s Trio, Nishi Asakusa, and Orients. By surveying Rossé’s incorporation of Japanese tradition and spirituality through the tripartite theoretical lens of hybridity, orality, and primitivism, this document offers a valid and useful schema for experiencing and interpreting his music. iv This document is dedicated to the memory of my grandmothers, Malka and Marion v ACKNOWLEDGMENTS I would like to acknowledge the many individuals whose efforts went into the making of this document. Thanks to my committee members, Don Callen, Conor Nelson, and Marcus Zagorski, for contributing to my growth as a musician and scholar during my time at BGSU. I would like to extend my sincere appreciation to John Sampen for his instruction, mentorship, and dedication. His guidance, both musical and otherwise, has been incredibly valuable. A huge thanks to Marilyn Shrude, my advisor, for her advice and dedication throughout the degree program. Thanks go to Susannah Cleveland, Mary Natvig, and Zach Pfau for offering their expertise and time at various stages of the process. I would like to acknowledge Marie-Bernadette Charrier, Jean-Michel Goury, and Jean- Marie Londeix for their willingness to correspond. They have tremendously enriched this document by sharing their experiences. I am extremely thankful for the participation of François Rossé, without whom this document would not have been possible. I appreciate the care, passion, and thoroughness he invested in the project. I truly appreciate the warmth and encouragement that the Klunks have demonstrated; they have provided me with a home away from home. I feel very fortunate to have the love and support of my siblings, grandparents, and extended family, near and far. My parents, Jenny and Motti, receive my deepest gratitude for their love, resilience, and devotion to my musical endeavors over the years. Lastly, I would like to give a special thanks to Stephen for his love, confidence, and companionship. vi TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………………..... 1 CHAPTER 1. FRANÇOIS ROSSÉ....................................................................................... 5 Rossé’s Early Musical Development, Education, and Career ................................... 5 Olivier Messiaen ........................................................................................................ 6 Rossé’s Musical Approach ........................................................................................ 9 Jean-Marie Londeix and Le Frêne égaré................................................................... 14 CHAPTER 2. HYBRIDITY .................................................................................................. 22 ‘Hybridity’ in Culture Theory.................................................................................... 22 Hybridity in Western Art Music History ................................................................... 25 Hybridity in Saxophone Repertoire ........................................................................... 30 Hybridity in Rossé’s Approach.................................................................................. 32 Hybridity in Rossé’s Music for Saxophone............................................................... 36 CHAPTER 3. ORALITY....................................................................................................... 38 ‘Orality’ in Culture Theory........................................................................................ 38 Orality in Western Art Music History ....................................................................... 41 Orality in Saxophone Repertoire and Performance ................................................... 53 Orality in Rossé’s Approach...................................................................................... 54 Orality in Rossé’s Music for Saxophone ................................................................... 57 CHAPTER 4. PRIMITIVISM ............................................................................................... 59 ‘Primitivism’ in Philosophical Theory ...................................................................... 59 Primitivism in Ethnological Museums, Modern Art, and Postcolonial France………………………………………………………………………………. 64 vii Primitivism in Western Art Music History................................................................ 70 Primitivism in Saxophone Literature......................................................................... 80 Primitivism in Rossé’s Approach .............................................................................. 82 Primitivism in Rossé’s Music for Saxophone............................................................ 86 CHAPTER 5. JAPANESE CULTURE ................................................................................. 88 Music History of Japan.............................................................................................. 88 Japanese Religions and Spirituality ........................................................................... 91 Shinto and Buddhist Music........................................................................................ 97 Gagaku……………………………………………………………………………... 99 Nohgaku and Noh Drama........................................................................................... 103 Taiko Drumming........................................................................................................ 107 Aesthetics of Japanese Music .................................................................................... 109 Orality in Pedagogy and Performance ....................................................................... 111 CHAPTER 6. EXAMINING THE MUSIC........................................................................... 115 Background of Bear’s Trio........................................................................................ 115 Hybridity in Bear’s Trio ............................................................................................ 116 Orality in Bear’s Trio ................................................................................................ 127 Primitivism in Bear’s Trio......................................................................................... 130 Background of Nishi Asakusa.................................................................................... 132 Hybridity in Nishi Asakusa........................................................................................ 134 Orality in Nishi Asakusa ............................................................................................ 142 Primitivism in Nishi Asakusa..................................................................................... 143 Background of Orients............................................................................................... 145 Hybridity in Orients................................................................................................... 146 viii Orality in Orients....................................................................................................... 157 Primitivism in Orients ............................................................................................... 159 Conclusion………………………………………………………………………… . 161 BIBLIOGRAPHY………………………………………………………………………….. 163 APPENDIX A. TRANSLATED EMAIL INTERVIEWS .................................................... 174 Email Interview with François Rossé (response received April 19, 2013) ............... 174 Email Interview with Marie-Bernadette Charrier (response received June 11, 2013)............................................................................. 177 Email Interview with Jean-Michel Goury (response received June 26, 2013).......... 178 Email Interview with Jean-Marie Londeix (response received April 13, 2013)........ 182 APPENDIX B. EMAIL INTERVIEWS IN FRENCH.......................................................... 184 Email Interview with François Rossé (response received April 19, 2013) ..............