The Style Incantatoire in André Jolivet s Solo Flute Works Eastman Theory Colloquium October 12, 2018 Stephanie Venturino (Eastman School of Music) sventuri@u.rochester.edu Figure 1. Eight essential arabesque attributes (Bhogal 2013, 109). Conventional Arabesque Music Space (adapted from Bhogal 2013, 109) Solo melody Soft dynamics; musty timbre Register Succession Tessitura; patterned ascending and descending motifs Temporal duration Metric instability Short rhythmic values Figure 2. Late Debussyan arabesque taxonomy, modified from Bhogal 2013. Rhythm/Meter emerging pattern of metric accents (282) lack of interference with aspects of meter (281) Harmony a strong harmonic drive (283) Dynamics loud to soft dynamic shape (281) a dynamic trajectory (282) Late Arabesque Music Space Contour/Range expanded range tendency to ascend Instrumentation solo and ensemble context not restricted to winds at soft dynamic
Venturino 2 Figure 3. Narrow tessitura and 11-spans emphasized in the single Incantation, mm. 1 2. Figure 4. Pervasive chromatic motive, duple/triple rhythm juxtaposition, and frequent tied notes in the single Incantation, mm. 2 4. Figure 5. Modulation from descending to ascending arabesque in the single Incantation, m. 5.
Venturino 3 Figure 6. Continuity and metric ambiguity sans the rhythmically fluid chromatic lines and narrow tessitura of conventional arabesque in the single Incantation, systems 1 2 of m. 6. Figure 7. Frequent directional variance, spatial development, motivic unification, and lack of teleological development in Ascèses, mvt. 1, mm. 1 3. Figure 8. Arabesque confirms chromatic aggregate completion on B5 in Ascèses, mvt. 1, m. 3.
Venturino 4 Figure 9. Arabesque solidifies Eb s multi-registral prominence and provides gradual registral expansion in Ascèses, mvt. 1, m. 7. Figure 10. D and Eb pivot-notes introduced in the first Incantation, m. 1. Figure 11. Opposition between pivot-notes D and Eb in the second Incantation, mm. 1 9.
Venturino 5 Figure 12. Modulation to D in the second Incantation, mm. 29 33. Figure 13. Pivot-note Eb s return to prominence in the second Incantation, mm. 59 60. Figure 14. Pivot-note juxtaposition and summary gesture in the second Incantation, mm. 64 65. Figure 15. Modulation to G foreshadowed in the single Incantation, m. 5. Figure 16. Modulatory figure in the single Incantation, end of m. 5.
Venturino 6 Figure 17. Organization via small-scale limited macroharmony (mm. 1 11) and movement-wide unlimited macroharmony (completion in mm. 13 15) in the first Incantation. Figure 18. Harmonic unity, row manipulation via chromatic summary gesture, and links to the movement s opening in the first Incantation, mm. 11 17.
Venturino 7 Figure 19. Complete/incomplete chromatic collections juxtaposed in Ascèses, mvt. 1, mm. 7 8. Figure 20. Large-scale unlimited macroharmony in Ascèses.
Venturino 8 Selected Bibliography Bhogal, Gurminder. 2013. Details of Consequence: Ornament, Music, and Art in Paris. New York: Oxford University Press. Chevalier, Jean, and Alain Gheerbrant, eds. 1982. Dictionnaire des symboles. Paris: Robert Laffont. Conrad, Bridget. 1994. The Sources of Jolivet s Musical Language and His Relationships with Varèse and Messiaen. Ph.D. dissertation, City University of New York Graduate Center. Fulcher, Jane. 2005. The Composer As Intellectual: Music and Ideology in France, 1914 1940. New York: Oxford University Press. Godwin, Joscelyn. 1995. Music and the Occult: French Musical Philosophies, 1750 1950. Rochester: University of Rochester Press. Harrison, Daniel. 2016. Pieces of Tradition: An Analysis of Contemporary Tonal Music. New York: Oxford University Press. Hughes, H. Stuart. 1968. The Obstructed Path: French Social Thought in the Years of Desperation: 1930 1960. New York: Harper & Row. Jolivet, André. 1947. Musique et exotisme. In L exotisme dans l art et la penseé, edited by Roger Bezombes, 159 160. Paris: Elsevier.. 1955. Concerto for ondes martenot et orchestre. Interview by Bernard Gavoty. Les jeunesses musicales de France, January 1955. Paris: Archives André Jolivet.. 1960. Aspects de la musique française contemporaine à travers l oeuvre d André Jolivet. Handwritten lecture notes. Paris: Archives André Jolivet.. 1961. Entretiens avec André Jolivet. Interview by Antoine Goléa. Radio France, April May. Paris: Archives Daniel Lesur.. Réponse à une enquête: André Jolivet, ou la magie expérimentale, La Revue musicale 306 307 (1977): 19 22. Locke, Ralph. 2007. A Broader View of Musical Exoticism. The Journal of Musicology 24, no. 4: 477 521. Mawer, Deborah. 2008. Jolivet s Search for a New French Voice: Spiritual Otherness in Mana (1935). In French Music, Culture, and National Identity, 1870 1939, edited by Barbara Kelly, 172 193. Rochester: University of Rochester Press. Messiaen, Olivier. 1986. Musique et couleur: Nouveaux entretiens avec Claude Samuel. Paris: Belfond. Moindrot, Gérard. 2000. Approches symboliques de la musique d André Jolivet. Paris: L Harmattan. Rouget, Gilbert. 1985. Music and Trance: A Theory of the Relations Between Music and Possession. Chicago: University of Chicago Press.
Venturino 9 Rousseau, Jean-Jacques. 1970. Essai sur l origine des langues, où il est parlé de la mélodie et de l imitation musicale. Edited by C. Porset. Bordeaux: Ducros. Schorske, Carl. 2014. Thinking with History: Explorations in the Passage to Modernism. Princeton: Princeton University Press. Tuchman, Maurice. 1986. Hidden Meanings in Abstract Art. In The Spiritual in Art: Abstract Painting 1890 1985, 17 62. New York: Abbeville Press. Tymoczko, Dmitri. 2011. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice Period. New York: Oxford University Press Vivier, Odile. 1973. Varèse. Paris: Editions Du Seuil. Whittall, Arnold. 2003. Exploring Twentieth-Century Music: Tradition and Innovation. Cambridge, U.K.: Cambridge University Press. Zubillaga-Pow, Jun. 2017. Jolivet s Beethoven: Supplementarity, Topicality, and Alterity. In Historical Interplay in French Music and Culture, 1860 1969, edited by Deborah Mawer, 198 213. New York: Routledge.