Andre? Jolivet's Chant de linos (1944) a sentential analysis /

by Guarnuccio, Bryan Arthur.

Per Broman, Co-Advisor Nina Assimakopoulos, Co-Advisor In his book Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, William Caplin codified phrase structure and defined formal function from the phrase level to that of complete movements in the Classical style. Matthew BaileyShea, though still in a tonal context, expanded these theories in relation to Wagner as well as further defining the principal phrase-unit in this work, the sentence. This document applies and expands these theories to the post-Impressionistic music of André Jolivet. Chant de Linos (1944) was written on the cusp Jolivet’s third compositional period making it a mature work to serve as a case study demonstrating sentence structure in a post-tonal environment. After a brief history of Jolivet, this document studies these theories in a tonal context. Additional examples expand outside Classical tonality. This thesis concludes that the components of the sentence (the basic idea, repetition, and continuation) do not require tonality at all. The content and contour of the melody may be equally, if not more important, than tonal cadences in determining phrase structure. This document studies the essential formal elements with respect to the melodic contour. In this post-impressionistic work, the harmonic cadential support specified by Caplin is not present. Therefore, other aspects of cadences, namely melodic pause, are given precedence in determining what constitutes each phrase. iv The bulk of this thesis, a detailed phrase analysis, allows the reader to review the components of each phrase. Often, the reader is provided with several interpretations in regards to local and larger-scale units. This information enables the soloist to make performance decisions based upon these findings. Although a single, perfect interpretation does not exist, a background structure creates a solid departure for music making. The performance suggestions in this text highlight the analytical findings in relation to phrase structure. Despite a lack of harmonic support in determining cadences, clear and balanced phrases are readily apparent and interpreted accordingly in Chant de Linos. The performer must then decide whether or not he wishes to underline the phrase structure and what musical tools will execute the desired effect. I have provided a set of options to promote my analysis. v This thesis is dedicated to Adam DeGroot and Sarah Farmer, both of whom provided an ear for the various trials and tribulations involved with this work’s process and development. vi