Jacques Hétu's Style Composite: A TransformationalApproach to Modal Superimposition
Notice bibliographique
Résumé
JACQUES HÉTU’S STYLE COMPOSITE: A TRANSFORMATIONAL APPROACH TO MODAL SUPERIMPOSITION STEPHANIE LIND ACQUES HÉTU (1938–2010) HAS BEEN one of Canada’s most performed contemporary composers; particularly renowned for his commissions, his music has been performed by artists including the Canadian pianists Robert Silverman and Glenn Gould (who recorded the Variations for Piano, op. 8), Canadian-born clarinettist James Campbell, the Toronto Symphony Orchestra, the Montreal Symphony Orchestra, the National Arts Centre Orchestra, and the New York Philharmonic. Stylistically, he is known for “a composite language largely branded by octatonicism, but also by chromaticism, a language where melodic units play a fundamental role.”1 J 136 Perspectives of New Music Among other stylistic features, Hétu’s music frequently employs Messiaen’s “modes of limited transposition.” While Messiaen refers to these collections as ‘modes,’ he admits that they “have nothing in common with the three large modal systems of India, China, and ancient Greece, nor with the modes of plainchant,”2 nor do they suggest traditional modality or tonality. Rather, they are part of a larger collection of sets featuring Tn symmetry. The modes of limited transposition and their relation to this larger collection of sets can be seen in Robert Morris’s “Transposition Invariance Inclusion Lattice,” given in Example 1.3 Although Tn symmetry is, in many ways, a better descriptor for this collection of sets (particularly since several of the other Tn-symmetrical EXAMPLE 1: MORRIS’ TRANSPOSITION INVARIANCE INCLUSION LATTICE. MESSIAENS’S “MODES OF LIMITED TRANSPORTATION” GIVEN BY ROMAN NUMERALS Reprinted by permission of Robert Morris Jacques Hétu's Style Composite 137 sets listed in Example 1 will appear in the course of this analysis), Messiaen uses the term “mode” to refer to these seven collections because to him they suggest “a modal atmosphere of several keys occurring simultaneously, without polytonality.”4 In order to emphasize Hétu’s stylistic connection to Messiaen, I will thus employ the term ‘modes of limited transposition’ throughout this paper, but will refer to their Tn symmetry in cases where this property is particularly relevant to the musical structure. I will be labeling these collections with Messiaen’s own convention of a regular-case numeral indicating the mode type and a superscript numeral indicating a particular transposition of the mode.5 Other elements in Hétu’s music that suggest the influence of Messiaen include the repetition of short motives and the superimposition of independent melodic layers. Such similarities are not surprising given that Hétu was both a first- and second-generation student of the French composer: he studied with Clermont Pépin (a former student of Messiaen) from 1956–61 at the Conservatoire de musique à Montréal, and with Messiaen himself in Paris from 1962–63 as a result of winning the Prix d’Europe in 1961.6 Hétu was well aware of Messiaen’s impact; for example, in describing his Variations for Piano (1964) he stated: I believe in the possible existence of a style encompassing several systems. A brief analysis of a fragment from one of my works will illustrate and clarify my thoughts. The first four measures of my Variations for piano [Example 2] state, in a contracted manner, the essential elements which generate the entire work. . . . First, the theme: Its declaration presents the twelve tones of the chromatic scale but only the first six will have a structural function. . . . Secondly, the harmony: the chords are constructed from a mode previously catalogued by Olivier Messiaen. . . . [T]here is a relationship between this mode and the theme: the last six notes of the latter are also part of the mode. The contrapuntal aspect of this passage is characterized by the imitative treatment of these two sonic planes.7 The elements identified by Hétu—multiple overlapping “sonic planes” (that is, textural superimposition), “harmony” derived from Messiaen’s modes of limited transposition, and a structural relationship between the organization of the underlying mode and the main thematic material—recur throughout much of his music. Deriving melodic and harmonic elements from a Messiaen-inspired modal framework can thus be considered a key component of his compositional style. 138 Perspectives of New Music This paper will...
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,022 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».