L'expression de la polarité dans le concerto pour orgue et orchestre, op.68, de Jacques Hétu
|Abstract:||The hierarchical relationships between sounds are not exclusive to traditional diatonicism. They can be brought into play in various languages, certainly through the use of an asymmetrical scale, such as the diatonic scale, but also through the use of a symmetrical scale, such as the octatonic scale. Polarity is based on the structural predominance of one or more poles of the axes of symmetry in a given scale. It then expresses a hierarchy that is not only similar, but also intrinsic to the overall concept of tonality. The factors making up polarity vary according to the particularities of the composer’s language. In this research, the factors of polarity are brought to light in a central work of Jacques Hétu’s mature period: the Concerto for Organ and Orchestra, op. 68 (2001). Predominant in Hétu’s language, the octatonic scale receives special attention, first through a review of the major musicological research on the subject, then through an analysis of its properties using set theory. The identification of linear and vertical ensembles in the Concerto for Organ sheds light on the interactions between the various elements related to the octatonic, whole-tone and diatonic scales, as well as those based on interval cycles. Joseph N. Straus’s associational model of voice leading is then used to clarify the structural level of the various elements. The analysis of the periodic structure finally brings out the integration of the polarity into the form.|
|Document Type:||Thèse de doctorat|
|Open Access Date:||13 April 2018|
|Collection:||Thèses et mémoires|
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