Résumés
Résumé
Cet article expose le processus ayant conduit à la question « comment fonctionne le style musical de Claude Vivier ? », ainsi que les stratégies par lesquelles on peut y répondre. Les bases méthodologiques visant à reconstituer la logique du style musical du compositeur québécois y sont établies. Elles servent de fondement à une recherche de grande envergure dans laquelle les oeuvres du compositeur sont analysées de façon transversale et chronologique, afin de retracer son évolution stylistique, basée sur des observations quantifiables et vérifiables appelées ici endogénétiques, et supposant que le musical génère le musical.
Abstract
It is now well recognized that Canadian composer Claude Vivier was at the forefront of his generation. His compositions are now regularly performed in Canada and throughout the world. The aim of this article, which emanates from my doctoral research, is to enable what could be termed an “endogenetic” analytical approach to Vivier’s musical style. The overarching feature of Vivier’s music is that given musical parameters generate their own developmental characteristics throughout a large number of works. One of these parameters – melody – develops endogenetically throughout five short pieces for solo or duo instruments and piano from 1975. In order to demonstrate the veracity of this central hypothesis, I have adopted the methodology of developmental stylistic analysis from work to work. This type of analysis can be named “endogenetic,” since it explores stylistic development chronologically, within a corpus of works, and progressively through given parameters.