Doctor of Musical Arts Dissertations
Examining François Rossé's Japanese-Influenced Chamber Music with Saxophone: Hybridity, Orality, and Primitivism as a Conceptual Framework
Date of Award
2014
Document Type
Dissertation
Degree Name
Doctor of Musical Arts (DMA)
Department
Contemporary Music
First Advisor
John Sampen (Advisor)
Second Advisor
Conor Nelson (Committee Member)
Third Advisor
Marcus Zagorski (Committee Member)
Fourth Advisor
Donald Callen (Committee Member)
Abstract
François Rossé (b. 1945) is a Bordeaux-based improvising pianist and prolific composer who has received relatively little scholarly attention. He has written over one hundred works involving the saxophone, and in many cases, featuring the saxophone, yet his music is not widely studied or performed in North America. This document draws attention to Rossé's music for saxophone by tracing the application of hybridity, orality, and primitivism in Bear's Trio, Nishi Asakusa, and Orients, his Japanese-influenced chamber pieces with saxophone. These concepts are presented within relevant discourses, as prominent features of Western art music history and saxophone repertory, and as philosophically motivated practices that form the core of Rossé's approach to music-making and composition. An overview of relevant Japanese cultural elements, such as history, art forms, aesthetics, and spirituality, provides the necessary groundwork for identifying the manifestations of Japanese influence in Bear's Trio, Nishi Asakusa, and Orients. By surveying Rossé's incorporation of Japanese tradition and spirituality through the tripartite theoretical lens of hybridity, orality, and primitivism, this document offers a valid and useful schema for experiencing and interpreting his music.
Recommended Citation
Even, Noa, "Examining François Rossé's Japanese-Influenced Chamber Music with Saxophone: Hybridity, Orality, and Primitivism as a Conceptual Framework" (2014). Doctor of Musical Arts Dissertations. 20.
https://scholarworks.bgsu.edu/dma_diss/20