Examining François Rossé's Japanese-Influenced Chamber Music with Saxophone: Hybridity, Orality, and Primitivism as a Conceptual Framework
Date of Award
Doctor of Musical Arts (DMA)
John Sampen (Advisor)
Conor Nelson (Committee Member)
Marcus Zagorski (Committee Member)
Donald Callen (Committee Member)
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.
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.