Maurice Delage: Close Listening to Asian Traditions and the Emancipation from Exoticism

rþƿƢŎěĩ'ĩŦþłĩ܌ĚŻƢűŎűڐڗږژ܌ǜþƪþŦĩþĢŎűłůĩůĚĩƢŻŁƷʼnĩþƢƷŎƪƷƪܼěŻŦŦĩěƷŎǛĩApaches, founded in 1902, and of the Société Musicale Indépendanteܣ®rSܤ܌ŁŻƿűĢĩĢŎűڐژڏژܒŻƷʼnłƢŻƿƟƪǜĩƢĩěĩű-ƷĩƢĩĢþƢŻƿűĢrþƿƢŎěĩ¦þǛĩŦܣڐڗږڔܫڐژڒږܤ܌'ĩŦþłĩܼƪƷĩþěʼnĩƢþűĢěŦŻƪĩŁƢŎĩűĢܒȃĩApaches consid-ĩƢĩĢƷʼnĩůƪĩŦǛĩƪþƢĩĚĩŦŦŎŻƿƪłƢŻƿƟþűĢǜĩƢĩƿűŎƷĩĢĚǢƷʼnĩŎƢĩűƷʼnƿƪŎþƪůŁŻƢ ŦþƿĢĩ'ĩĚƿƪƪǢܼƪ opera Pelléas et MélisandeܣƟƢĩůŎĩƢĩĢŎűڐژڏڑܤ܌ƷʼnĩŎƢƪƿĚƪƷþűƷŎþŦŎűƷĩƢĩƪƷŎű¦ƿƪƪŎþűůƿƪŎě܌þűĢ their criticism of the nationalist and conservative impact of the academic musical establish-ment of the Schola CantorumþƢŻƿűĢßŎűěĩűƷĢܼSűĢǢǜʼnŻþŦƪŻěŻűƷƢŻŦŦĩĢƷʼnĩƟŻŦŎƷŎěƪŻŁƷʼnĩŎű-Ǵ ŦƿĩűƷŎþŦSociété National de Musique ܣŁŻƿűĢĩĢ Ŏű ڐڗږڐܤܒ ȃĩ ǜĩĩţŦǢ łþƷʼnĩƢŎűłƪ ŻŁ ƷʼnĩApaches, ƪƷþƢƷŎűłŎűڐژڏړ܌ƷŻŻţƟŦþěĩŎűþƟþǛŎŦŎŻűŎűƷʼnĩ£þƢŎƪŎþűơƿþƢƷĩƢƿƷĩƿŎŦǜʼnŎěʼnǜþƪƢĩűƷĩĢĚǢ rþƿƢŎěĩ'ĩŦþłĩܣƪŻűŻŁþǜĩþŦƷʼnǢĩűƷƢĩƟƢĩűĩƿƢܤĩƪƟĩěŎþŦŦǢŁŻƢƷʼnþƷŻěěþƪŎŻűܒ^ښڡڢȃĩŦþƢłĩŦǢƪĩŦŁܮ ƷþƿłʼnƷ'ĩŦþłĩǜþƪþűŎůƟŻƢƷþűƷȀłƿƢĩŎűƷʼnŎƪłƢŻƿƟǜʼnŎěʼnʼnŎƪěŦŻƪĩŁƢŎĩűĢƪʼnŎƟƷŻSłŻƢ®ƷƢþ-ǛŎűƪţǢƢĩǴ ŦĩěƷƪܒ®ƷƢþǛŎűƪţǢŠŻŎűĩĢƷʼnĩłƢŻƿƟþŦŻűłǜŎƷʼnrþűƿĩŦĢĩFþŦŦþ܌SƪþþěŦĚĩűŎǬ܌þűĢ ŻƷʼnĩƢŎűƷĩƢűþƷŎŻűþŦȀłƿƢĩƪĢƿƢŎűłƷʼnĩȀƢƪƷĢĩěþĢĩŻŁƷʼnĩƷǜĩűƷŎĩƷʼněĩűƷƿƢǢܒ

'ĩŦþłĩǜþƪþŦƪŻŎűǛŻŦǛĩĢŎűƷʼnĩŁŻƿűĢþƷŎŻűŻŁƷʼnĩůŻƢĩŻDzȀěŎþŦŻƢłþűŎǬþƷŎŻűSociété Musicale IndépendanteŎűڐژڏژƷʼnþƷŁŻƢůþŦŦǢůþƢţĩĢƷʼnĩƢĩŠĩěƷŎŻűŻŁƷʼnĩŎĢĩþƪƢĩƟƢĩƪĩűƷĩĢĚǢƷʼnĩSociété NationalܒȃĩŎůůĩĢŎþƷĩƢĩþƪŻűŁŻƢŎƷƪŁŻƿűĢþƷŎŻűǜþƪƷʼnþƷƷʼnĩSociété National had declined to ƟĩƢŁŻƢůܹ¼ĩůƟŦĩƪ܌ܺƷʼnĩȀƢƪƷŻŁ ʼnþƢŦĩƪfŻĩěʼnŦŎűܼƪƷǜŻEtudes antiquesܣڐژڏڗܫڐڏܤ܌þűĢ'ĩŦþłĩܼƪ

ڵڼڼ ®ĪĪ£ÿƫŧĪƣ܉ܶ¦ÿĜĪ܉ƣŏĪŲƸÿŧŏƫŰ܉ÿŲģ'ŏƫƸŏŲĜƸŏżŲŏŲƸŊĪàÿŤĪżłƸŊĪæĪŧŧżǝ£Īƣŏŧ܉ܷڍڌڍܨڍڌڏ܏

ڵڼڽ £ÿƫŧĪƣ܉ܶ®ƸƣÿǜŏŲƫŤǣÿŲģƸŊĪƠÿĜŊĪƫ܉ܷڐڌڏ܏

ƷŻŠŎƢƔfþǜþţþůŎܘ®þĢþæþcco World War IWorld War II /ƿƢŻƟĩþű¼ŻƿƢ £þƢŎƪàŻƢŦĢ/ǡƟŻƪŎƷŎŻű £þƢŎƪàŻƢŦĢ/ǡƟŻƪŎƷŎŻű SchoeűĚĩƢł, Pierrot lunaireƪŎþ£þěŎŁŎěàþƢ ĚƢþʼnþůܘNŻƢűĚŻƪƷĩŦ, ®ƷƢþǛŎűƪţǢ, Trois poésies Studiende la lyrique japonaise FŻƿűĢþƷŎŻűŻŁ dþƟþűŠŻŎűƪS® r ŁŎƢƪƷþƷŻűþŦ 'ĩĚƿƪƪǢ, Pagodes¦þǛĩŦ, Trois poèmes deS® r ŦĩǡþűĢĩƢ¼ěʼnĩƢeƟűŎű ǜŻƢţĚǢƪŎþű £ƿěěŎűŎ, Madama ButterflyMallarmé Ŏű ʼnŎűþܘdþƟþű ěŻůƟŻƪĩƢܣ®þűł¼Żűł܌®ʼnþűłʼnþŎܤ 'ĩĚƿƪƪǢ, rþʼnŦĩƢ, Das Lied von der Erde Pelléas et Mélisande 1875 18801885189018951900 1905191019151920192519301935194019451950195519601965 ¦þǛĩŦ,Shéhérazade ܡƪŻűłěǢěŦĩܢ ¦þǛĩŦ܋Chansons madécasses ApachesSociété musicale indépendante ¦þǛĩŦܼƪƪƷƿĢĩűƷ ƷƢŎƟƷŻƪŎþܣSűĢŎþܗdþƟþűܤ Ragamalika Maurice Delage (1879–1961)Quatre poèmes hindousSept Haï-kaïs Trois chants de la jungle Amiable ConversationFŻƿűĢþƷŎŻűŻŁr® ƪƷƿĢŎĩƪǜith ®ĩĩłĩƢܣà ܤAtlantis Rest United Quartet Some MusicThe Banshee“¼ŻǜþƢĢƪtĩŻ-£ƢŎůŎƷŎǛŎƪů” ěʼnŎŦĢʼnŻŻĢŎůƟƢĩƪƪŎŻűƪ ůĩĩƷƪ¦ƿĢʼnǢþƢ܌ƪǢůƟŻƪŎþŻű/ǡŻƷŎěůƿƪŎěMosaic Quartet ŻŁƪŎþűůƿƪŎěƪܣ®þűFƢܒܤ¼þůþĢþƪƷƿĢŎĩƪŻŁstudies in Berlin ƷʼnĩŻƪŻƟʼnŎěþŦěŻůůƿűŎƷǢSűĢŎþűůƿƪŎě ܣ£ʼnŻűŻłƢþůůþƢěʼnŎǛ) ܣNþŦěǢŻűܤܗdŻʼnűßþƢŎþűNew Music Society of California /ƿƢŻƟĩþűƷŻƿƢƪ Henry Cowell (1897–1965)ڐژڑڑܘڑڒܘڑڕܘڑژܘڒڐܘڒڑ fƔƪþţƿæþůþĢþ, Sinfonietta Ochitaru tennyoĩƢŦŎű¼ŻţǢŻ “ÉĚĩƢŠþƟþűŎƪěʼnĩNþƢůŻűŎĩ” ܡŁŎƢƪƷdþƟþűĩƪĩŻƟĩƢþܢþƪʼnƔkŎţƔƪʼnǕ ܣƢĩǛܒڐژڒږܘړږܤ æþůþĢþƢĩƷƿƢűƪƪƷƿĢŎĩƪܣ£ƢŎűłƪʼnĩŎůܤŁŻƿűĢþƷŎŻűŻŁ ƷŻdþƟþűܣGܒ®ěʼnƿůþűűܤSʼnŎűţƔsakkyokuka renmei ƪƷƿĢǢƟƢŻłƢþůůĩ NŎĢĩůþƢo fŻűŻĩܘěŻůƟŻƪŎƷŻűܣ¼ŻţǢŻܤ tĩǜ®ǢůƟʼnŻűǢƢěʼnĩƪƷƢþ Shukichi Mitsukuri (1895–1971) ĩűƷʼnƢŻűĩůĩűƷtŻĚŻƢƿSƷŻ,®ǢůƟŻƪŎƿůܹǛĩƢěŻůŎűłrŻĢĩƢűŎƷǢܺܣ®þĚƿƢƔrŻƢŻŎܤ ŻŁ®ʼnƔǜþƷĩűűƔ “¼ŻůŻƢƢŻǜܼƪrƿƪŎě” ®ʼnƔʼnĩŎ¼þűþţþ, rŎěʼnŎŻ rŎǢþłŎ, Nihon wasei no kiso Etenraku VariationsShin ongaku renmei [ţŎƢþSŁƿţƿĚĩܗ NþƢƿŻűŻƪʼnŎűŎǢŻƢƿǢŻƷƷƪƿűŻůƿĚþűƪƔţþţǢŻţƿ ƷƪƿƪʼnŎ rŎƿƢþܢNihonteki ongakuron ®þʼnƔ no mai to uʼnƔ no maiܗPiano Pieces Fumio Hayasaka (1914–1955)Kodai no bukyoku

¼þĚŦĩڗܘږܑ ʼnƢŻűŻŦŻłǢږڝڜښܱږڞڛښŻŁƷʼnĩŎűƪƷŎƷƿƷŎŻűƪܒǜŻƢţƪܒþűĢþƢƷŎěŦĩƪĢŎƪěƿƪƪĩĢŎűƷʼnŎƪěʼnþƟƷĩƢ

symphonic poem Conté par la mer ܣڐژڏڗܤĢƿĩƷŻƷʼnĩŎƢþĢǛþűěĩĢƪƷǢŦĩܒ^ښڢڙ ȃĩ®rSŁƢŻůŎƷƪĚĩłŎű-nings successfully introduced the most recent musical trends from both its French members and international composers. Among other activities, it organized the French premieres of Ar-nold Schoenberg’s ȄƢĩĩ£ŎþűŻ£ŎĩěĩƪŻƟܒݑڐڐܣڐژڏژܤŎűڐژڐڒþűĢSix Little Piano PiecesŻƟܒڐژܣڐژڐڐܤŎű ڐژڐړܒ^ښڢښ®ƷƢþǛŎűƪţǢܼƪĩűƷʼnƿƪŎþƪůŁŻƢ®ěʼnŻĩűĚĩƢłܼƪPierrot lunaire ܣڐژڐڑܤ^ښڢڛ ƪƟþƢţĩĢƷʼnĩƟŦþűƷŻŻƢ-łþűŎǬĩƷʼnĩFƢĩűěʼnƟƢĩůŎĩƢĩŻŁƷʼnŎƪǜŻƢţŎűǜʼnþƷ¦þǛĩŦŎůþłŎűĩĢƷŻĚĩþܹƪěþűĢþŦŻƿƪěŻűěĩƢƷܒܺ^ښڢڜ Although the Pierrot premiere had to be canceled for practical reasons,^ښڢڝ the society’s concert ŻűڐړdþűƿþƢǢڐژڐړŁĩþƷƿƢĩĢƷʼnĩǜŻƢŦĢƟƢĩůŎĩƢĩƪŻŁƷǜŻƟŎĩěĩƪƷʼnþƷǜĩƢĩþƷŦĩþƪƷŎűĢŎƢĩěƷŦǢŎű-Ǵ ŦƿĩűěĩĢŻƢƷƢŎłłĩƢĩĢĚǢƷʼnĩĩűƷʼnƿƪŎþƪůŁŻƢ®ěʼnŻĩűĚĩƢłܼƪPierrot܋®ƷƢþǛŎűƪţǢܼƪTrois poésies de la ŦǢƢŎơƿĩŠþƟŻűþŎƪĩܣڐژڐڑܘڐڒܤþűĢ¦þǛĩŦܼƪTrois poèmes de Mallarmé ܣڐژڐڒܤܫþŦŻűłǜŎƷʼn'ĩŦþłĩܼƪQuatre poèmes hindous ŁŻƢƪŻƟƢþűŻþűĢěʼnþůĚĩƢĩűƪĩůĚŦĩܣڐژڐڒܤǜʼnŎěʼnŎƪěŦŻƪĩŦǢŎűƷĩƢƷǜŎűĩĢǜŎƷʼnƷʼnĩƪĩ ƷǜŻěǢěŦĩƪܒȃĩƢĩĚĩŦŦŎŻƿƪƷŻűĩŎƪĩǛŎĢĩűƷŎűþƢĩǛŎĩǜŻŁƷʼnŎƪěŻűěĩƢƷĚǢApaches- and SMI-mem-ĚĩƢ0ůŎŦĩßƿŎŦŦĩƢůŻǬ܋^ښڢڞ

FżƣÿŧżŲŃƸŏŰĪܨƫŏŲĜĪƸŊĪŊĪƣżŏĜĪǜĪŲŏŲŃƫżłƸŊĪżŧģNationaleܨŰǀƫŏĜŏÿŲƫŊÿģŲżƸŊÿģƸŊĪƫĪŲ-ƫÿƸŏżŲżłÿƸƸĪŲģŏŲŃƫǀĜŊÿŲŏŰƠżƣƸÿŲƸĪǜĪŲƸ܉ƫżƫŏŃŲŏǿĜÿŲƸłżƣƸŊĪĪǜżŧǀƸŏżŲżłżǀƣÿƣƸ܏¼ŊĪ®ÿŧŧĪ /ƣÿƣģ܉ǝŊĪƣĪƫżŰÿŲǣŃŧżƣŏżǀƫƠÿŃĪƫżłżǀƣŰǀƫŏĜÿŧŊŏƫƸżƣǣǝĪƣĪÿŧƣĪÿģǣǝƣŏƸƸĪŲ܉ŊĪÿƣģƸŊÿƸģÿǣ ĪĜŊżƸŊĪĪŲĪƣŃĪƸŏĜěŧżǝƫżłƸŊĪǣżǀŲŃģĪŰżŧŏƫŊĪƣƫǝŊżŊÿģěĪĪŲżĜĜǀƠŏĪģłżƣƫżŰĪƸŏŰĪ܉ƸżƸŊĪ ŃƣĪÿƸƸĪƣƣżƣżłƸŊĪŏŃŲżƣÿŲƸĜƣżǝģ܉ƸżƸĪÿƣģżǝŲƸŊĪǝÿŧŧƫ܉ěĪŊŏŲģǝŊŏĜŊƸŊĪǣŊżƠĪƸżģŏƫĜżǜĪƣ ƸŊĪěĪÿǀƸŏłǀŧĪŲĜŊÿŲƸĪģŃÿƣģĪŲƫżłĪÿƣƸŊŧǣƠÿƣÿģŏƫĪ܏ܞ܊ܟ

¼ŊĪƣĪŏƫŲżŧżŲŃĪƣÿŲǣƫĪĜǀƣŏƸǣżŲƸŊĪŰÿƣŤĪƸżłƸŊĪƫŏǢƸĪĪŲƸŊŲżƸĪƫÿŲģŲĪǝĜÿƸÿĜŧǣƫŰƫÿƣĪ ƠƣĪƠÿƣŏŲŃ܏¼ŊĪ®rSŊÿƫšǀƫƸƸżƣŲģżǝŲÿǝŊżŧĪǝÿŧŧÿŲģ܉ěŧŏŲģĪģěǣƸŊĪĜŧżǀģżłƫżǀŲģģǀƫƸ ƸŊÿƸƣżƫĪÿǽƸĪƣƸŊĪĜżŧŧÿƠƫĪżłƸŊĪǝÿŧŧ܉ƫżŰĪŧŏƫƸĪŲĪƣƫÿƣĪÿŧƣĪÿģǣƸƣǣŏŲŃƸżģŏƫĜżǜĪƣ܉ÿŰżŲŃƸŊĪ ĜŊǀŲŤƫ܉ÿƣżÿģƸżǝÿƣģƸŊĪżěƫĜǀƣĪƫĪŲƫĪģģĪŧŏŃŊƸƫ܏^ڗڟڜ

ڵڽڴ 'ǀĜŊĪƫŲĪÿǀ܉ܶrÿǀƣŏĜĪ¦ÿǜĪŧĪƸŧÿ®żĜŏīƸīrǀƫŏĜÿŧĪSŲģīƠĪŲģÿŲƸĪ܉ܷڎڑړ܏żƸŊƠŏĪĜĪƫǝĪƣĪƠĪƣłżƣŰĪģŏŲƸŊĪǿƣƫƸ żƣĜŊĪƫƸƣÿŧĜżŲĜĪƣƸżłƸŊĪ®rSżŲڕdǀŲĪڍڕڍڌŏŲ®ÿŧŧĪGÿǜĪÿǀǝŏƸŊĜżŲƫŏģĪƣÿěŧĪƫǀĜĜĪƫƫ܉ƫĪĪŏěŏģ܏܉ڎڒڍܨڎڒڎ܉ڎړڐ܏

ڵڽڵ żƠ܏ݎڍڍ܈ڎڔrÿǣڍڕڍڏ܉®ÿŧŧĪģĪŧÿ®żĜŏīƸīģĪƫĜżŲĜĪƣƸƫܠŲĜŏĪŲ żŲƫĪƣǜÿƸżŏƣĪܡܔżƠ܏ݎڍڕ܈ڕFĪěƣǀÿƣǣڍڕڍڐ܉®ÿŧŧĪ/ƣÿƣģ܏

®ĪĪ'ǀĜŊĪƫŲĪÿǀ܉ܶrÿǀƣŏĜĪ¦ÿǜĪŧĪƸŧÿ®żĜŏīƸīrǀƫŏĜÿŧĪSŲģīƠĪŲģÿŲƸĪ܉ܷڎړڔܨڎڔڌ܉rĪǣĪƣ܉Ensemblelieder in der frühen Nachfolge (1912–17) von Arnold Schönbergs Pierrot lunaire, 141.

ڵڽڶ ®ƸƣÿǜŏŲƫŤǣŊÿģÿƸƸĪŲģĪģƸŊĪłżǀƣƸŊƠĪƣłżƣŰÿŲĜĪżłƸŊĪǝżƣŤŏŲĪƣŧŏŲżŲڔ'ĪĜĪŰěĪƣڍڕڍڎܔŧÿƸĪƣ®ƸƣÿǜŏŲƫŤǣ ĜŧÿŏŰĪģƸŊÿƸŊĪŊÿģěĪĪŲŰĪƣĪŧǣŏŲƸĪƣĪƫƸĪģŏŲƸŊĪŏŲƫƸƣǀŰĪŲƸÿŧ ŰǀƫŏĜżłƸŊĪPierrot lunaireܠ®ƸƣÿǜŏŲƫŤǣ܉An Autobiography܉ڐڏܨڐڐܔƫĪĪrĪǣĪƣ܉Ensemblelieder܉ڎڒܨڎڔܡ܏

ڵڽڷ ܶ£ƣżšĪƸŰŏƣŏǿƢǀĪģܹǀŲĜżŲĜĪƣƸƫĜÿŲģÿŧĪǀǢܞ܊ܟ܏ܷrÿǀƣŏĜĪ¦ÿǜĪŧ܉ŧĪƸƸĪƣƸżNīŧĹŲĪfÿŊŲܫ ÿƫĪŧŧÿܠłżƣƸŊĪComité de la SMIܡ܉ڎܕڐܕڍڕڍڏ܉ƢǀżƸĪģŏŲrĪǣĪƣ܉Ensemblelieder܉ڎڕ܏

ڵڽڸ ®ĪĪŏěŏģ܏܉ڏڎܨڏڏ܏

ڵڽڹ ®ĪĪŏěŏģ܏܉ڍڏړ܏

ڵڽں ßǀŏŧŧĪƣŰżǭ܉ܶhÿŰǀƫŏƢǀĪÿǀĜżŲĜĪƣƸ܏ܷܠܶ'ĪƠǀŏƫěŏĪŲŧżŲŃƸĪŰƠƫܨģĪƠǀŏƫŧĪƫƫżŏƣƫŊĪƣżŏƢǀĪƫģĪŧܹÿŲĜŏĪŲŲĪNatio-nale ܨ ŧĪƫŰǀƫŏĜŏĪŲƫŲܹÿǜÿŏĪŲƸƠÿƫĪǀŧÿƫĪŲƫÿƸŏżŲģܹÿƫƫŏƫƸĪƣđǀŲĪŰÿŲŏłĪƫƸÿƸŏżŲÿǀƫƫŏŏŰƠżƣƸÿŲƸĪ܉ÿǀƫƫŏĜÿƠŏƸÿŧĪ ƠżǀƣŧܹīǜżŧǀƸŏżŲģĪŲżƸƣĪÿƣƸ܏hÿƫÿŧŧĪ/ƣÿƣģ܉żnjƫܹīĜƣŏǜŏƣĪŲƸģīšđƸÿŲƸģĪƠÿŃĪƫŃŧżƣŏĪǀƫĪƫģĪŲżƸƣĪŊŏƫƸżŏƣĪŰǀƫŏ-Ĝÿŧ܉ĪŲƸĪŲģŏƸĜĪšżǀƣܫŧđƣīƫżŲŲĪƣŧĪƫīŲĪƣŃŏƢǀĪƫĜżǀƠƫģĪƠŏĜģĪƫšĪǀŲĪƫģīŰżŧŏƫƫĪǀƣƫżĜĜǀƠīƫģĪƠǀŏƫƢǀĪŧƢǀĪ ƸĪŰƠƫ܉ÿǀŃƣÿŲģĪdzłƣżŏģĪŧÿłżǀŧĪŏŃŲżƣÿŲƸĪ܉đÿěÿƸƸƣĪģĪƫŰǀƣƫģĪƣƣŏĹƣĪŧĪƫƢǀĪŧŧĪƫŏŧƫĪƫƠĹƣĪŲƸģīĜżǀǜƣŏƣŧĪƫ ěĪÿǀǢšÿƣģŏŲƫĪŲĜŊÿŲƸīƫģǀƠÿƣÿģŏƫƸĪƣƣĪƫƸƣĪ܏ܞ܊ܟSSŲܹǣÿƠŧǀƫÿǀĜǀŲĪƫīĜǀƣŏƸīƫǀƣŧĪŰÿƣĜŊīģĪŧÿģżǀěŧĪܫĜƣżĜŊĪ ĪƸģĪŲżǀǜĪÿǀǢĜÿƸÿĜŧǣƫŰĪƫƫĪƠƣīƠÿƣĪŲƸ܏hÿ®rSǜŏĪŲƸģܹÿěěÿƸƣĪƸżǀƸǀŲƠÿŲģĪŰǀƣĪƸ܉ÿǜĪǀŃŧīƠÿƣŧĪŲǀÿŃĪ ģĪƠżǀƫƫŏĹƣĪƫżŲżƣĪƢǀĪƫżǀŧĪǜÿƫÿĜŊǀƸĪ܉ĜĪƣƸÿŏŲƫÿǀģŏƸĪǀƣƫĜŊĪƣĜŊĪŲƸģīšđđƫĪłƣÿǣĪƣƠīŲŏěŧĪŰĪŲƸ܉ƠÿƣŰŏŧĪƫ ƠŧĈƸƣÿƫ܉ǀŲĪƣżǀƸĪǜĪƣƫģܹżěƫĜǀƣĪƫģīŧŏĜĪƫƠƣĪƫƫĪŲƸŏĪƫ܏ܷܡ

ȃŎƪƢþĢŎěþŦŎǬĩĢƢʼnĩƷŻƢŎěŎűŎƷŎþŦŦǢƪĩĩůƪƿűŠƿƪƷŎȀĩĢŎűŦŎłʼnƷŻŁƷʼnĩŁƢþłŎŦĩƟŎĩěĩƪƟĩƢŁŻƢůĩĢĢƿ-ring this concert, but it documents the struggles of the younger generation of Paris-based com-ƟŻƪĩƢƪŎűƷʼnĩþǼƷĩƢůþƷʼnŻŁƷʼnĩSacre ƪěþűĢþŦŻŁڑژrþǢڐژڐڒܒ

ȃĩŎƢ ĢƢŎǛĩ ƷŻ Ƣĩþěʼn ĚĩǢŻűĢ Ʒʼnĩ ŦŎůŎƷþƷŎŻűƪ ŻŁ þ űþƢƢŻǜŦǢ ĢĩȀűĩĢ űþƷŎŻűþŦŎƪů ůþĢĩ Ʒʼnĩ Apaches and the Société Musicale Indépendante a fertile ground for openness toward non-Western ůƿƪŎěܒ®ƿěʼnŎűƷĩƢĩƪƷƪǜĩƢĩűĩěĩƪƪþƢŎŦǢƟƢĩȀłƿƢĩĢĚǢƷʼnĩƪƿƟĩƢȀěŎþŦþƟƟƢŻƟƢŎþƷŎŻűƪŻŁFƢĩűěʼn ŻƢŎĩűƷþŦŎƪů þűĢ ĩǡŻƷŎěŎƪů ƢĩþěʼnŎűł Ěþěţ þƷ ŦĩþƪƷ ƷŻ dĩþűܮ£ʼnŎŦŎƟƟĩ ¦þůĩþƿܼƪ ĚþŦŦĩƷ ŻƟĩƢþLes Indes galantes ܣڐږڒڔܤþűĢƪƷŎŦŦƟƢĩƪĩűƷŎű¦þǛĩŦܼƪƪŻűłěǢěŦĩShéhérazade ŁƢŻůڐژڏڒ܌ŻűĩŻŁƷʼnĩȀƢƪƷ artistic achievements of the Apaches łƢŻƿƟܣ¼ƢŎƪƷþűfŦŎűłƪŻƢ܌ǜʼnŻƪĩƟŻĩůƪƟƢŻǛŎĢĩĢƷʼnĩŦǢƢŎěƪ ŁŻƢ¦þǛĩŦܼƪěǢěŦĩ܌ǜþƪþŦƪŻþůĩůĚĩƢܤܒ'ĩĚƿƪƪǢܼƪƪŎůƿŦƷþűĩŻƿƪ܌ƢĩȀűĩĢĩDzŁŻƢƷƪþƷŎűěŻƢƟŻƢþƷŎűł Javanese gamelan structures into some of his piano pieces, most notably in PagodesŁƢŻůڐژڏڒ܌^ښڢڠ gave way to attempts at a closer modeling of non-Western traditions as in Charles Koechlin’s Deux pièces javanaises, which were based on transcriptions of Javanese gamelan pieces and were ƟƢĩůŎĩƢĩĢŎűƷʼnĩƪĩěŻűĢěŻűěĩƢƷŻŁƷʼnĩ®rSŻűړrþǢڐژڐڏܒ^ښڢڡ Furthermore, given that, during his ƪƷƿĢŎĩƪǜŎƷʼn¦þǛĩŦ܌'ĩŦþłĩʼnþĢĚĩĩűĩűěŻƿƢþłĩĢƷŻþěěĩƟƷƷʼnĩěŻűěĩƟƷŻŁƪƷǢŦŎƪƷŎěŎůŎƷþƷŎŻűþƪþ major technique in developing one’s own style,^ښڢڢ it seems consistent that his approach to Asian traditions was based on detailed study, close listening, and reconstruction of these traditions’

ůƿƪŎěþŦĢĩƷþŎŦƪŎűʼnŎƪƪěŻƢĩƪܒȃĩƪĩŁĩþƷƿƢĩƪǜĩƢĩĩŦþĚŻƢþƷĩĢƷŻƷʼnĩŎƢŁƿƢƷʼnĩƪƷƟŻŎűƷŎűþƪĩƢŎĩƪŻŁ ǜŻƢţƪŁŻƢƪŻƟƢþűŻþűĢƟŎþűŻŻƢěʼnþůĚĩƢĩűƪĩůĚŦĩ܌ůŻƪƷűŻƷþĚŦǢŎűܹhþʼnŻƢĩ܌ܺƷʼnĩƪĩěŻűĢůŻǛĩ-ment of Quatre poèmes hindousܣڐژڐڒܤ܌ŎűRagamalikaܣڐژڐړܤ܌þƪǜĩŦŦþƪŎűSept Haï-kaïsܣڐژڑڒܘڑړܤܒ

ȃĩƢĩěĩƟƷŎŻűŻŁSűĢŎþűůƿƪŎěĚǢrþƿƢŎěĩ'ĩŦþłĩʼnþƪĚĩĩűĢŻěƿůĩűƷĩĢþűĢĢŎƪěƿƪƪĩĢŎű łƢĩþƷĢĩƷþŎŦĚǢdþűű£þƪŦĩƢþűĢűĢƢĩþƪrĩǢĩƢ܌þűĢƷʼnƿƪƷʼnŎƪþƪƟĩěƷŻŁ'ĩŦþłĩܼƪǜŻƢţǜŎŦŦŻűŦǢĚĩ ĚƢŎĩǴ ŦǢƪƿůůþƢŎǬĩĢʼnĩƢĩܒ^ڛڙڙȃĩQuatre poèmes hindous ǜĩƢĩěŻůƟŻƪĩĢŎűƷʼnĩǜþţĩŻŁƷʼnĩěŻů-ƟŻƪĩƢܼƪȀǛĩܮůŻűƷʼnƷƢŎƟƷŻSűĢŎþþűĢdþƟþűŎűڐژڐڐþűĢڐژڐڑܒȃĩĩǡþěƷĢþƷĩƪŻŁěŻůƟŻƪŎƷŎŻűþƢĩ not easy to determine. In the autograph and the printed edition of the piano score, the follow-ŎűłĢþƷĩƪþƢĩŎűĢŎěþƷĩĢþƷƷʼnĩĩűĢŻŁƷʼnĩůŻǛĩůĩűƷƪ܋SܒMadras (Une Belle…ܤܡrþĢƢþƪ܌rþƢƪڐژڐڑܢܗ II. Lahore (Un Sapin isolé…ܤܡhþʼnŻƢĩ܌FĪǛƢŎĩƢڐژڐڑܢܗSSSܒBénarès (Naissance de BouddhaܤܡĪűþƢĸƪ܌dþű-ǛŎĩƢڐژڐڑܢܗSßܒdĩǢƟƿƢ (Si vous pensez…ܤܡdĩǢƟƿƢ܌dþűǛŎĩƢڐژڐڑܢܒ^ڛڙښ

'ĩŦþłĩůĩűƷŎŻűĩĢŎűþŦĩƷƷĩƢƷŻ®ƷƢþ-ڵڽڻ ®ĪĪ܉ŰżƫƸƣĪĜĪŲƸŧǣ܉¼ÿŰÿŃÿǝÿ܉/ĜŊżĪƫłƣżŰƸŊĪ/ÿƫƸ܌¼ŊĪdÿǜÿŲĪƫĪGÿŰĪŧÿŲÿŲģSƸƫSŲǴŧǀĪŲĜĪżŲƸŊĪrǀƫŏĜżł ŧÿǀģĪ Debussy.

ڵڽڼ 'ǀĜŊĪƫŲĪÿǀ܉ ܶrÿǀƣŏĜĪ ¦ÿǜĪŧ ĪƸ ŧÿ ®żĜŏīƸī rǀƫŏĜÿŧĪ SŲģīƠĪŲģÿŲƸĪ܉ܷ ڎڒڐ܏ ¼Ŋŏƫ ǝżƣŤ܉ ĜÿƸÿŧżŃǀĪģ ěǣ ƣŧĪģŃĪ܉

ŊÿƣŧĪƫfżĪĜŊŧŏŲܤڑژږڗܬڑڙڕڐܥ܌NŏƫhŏłĪÿŲģàżƣŤƫ܉ڏڐڑ܉ÿƫƸŊĪSuite Javanaise żƠ܏ڐڐě܉ŏƫÿŲÿƣƣÿŲŃĪŰĪŲƸżłƸǝżdÿ-vanese gamelan ƠŏĪĜĪƫܶGÿŰĪŧÿŲƠÿŧÿŃܷÿŲģܶGÿŰĪŧÿŲƫÿŧÿŲģƣżܷܠƸƣÿŲƫĜƣŏěĪģěǣhżǀŏƫhÿŧżǣܡłżƣĪŧĪǜĪŲ/ǀƣż-ƠĪÿŲŏŲƫƸƣǀŰĪŲƸƫ܉ÿŲģǝÿƫĜżŰƠżƫĪģŏŲƠƣŏŧڍڕڍڌ܏fżĪĜŊŧŏŲǝÿŲƸĪģƸżƣĪĜżŲƫƸƣǀĜƸƸŊĪŏŰƠƣĪƫƫŏżŲŊĪŊÿģ żłƸŊŏƫŰǀƫŏĜģǀƣŏŲŃƸŊĪàżƣŧģ/ǢƠżƫŏƸŏżŲŏŲڍڔڔڕěÿƫĪģżŲƸŊĪƸƣÿŲƫĜƣŏƠƸŏżŲƫěǣhÿŧżǣ܉ƫĪĪfżĪĜŊŧŏŲ܉Écrits, ǜżŧ܏ڍ܉ڔڔ܏

ڵڽڽ ®ĪĪrĪǣĪƣ܉Ensemblelieder܉ڍڑڎ܏

ڶڴڴ £ÿƫŧĪƣ܉ܶ¦ĪŏŲƸĪƣƠƣĪƸŏŲŃSŲģŏÿŲrǀƫŏĜ܉ܷ£ÿƫŧĪƣ܉ܶ¦ÿĜĪ܉ƣŏĪŲƸÿŧŏƫŰ܉ÿŲģ'ŏƫƸŏŲĜƸŏżŲ܉ܷÿŲģrĪǣĪƣ܉ Ensemblelieder, ڏڍܨڏڑ܉ڍڐڕܨڍڑڏ܉ڎڐڐܨڎڒڔ܏

ڶڴڵ rÿģƣÿƫ܉ŰżģĪƣŲܫģÿǣ ŊĪŲŲÿŏ܉ŏƫƸŊĪĜÿƠŏƸÿŧżłƸŊĪ¼ÿŰŏŧtÿģǀƫƸÿƸĪŏŲ®żǀƸŊܫ/ÿƫƸSŲģŏÿÿŲģǝÿƫƸŊĪĜĪŲƸĪƣżł ƸŊĪ/ÿƫƸSŲģŏÿ żŰƠÿŲǣܔhÿŊżƣĪ܉łżƣŰĪƣŧǣƠÿƣƸżłtżƣƸŊĪƣŲSŲģŏÿ܉ŏƫƸŊĪŊŏƫƸżƣŏĜÿŧĜÿƠŏƸÿŧżłƸŊĪ£ǀŲšÿěƣĪŃŏżŲ ܠƸżģÿǣƸŊĪƫĪĜżŲģŧÿƣŃĪƫƸĜŏƸǣżł£ÿŤŏƫƸÿŲܡܔīŲÿƣĹƫ܉ŲżǝßÿƣÿŲÿƫŏ܉ŏŲƸŊĪtżƣƸŊSŲģŏÿŲƫƸÿƸĪżłÃƸƸÿƣ£ƣÿģĪƫŊ܉

ŏƫĜżŲƫŏģĪƣĪģƸŊĪƫƠŏƣŏƸǀÿŧĜÿƠŏƸÿŧżłSŲģŏÿÿŲģÿƸƸƣÿĜƸƫƠŏŧŃƣŏŰƫǝŊżŃżƸŊĪƣĪƸżěÿƸŊĪŏŲƸŊĪGÿŲŃĪƫܔdĪǣƠżƣĪ ܠdÿŏƠǀƣܡŏƫƸŊĪĜÿƠŏƸÿŧżłƸŊĪtżƣƸŊĪƣŲSŲģŏÿŲƫƸÿƸĪżł¦ÿšÿƫƸŊÿŲܠĜŧżƫĪƸżtĪǝ'ĪŧŊŏܡ܏¼Ŋǀƫ܉ŏƸǝżǀŧģƫĪĪŰƸŊÿƸ 'ĪŧÿŃĪܹƫƸƣŏƠłżŧŧżǝĪģƸŊĪƣżǀƸĪdĪǣƠżƣĪܠdÿŲ܏ڍڕڍڎܡܨīŲÿƣĹƫܠdÿŲ܏ڍڕڍڎܡܨhÿŊżƣĪܠFĪě܏ڍڕڍڎܡܨrÿģƣÿƫܠrÿƣ܏

ڍڕڍڎܡ܏'ĪŧÿŃĪܹƫܶhĪƸƸƣĪģĪŧܹSŲģĪܷłƣżŰfÿŲģǣܠ ĪǣŧżŲ܉Ƹżģÿǣ®ƣŏhÿŲŤÿܡ܉ƠǀěŧŏƫŊĪģŏŲƸŊĪRevue musicale S.I.M. on ڍڑdǀŲĪڍڕڍڎ܉ŏƫģÿƸĪģڐrÿƣĜŊڍڕڍڎܠƫĪĪěĪŧżǝܡ܏

ǛŎűƪţǢ܌ʼnŻǜĩǛĩƢ܌ƷʼnþƷʼnĩěŻůƟŦĩƷĩĢƷʼnĩƪĩƟŎĩěĩƪŻűŦǢŎűƷʼnĩƪƿůůĩƢŻŁڐژڐڒ܌ƪŻŎƷƪĩĩůƪŦŎţĩŦǢƷʼnþƷ ƷʼnĩĢþƷĩƪŎűĢŎěþƷĩĢŎűƷʼnĩƪěŻƢĩƪŎłűŎŁǢƷʼnĩƷŎůĩŻŁ'ĩŦþłĩܼƪǛŎƪŎƷƷŻƷʼnĩŁŻƿƢěŎƷŎĩƪĢƿƢŎűłʼnŎƪƷƢŎƟ rather than the dates of composition.^ڛڙڛȃŎƪǜŻƿŦĢůĩþűƷʼnþƷůŻƢĩƷʼnþűŻűĩǢĩþƢƟþƪƪĩĢþǼƷĩƢ ƷʼnĩƷƢŎƟĚĩŁŻƢĩ'ĩŦþłĩþěƷƿþŦŦǢěŻůƟŻƪĩĢƷʼnŎƪǜŻƢţܒȃĩěʼnþůĚĩƢĩűƪĩůĚŦĩǛĩƢƪŎŻűŁŻƢڑݑǴ ŦƿƷĩƪ ܣڐþŦƪŻƟŎěěŻŦŻܤ܌ŻĚŻĩܣþŦƪŻ/űłŦŎƪʼnʼnŻƢűܤ܌ڑݑěŦþƢŎűĩƷƪܣŎűĚŻƷʼnþűĢK܌ڐþŦƪŻĚþƪƪěŦþƢŎűĩƷܤ܌ʼnþƢƟ܌

þűĢƪƷƢŎűłơƿþƢƷĩƷ܌ƟƢŻĚþĚŦǢěŻůƟŦĩƷĩĢŎűtŻǛĩůĚĩƢڐژڐڒ܌ǜþƪŻŁƟþƢƷŎěƿŦþƢƪŎłűŎȀěþűěĩŁŻƢ'ĩ-Ŧþłĩ܌þƪʼnĩŎűĢŎěþƷĩĢŎűþŦĩƷƷĩƢƷŻ®ƷƢþǛŎűƪţǢĩŎłʼnƷĢþǢƪĚĩŁŻƢĩƷʼnĩƟƢĩůŎĩƢĩ܋ܹSþůƢĩƪƷŦĩƪƪþĚŻƿƷ my small orchestra since I have searched for Hindu sonorities that send chills up my spine.”^ڛڙڜ

þƪĩĢŻű'ĩŦþłĩܼƪܹhĩƷƷƢĩĢĩŦܼSűĢĩ܌ܺþƪʼnŻƢƷþěěŻƿűƷŻŁʼnŎƪSűĢŎþűƷƢŎƟƟƿĚŦŎƪʼnĩĢŎűƷʼnĩŠŻƿƢ-nal Revue musicale S.I.M. Żűڐڔdƿűĩڐژڐڑ^ڛڙڝ and other sources, Jann Pasler has singled out those ěʼnþƢþěƷĩƢŎƪƷŎěƪŻŁ'ĩŦþłĩܼƪþƟƟƢŻþěʼnƷŻSűĢŎþűůƿƪŎěƷʼnþƷĢŎDzŁĩƢĩĢŁƢŻůƷʼnĩěŻůůŻűĩǡŻƷŎěŎƪů ŻŁʼnŎƪĩƟŻěʼn܋^ڛڙڞʼnĩŁŻŦŦŻǜĩĢ'ĩĚƿƪƪǢܼƪƪƷƢþƷĩłǢŎűŁŻěƿƪŎűłŻűƷʼnŻƪĩŁĩþƷƿƢĩƪŻŁSűĢŎþűůƿƪŎěƷʼnþƷ ƪĩĩůĩĢƷŻĩǡƟŻƪĩþěƿŦƷƿƢĩܮƪƟĩěŎȀěŦŻłŎěܫĢĩĩůĩĢŻƟþơƿĩƷŻƷʼnĩàĩƪƷĩƢűŦŎƪƷĩűĩƢܫþƪǜĩŦŦþƪƷʼnĩ continuity of pitch, rich timbres, especially in vocal music, and their supposed spontaneity and ĩůŻƷŎŻűþŦĩDzŁĩěƷܒhŎţĩůþűǢěŻůƟŻƪĩƢƪŎűƷʼnĩŁŻŦŦŻǜŎűłĢĩěþĢĩƪ܌'ĩŦþłĩǜþƪěŻűěĩƢűĩĢþĚŻƿƷ

ܹěŻűƷþůŎűþƷŎűłܺàĩƪƷĩƢűܣƟʼnŻűŻłƢþƟʼn܌ʼnþƢůŻűŎƿů܌ǛŎŻŦŎűܤþűĢƟþƢƷŎěƿŦþƢŦǢrƿƪŦŎůŎűǴ Ŧƿĩűěĩƪ on “Hindu music.”^ڛڙڟhŎţĩ'þűĩ¦ƿĢʼnǢþƢþĚŻƿƷƷĩűǢĩþƢƪþǼƷĩƢʼnŎů܌ʼnĩʼnĩŦĢŻűƷŻƷʼnĩŎůþłĩŻŁþ

“pure” Hindu music.^ڛڙڠ'ĩŦþłĩǜþƪŎűƟĩƢƪŻűþŦěŻűƷþěƷǜŎƷʼnƪĩǛĩƢþŦĢŎƪƷŎűłƿŎƪʼnĩĢƪŻŦŻŎƪƷƪŁƢŻů ĢŎDzŁĩƢĩűƷSűĢŎþűůƿƪŎěƷƢþĢŎƷŎŻűƪþűĢĚŻƿłʼnƷƪĩǛĩƢþŦƢĩěŻƢĢŎűłƪŻŁSűĢŎþűůƿƪŎě܌ǜʼnŎěʼnƪĩƢǛĩĢ þƪʼnŎƪůþŎűƪŻƿƢěĩŁŻƢƷʼnĩþĢþƟƷþƷŎŻűƪĩŦþĚŻƢþƷĩĢŎűʼnŎƪƪěŻƢĩƪþǼƷĩƢʼnĩʼnþĢƢĩƷƿƢűĩĢƷŻFƢþűěĩܒ

£þƪŦĩƢʼnþƪŎĢĩűƷŎȀĩĢƷʼnĩĚĩłŎűűŎűłŻŁLahore (a song based on the French translation of a poem by Heinrich Heine^ڛڙڡܤþƪþƷƢþűƪěƢŎƟƷŎŻűŻŁþƪƿƢĚþʼnēƢ^ڛڙڢ performance of Jaunpuri Todika

ڶڴڶ ܶNĪǀƣĪǀƫĪŰĪŲƸƢǀĪšܹÿŏłÿŏƸƢǀÿƸƣĪƠżĹŰĪƫNŏŲģżǀƫĜĪƸīƸī܏¦ÿǜĪŧƠƣĪƸĪŲģƢǀĪĜܹĪƫƸěŏĪŲ܏ܷrÿǀƣŏĜĪ'ĪŧÿŃĪ܉

ŧĪƸƸĪƣƸżSŃżƣ®ƸƣÿǜŏŲƫŤǣ܉ڕܕڍڎܕڍڕڍڏܠ żŧŧĪĜƸŏżŲSŃżƣ®ƸƣÿǜŏŲƫŤǣ܉£ÿǀŧ®ÿĜŊĪƣFżǀŲģÿƸŏżŲÿƫĪŧܡ܉ƢǀżƸĪģŏŲrĪǣĪƣ܉

Ensemblelieder܉ڏڍ܏

ڶڴڷ ܶdĪƫǀŏƫŏŲƢǀŏĪƸƠżǀƣŰżŲƠĪƸŏƸżƣĜŊĪƫƸƣĪ܉ĜÿƣšܹÿŏĜŊĪƣĜŊīģĪƫƫżŲżƣŏƸīƫNŏŲģżǀĪƫƢǀŏŰĪģżŲŲĪŲƸłƣżŏģģÿŲƫ ŧĪģżƫ܏ܷrÿǀƣŏĜĪ'ĪŧÿŃĪ܉ŧĪƸƸĪƣƸżSŃżƣ®ƸƣÿǜŏŲƫŤǣ܉ڒܕڍܕڍڕڍڐܠ żŧŧĪĜƸŏżŲSŃżƣ®ƸƣÿǜŏŲƫŤǣ܉£ÿǀŧ®ÿĜŊĪƣFżǀŲģÿƸŏżŲ ÿƫĪŧܡ܉ƢǀżƸĪģŏŲrĪǣĪƣ܉Ensemblelieder܉ڏڎ܏

ڶڴڸ 'ĪŧÿŃĪ܉ܶhĪƸƸƣĪģĪŧܹSŲģĪ܏ܷ

ڶڴڹ £ÿƫŧĪƣ܉ܶ¦ÿĜĪ܉ƣŏĪŲƸÿŧŏƫŰ܉ÿŲģ'ŏƫƸŏŲĜƸŏżŲ܉ܷڍڌڌܨڍڌڏ܏

ڶڴں Ibid., 101.

ڶڴڻ ®ĪĪ¦ǀģŊǣÿƣ܉ܶ ÿŧŧƸżSŲģŏÿŲrǀƫŏĜŏÿŲƫ܏ܷ

ڶڴڼ 'ĪŧÿŃĪżěǜŏżǀƫŧǣƣĪŧŏĪģżŲƸŊĪFƣĪŲĜŊƸƣÿŲƫŧÿƸŏżŲżłƸŊŏƫƠżĪŰěǣGīƣÿƣģģĪtĪƣǜÿŧ܉ǿƣƫƸƠǀěŧŏƫŊĪģŏŲڍڔڐڔ ܠÿŧƸŊżǀŃŊ Ųż ƫżǀƣĜĪ ŏƫ ƠƣżǜŏģĪģ ŏŲ ƸŊĪ Ƹǝż ƠƣŏŲƸĪģ ĪģŏƸŏżŲƫ żłƸŊĪ ǝżƣŤܡ܈ ܶÃŲ ƫÿƠŏŲ ŏƫżŧī ƫĪ ģƣĪƫƫĪ ƫǀƣ ǀŲĪ ŰżŲƸÿŃŲĪݎܕƣŏģĪģǀtżƣģ܏SŧƫżŰŰĪŏŧŧĪ܏ݎܕhÿŃŧÿĜĪĪƸŧÿŲĪŏŃĪŧܹĪŲǜŏƣżŲŲĪŲƸݎܕ'ܹǀŲŰÿŲƸĪÿǀěŧÿŲĜ܏ܕSŧƣįǜĪ ģܹǀŲƠÿŧŰŏĪƣƢǀŏŧđܫěÿƫܕ'ÿŲƫŧܹƣŏĪŲƸŧżŏŲƸÿŏŲƫĪģīƫżŧĪ܉ݎܕ®żŧŏƸÿŏƣĪĪƸƸÿĜŏƸǀƣŲĪ܉ݎܕ®ǀƣŧÿƠĪŲƸĪģĪƫżŲƣżĜŊĪƣ ěƣDŽŧÿŲƸ܏ܷGĪƣŰÿŲżƣŏŃŏŲÿŧ܈ܶ/ŏŲFŏĜŊƸĪŲěÿǀŰƫƸĪŊƸĪŏŲƫÿŰܕSŰtżƣģĪŲÿǀłŤÿŊŧĪƣNƇŊ܏ܕSŊŲƫĜŊŧďłĪƣƸܔŰŏƸǝĪŏ-ƷĪƣ'ĪĜŤĪܕÃŰŊdžŧŧĪŲŏŊŲ/ŏƫǀŲģ®ĜŊŲĪĪ܏ܕ/ƣƸƣďǀŰƸǜżŲĪŏŲĪƣ£ÿŧŰĪ܉ܕ'ŏĪ܉łĪƣŲŏŰrżƣŃĪŲŧÿŲģ܉ܕ/ŏŲƫÿŰǀŲģ ƫĜŊǝĪŏŃĪŲģƸƣÿǀĪƣƸܕǀłěƣĪŲŲĪŲģĪƣFĪŧƫĪŲǝÿŲģ܏ܷܠNĪŏŲƣŏĜŊNĪŏŲĪ܉ܶhǣƣŏƫĜŊĪƫSŲƸĪƣŰĪǭǭżܷܞڍڔڎڎܕڎڏܟ܉Ųż܏ݎڏڏ܏

In: Sämtliche Gedichte, ®ƸǀƸƸŃÿƣƸ܉ڍڕڕړ܉ڕڐ܉ƢǀżƸĪģŏŲrĪǣĪƣ܉Ensemblelieder܉ڎڐڐ܏ܡ£ÿƫŧĪƣŲżƸĪƫƸŊÿƸ'ĪŧÿŃĪŊÿģ ÿŧƣĪÿģǣƫĪƸÿƠżĪŰěǣNĪŏŲĪŏŲFƣĪŲĜŊƸƣÿŲƫŧÿƸŏżŲƸŊƣĪĪǣĪÿƣƫĪÿƣŧŏĪƣܠIntermezzo no. 1 of the Trois mélodiesżƠ܏ݎڎ܉

ĜżŰƠżƫĪģŏŲdÿŲǀÿƣǣڍڕڍڌ܉ÿƫĪƸƸŏŲŃżłNĪŏŲĪܹƫłÿŰżǀƫܶǀłݎFŧdžŃĪŧŲݎģĪƫݎGĪƫÿŲŃĪƫܷܡ܏¼ŊŏƫƠżĪŰÿŧƣĪÿģǣŏŲǜżŤĪƫ ģƣĪÿŰǣŏŰÿŃĪƫżłSŲģŏÿŏŲƸŊĪŧŏŲĪƫܶFżƣƸŲÿĜŊģĪŲFŧǀƣĪŲģĪƫGÿŲŃĪƫ܉ݎܕ'żƣƸǝĪŏƷŏĜŊģĪŲƫĜŊƇŲƫƸĪŲƣƸܔܷÿŲģ

ܶ'żƣƸǝżŧŧĪŲǝŏƣŲŏĪģĪƣƫŏŲŤĪŲݎܕÃŲƸĪƣģĪŰ£ÿŧŰĪŲěÿǀŰ܉ݎܕÃŲģhŏĪěĪǀŲģ¦ǀŊĪƸƣŏŲŤĪŲ܉ݎܕÃŲģƸƣďǀŰĪŲƫĪŧŏŃĪŲ

¼ƣÿǀŰ܏ܷ®ĪĪ£ÿƫŧĪƣ܉ܶ¦ĪŏŲƸĪƣƠƣĪƸŏŲŃSŲģŏÿŲrǀƫŏĜ܉ܷڍڏڒ܏

ڶڴڽ hÿƣŃĪƠŧǀĜŤĪģŧżŲŃܫŲĪĜŤĪģŧǀƸĪŏŲtżƣƸŊSŲģŏÿŲŰǀƫŏĜ܉ěĪŧżŲŃŏŲŃƸżƸŊĪƫÿŰĪłÿŰŏŧǣżłŏŲƫƸƣǀŰĪŲƸƫÿƫƸŊĪsitar ÿŲģǀƫǀÿŧŧǣƸǀŲĪģÿłżǀƣƸŊżƣǿǽƸŊŧżǝĪƣ܏

AlapĚǢSůĢþĢfʼnþűܣڐڗړڗܫڐژڑڏܤ܌ƟƢŻĚþĚŦǢƢĩěŻƢĢĩĢŎűڐژڏڔ܌ƷʼnĩƪŦŻǜ܌ƿűůĩþƪƿƢĩĢŎűƷƢŻĢƿě-tion (alapܤƷŻþűŎůƟƢŻǛŎƪþƷŎŻűŻűƷʼnĩƢēłþŠþƿűƟƿƢŎܣƿƟǜþƢĢ܋ 'FGK BK ܗĢŻǜűǜþƢĢ܋

BK AKGF/K' ܤܒ^ڛښڙ'ĩŦþłĩěŦŻƪĩŦǢƢĩěŻűƪƷƢƿěƷƪƪƿƢĚþʼnēƢ playing techniques in the cello part ŎűěŦƿĢŎűł ƪŦŎĢĩƪ ĚĩƷǜĩĩű þĢŠþěĩűƷ ƟŎƷěʼnĩƪ ǜŎƷʼn Ʒʼnĩ ƪþůĩ ȀűłĩƢܒ ȃĩ ĩűƪĩůĚŦĩ ƪŦŻǜŦǢ ĩƪƷþĚܮ ŦŎƪʼnĩƪþĢƢŻűĩŻűƷʼnĩȀǼƷʼnܮFŎűĢŎDzŁĩƢĩűƷƢĩłŎƪƷĩƢƪ܌ƢĩěþŦŦŎűłþűŻƷʼnĩƢţĩǢƟƢŎűěŎƟŦĩŻŁSűĢŎþű ůƿƪŎěƟƢþěƷŎěĩܒȃĩƪƟþƢƪĩʼnþƢůŻűŎěƪƷƢƿěƷƿƢĩŎƪĚþƪĩĢŻűůŻĢþŦþűĢƟŦþłþŦƟƢŻłƢĩƪƪŎŻűƪþűĢ ƷĩűĢƪƷŻþǛŻŎĢěŻűǛĩűƷŎŻűþŦƷƢŎþĢŎěʼnþƢůŻűǢܒȃĩƷŎůĚƢĩƪ܌ʼnŻǜĩǛĩƢ܌ƢĩƟĩþƷĩĢŦǢĩǛŻţĩƷŻƟŎěƪŻŁ ůƿƪŎěþŦŻƢŎĩűƷþŦŎƪů܌űþůĩŦǢŎűƷʼnĩʼnþƢƟܼƪþƢƟĩłłŎþƷŎŻűþűĢƷʼnĩƷǜŻǴ ŦƿƷĩƪܼƪŻŦŻŎƪƷŎěȀłƿƢĩƪƷʼnþƷ þěěŻůƟþűǢƷʼnĩŦŎűĩܹSŦƢĮǛĩĢܼƿűƟþŦůŎĩƢơƿŎŦĐܮĚþƪĢþűƪŦܼƢŎĩűƷŦŻŎűƷþŎűƪĩĢĪƪŻŦĩܺܡSƷĢƢĩþůƪ ŻŁþƟþŦůܮƷƢĩĩǜʼnŎěʼnłƢŎĩǛĩƪݑŁþƢþǜþǢŎűƷʼnĩĢŎƪƷþűƷ/þƪƷܢܒ ŻűǛĩűƷŎŻűþŦŻƢŎĩűƷþŦŎƪƷܹěŻŦŻƢŎűłܺŎƪ ƷʼnƿƪܹơƿŻƷĩĢܺŎűƷʼnĩěŻűƷĩǡƷŻŁþůƿěʼnůŻƢĩƢĩȀűĩĢþƟƟƢŻþěʼnƷŻSűĢŎþűůƿƪŎě܌ěŦĩþƢŦǢůþƢţŎűł ƷʼnĩĢŎDzŁĩƢĩűěĩĚĩƷǜĩĩűƷʼnĩƪĩƷǜŻŁŻƢůƪŻŁěŻůƟŻƪŎƷŎŻűĚþƪĩĢŻűűŻűܮàĩƪƷĩƢűůþƷĩƢŎþŦܒ

ȃĩůŻƪƷƢĩůþƢţþĚŦĩŁĩþƷƿƢĩŻŁƷʼnŎƪƪŻűłŎƪƪƿƢĩŦǢƷʼnĩƟþƢƷŦǢƿűþěěŻůƟþűŎĩĢěŻűěŦƿĢŎűł vocalise, which systematically changes between open and closed mouth articulation, a feature ŻŁSűĢŎþűǛŻěþŦůƿƪŎěƷʼnþƷ'ĩŦþłĩʼnþĢĢĩƪěƢŎĚĩĢŎűʼnŎƪܹhĩƷƷƢĩĢĩŦܼSűĢĩܒܺ^ڛښښ In contrast to the ŁþůŻƿƪǛŻěþŦŎƪĩŁƢŻůhĪŻ'ĪŦŎĚĩƪܼƪŻƟĩƢþLakmé ܣڐڗڗڒܤ܌ŻűĩŻŁƷʼnĩůŻƪƷƢĩƟƢĩƪĩűƷþƷŎǛĩǜŻƢţƪ ŻŁŦþƷĩűŎűĩƷĩĩűƷʼnܮěĩűƷƿƢǢĩǡŻƷŎěŎƪů܌ƷʼnĩƢĩȀűĩĢƢʼnǢƷʼnůŎěƪƷƢƿěƷƿƢĩŎű'ĩŦþłĩܼƪƪŻűłþłþŎű suggests close modeling on a recorded performance.^ڛښڛSűƷʼnĩȀűþŦƟþƢƷŻŁƷʼnŎƪǛŻěþŦŎƪĩ܌Ʒʼnĩ ĩűƪĩůĚŦĩŠŻŎűƪŎűþʼnŎłʼnŦǢěŻůƟŦĩǡʼnĩƷĩƢŻƟʼnŻűǢܒڐژڐړƢĩǛŎĩǜŻŁƷʼnĩĩĢŎƷĩĢƪěŻƢĩʼnŎłʼnŦŎłʼnƷƪ ƷʼnĩĩűĢŻŁܹhþʼnŻƢĩܺþƪþƟþƢƷŎěƿŦþƢƪƿěěĩƪƪŁƿŦƟþƢƷŻŁƷʼnĩǜŻƢţþǼƷĩƢơƿŻƷŎűłþƪĩűƷĩűěĩŁƢŻů 'ĩŦþłĩܼƪܹhĩƷƷƢĩĢĩŦܼSűĢĩܺ ƷʼnþƷěŦĩþƢŦǢĩǛŻţĩƪŻƢŎĩűƷþŦŎƪƷƪƷĩƢĩŻƷǢƟĩƪ܋

ܶ®ƸƣÿŲŃĪŏŰƠƣĪƫƫŏżŲżłŊżƣŏǭżŲƫǝŊĪƣĪǜĪŊĪŰĪŲƸżƣǜĪƣǣƫżǽƸƸĪÿƣƫƠÿƫƫěǣ܉ƸĪŲģĪƣƫŏƸĪƫÿŲģÿǝÿŤܫ ĪŲŏŲŃƫ ŏŲ ěĪÿǀƸŏłǀŧ ŧŏŃŊƸ܏ܷ S ģż ŲżƸ ŤŲżǝ ÿŲǣ żƸŊĪƣ ƫǀĜŊ ĪǢƢǀŏƫŏƸĪ ŲĪǝŲĪƫƫ łżƣ żǀƣ /ǀƣżƠĪÿŲ ĪÿƣƫƸŊÿŲƸŊĪǜżĜÿŧŏƫĪƸŊÿƸƸĪƣŰŏŲÿƸĪƫƸŊĪŰĪŧżģǣƫǣŲƸŊĪƫŏǭĪģŏŲhÿŊżƣĪܔÿǜżĜÿŧŏƫĪƫǀŲŃǝŏƸŊÿ closed mouth on strange nasal sonorities, hot breath, cries and caresses!^ژڗڙ

ȃĩěŻůƟŦĩǡŎƷǢŻŁƷʼnĩůƿƪŎěþŦƪƷƢƿěƷƿƢĩŎƪĩǛĩűŎűěƢĩþƪĩĢŎű'ĩŦþłĩܼƪRagamalikaŁƢŻůrþǢڐژڐړ܌

ěŻůƟŻƪĩĢþŁĩǜůŻűƷʼnƪþǼƷĩƢƷʼnĩƪƿěěĩƪƪŁƿŦƟƢĩůŎĩƢĩŻŁƷʼnĩQuatre poèmes hindousܒȃĩƟŎĩěĩ is a detailed transcription of a recording of the devadasiƪŎűłĩƢ ŻŎůĚþƷŻƢĩȃþǢŎܣڐڗږڑܫڐژڐږܤ܌

who was based in Madras^ڛښڝþűĢǜʼnŻů'ĩŦþłĩʼnþĢůĩƷĢƿƢŎűłʼnŎƪƷƢŎƟŎűSűĢŎþǜʼnŎŦĩǛŎƪŎƷŎűł the temples at Mahabalipuram.^ڛښڞ ŻŎůĚþƷŻƢĩ ȃþǢŎ ůþĢĩ þĚŻƿƷ ڒڏڏ ƢĩěŻƢĢŎűłƪ þǼƷĩƢ Ʒʼnĩ ڶڵڴ £ÿƫŧĪƣ܉ܶ¦ÿĜĪ܉ƣŏĪŲƸÿŧŏƫŰ܉ÿŲģ'ŏƫƸŏŲĜƸŏżŲ܉ܷڍڌڏܨڍڌڐ܉ڍڍړ܏¼ŊĪƣĪĜżƣģŏŲŃĜÿŲěĪłżǀŲģżŲƸŊĪړڔƣƠŰģŏƫĜGƣÿŰż G܏ ܏ڍړڏڒڐ܏àŏƸŊżǀƸŤŲżǝŧĪģŃĪżłƸŊŏƫƫżǀƣĜĪrĪǣĪƣܠEnsemblelieder܉ڎڑڐܡ܉ŊÿƫƸƣŏĪģƸżŏģĪŲƸŏłǣƸŊĪƣĔŃÿ as darba-ri-kanada (“midnight ƣĔŃÿܷܔǀƠǝÿƣģ܈ '/K F G AK BK ܕģżǝŲǝÿƣģ܈ K BK G F G EK' ܡ܏£ÿƫŧĪƣܠܶ¦ĪŏŲƸĪƣƠƣĪƸŏŲŃ SŲģŏÿŲrǀƫŏĜ܉ܷڍڏڔܡƫƠĪĜŏǿĪƫƸŊÿƸƸŊĪƫǝŏƸĜŊłƣżŰjaunpuri to darbariŏŲƸŊĪǿŲÿŧƠÿƣƸżłƸŊĪĜĪŧŧżƫżŧżŰÿƣŤƫÿŲ intentional departure from the recorded model.

ڶڵڵ 'ĪŧÿŃĪ܉ܶhĪƸƸƣĪģĪŧܹSŲģĪ܉ܷړڐ܏

ڶڵڶ ®ĪĪ£ÿƫŧĪƣ܉ܶ¦ÿĜĪ܉ƣŏĪŲƸÿŧŏƫŰ܉ÿŲģ'ŏƫƸŏŲĜƸŏżŲ܉ܷڍڌڑ܉rĪǣĪƣ܉Ensemblelieder܉ڎڒڌܨڎڒڎ܏

ڶڵڷ ܸܶCurieuse impression d’horizons où passent des sanglots véhéments ou très doux, des sites tendres et des réveils dans la belle lumière܏ܹdĪŲĪĜżŲŲÿŏƫƣŏĪŲģĪƠŧǀƫĪǢƢǀŏƫīŰĪŲƸŲżǀǜĪÿǀƠżǀƣŲżƫżƣĪŏŧŧĪƫĪǀƣżƠīĪŲŲĪƫƢǀĪŧÿǜżĜÿŧŏƫĪƢǀŏ ƸĪƣŰŏŲĪŧÿŰīŧżģŏĪƢǀŏƫǣŲƸŊīƸŏƫĪhÿŊżƣĪܔǜżĜÿŧŏƫĪđěżǀĜŊĪłĪƣŰīĪƫǀƣģܹīƸƣÿŲŃĪƫƫżŲżƣŏƸīƫŲÿƫÿŧĪƫ܉ƫżǀdzǵŧĪ chaud, cris et caresses!” Gabriel Grovlez, “La musique dans les partitions,” Musicaڍܕړܕڍڕڍڐ܉ڍڐڍܔƢǀżƸÿƸŏżŲłƣżŰ 'ĪŧÿŃĪ܉ܶhĪƸƸƣĪģĪŧܹSŲģĪ܉ܷړڏ܏

ڶڵڸ ®ĪĪÿģƣŏŲÿƸŊÿŲ܉ܶSŲƸĪƣƠŧÿǣżłƸŊĪdevadasiÿŲģƸŊĪ żŰƠżƫĪƣܷÿŲģ®ÿŰƠÿƸŊ܉ܶ żŏŰěÿƸżƣĪ¼Ŋÿǣŏ܏ܷ

ڶڵڹ £ÿƫŧĪƣ܉ܶ¦ÿĜĪ܉ƣŏĪŲƸÿŧŏƫŰ܉ÿŲģ'ŏƫƸŏŲĜƸŏżŲ܉ܷڍڌڒ܉ڍڍړ܏rÿŰÿŧŧÿƠǀƣÿŰܠrÿŊÿěÿŧŏƠǀƣÿŰܡ܉ŧżĜÿƸĪģƫżǀƸŊżł ŊĪŲ-Ųÿŏܠrÿģƣÿƫܡ܉ŏƫÿƸżǝŲǝŏƸŊŏŰƠżƣƸÿŲƸÿƣĜŊĪżŧżŃŏĜÿŧƫŏƸĪƫłƣżŰƸŊĪ£ÿŧŧÿǜŏÿŲ£ĪƣŏżģܠƫĪǜĪŲƸŊƸżŲŏŲƸŊĜĪŲƸǀƣǣܡ܏

ƢŎƷŎƪʼnGƢþůŻƟʼnŻűĩ ŻůƟþűǢʼnþĢƪƷþƢƷĩĢƷŻƢĩěŻƢĢSűĢŎþűůƿƪŎěŎűڐژڏړܒ^ڛښڟȃĩƢĩěŻƢĢĩĢƟŎĩěĩ

¦ēłþůēŦŎţþܒ¦þůþŦŎűłþƪǜþůŎƪþƢƿŦƟþ was probably recorded in 1909.^ڛښڠ Devadasi dancers and singers were temple courtesans who were sold to temples at a young age and learned classical Indian styles of music and dance. Arulpa is a genre of devotional song with the highly melisma-tic and sliding line of the voice accompanied by tabla drums and a tanpuraĢƢŻűĩܗƢēłþůēŦŎţþ means “garland of Ƣēłþƪ܌ܺƪŎłűŎŁǢŎűłþěŻűƷŎűƿŻƿƪěʼnþűłĩĚĩƷǜĩĩűĢŎDzŁĩƢĩűƷƢēłþƪ during the same piece.^ڛښڡ ȃĩ ƷĩǡƷ ŻŁ ƷʼnŎƪ ƪƟĩěŎȀěarulpa is attributed to Ramalinga Swamigal (Swamy, ڐڗڑڒܫڐڗږړܤ܌þ¼þůŎŦ®ʼnŎǛþŎƷƪþŎűƷþűĢƟŻĩƷܒSű þƢűþƷŎěǛŻěþŦƷƢþĢŎƷŎŻű܌þܹǛŻěþŦŎƪƷƿƪƿþŦŦǢƪŎűłƪ þ®þűƪţƢŎƷ܌¼þůŎŦ܌ŻƢ¼ĩŦƿłƿƟŻĩůƷŻǜþƢĢƷʼnĩĩűĢŻŁþěŻűěĩƢƷĚǢŎůƟƢŻǛŎƪŎűłŎűþƢēłþůēŦŎţē

ܻłþƢŦþűĢŻŁƢþłþƪܒܼȃŎƪŎƪűŻűůĩƷĩƢĩĢŎůƟƢŻǛŎƪþƷŎŻűƪŎůŎŦþƢƷŻēŦēƟþűþ, in which the performer uses the text freely to bring out the essence of the raga and the meaning of the text.”^ڛښڢ ȃĩ common pitch center of the emerging Ƣēłþƪin this piece, BK܌Ŏű'ĩŦþłĩܼƪþĢþƟƷŎŻűŎƪŻƟƷŎŻűþŦŦǢ damped in the piano by placing a small piece of cardboard under the hammer of the piano’s BK2-string, imitating the buzzing sound of the tanpuraܒ'ĩŦþłĩʼnĩƢĩþŦƪŻůþţĩƪþűþƷƷĩůƟƷƷŻ ƷƢþűƪŦŎƷĩƢþƷĩƷʼnĩ¼þůŎŦŦǢƢŎěƪŻŁƷʼnĩƟŎĩěĩ܌ǜʼnŎěʼnƟƢþŎƪĩƷʼnĩłŻĢNadaradjâ (Shivaܤ܌^ڛڛڙ indicating ƪƟĩěŎþŦƟƢŻűƿűěŎþƷŎŻűƢƿŦĩƪŎűþƪʼnŻƢƷűŻƷĩþƷƷʼnĩĚĩłŎűűŎűłܒȃĩȀűþŦƪĩěƷŎŻűƢĩěþƟŎƷƿŦþƷĩƪƷʼnĩ ĚĩłŎűűŎűł܌ěƢĩþƷŎűłþǛþƢŎþƷŎŻűƪŎůŎŦþƢƷŻƷʼnĩĩűĢŻŁܹhþʼnŻƢĩܺ by continuously alternating be-ƷǜĩĩűŻƟĩűܮþűĢěŦŻƪĩĢܮůŻƿƷʼnƪĩěƷŎŻűƪܣ/ǡܒݑڑܒڒܤܒ

'ĩŦþłĩܼƪŦŎƷĩƢþŦþƟƟƢŻþěʼnĢĩȀűŎƷĩŦǢƪʼnŻǜƪĢĩĩƟƢĩƪƟĩěƷŁŻƢƷʼnĩůƿƪŎěþŦƷƢþĢŎƷŎŻűʼnĩǜþƪþƟ-ƟƢŻþěʼnŎűłܫþűĢƷʼnĩŻƢŎĩűƷþŦŎƪƷŎĢĩþŦŻŁܹƟƿƢŎƷǢܺůþǢʼnþǛĩŎűǴ ŦƿĩűěĩĢʼnŎƪůĩƷʼnŻĢ܌ĩǛĩűƷʼnŻƿłʼn it was doubtless naïve considering the complex history of Indian music traditions and their ěŻűƷŎűƿŻƿƪůƿƷƿþŦŎűǴ ŦƿĩűěĩƪþűĢǴ Ŧƿǡ܋ܹàŎƷʼnŎƷƪĩůƟʼnþƪŎƪŻűƪĩŦŁܮěƢŎƷŎěŎƪů܌ƪŻƿűĢŁŻƢŎƷƪŻǜű ƪþţĩ܌þűĢƢĩƪƟĩěƷŁŻƢƷƢþĢŎƷŎŻűƪŻűƷʼnĩŎƢŻǜűƷĩƢůƪ܌ƷʼnĩůŻĢĩƢűŎƪƷþĩƪƷʼnĩƷŎěƟƢĩƟþƢĩĢ'ĩŦþłĩ to hear Indian music in its own terms.”^ڛڛښ

¼ĩűǢĩþƢƪŦþƷĩƢ܌ŎűƷʼnĩSept Haï-kaïsŻŁڐژڑڒܘڑړ܌'ĩŦþłĩܼƪþƟƟƢŻþěʼnþƟƟĩþƢƪƷŻʼnþǛĩěʼnþűłĩĢ܌

űŻǜ ĚĩŎűł Ŧĩƪƪ ŻƢŎĩűƷĩĢ ƷŻǜþƢĢ ĩƷʼnűŻłƢþƟʼnŎě ƟƢĩěŎƪŎŻű Ʒʼnþű Ʒʼnĩ SűĢŎþܮŎűƪƟŎƢĩĢ ǜŻƢţƪܒ ®ƷŎŦŦ܌

ƷʼnĩƪĩƪĩǛĩűƪʼnŻƢƷƪŻűłƪþŦƪŻůþƢţĩĢŦǢĢŎDzŁĩƢŁƢŻůƷʼnĩůƿƪŎěþŦJaponisme in many French and ŻƷʼnĩƢ /ƿƢŻƟĩþű ǜŻƢţƪ ŁƢŻů Ʒʼnĩ ƷƿƢű ŻŁ Ʒʼnĩ ěĩűƷƿƢǢܒ Sű ěŻűƷƢþƪƷƷŻ 'ĩŦþłĩܼƪ ƷƢŎƟ ƷŻ SűĢŎþ܌ ʼnŎƪ ƪƷþǢŎűdþƟþűþƟƟĩþƢƪƷŻĚĩŦþƢłĩŦǢƿűĢŻěƿůĩűƷĩĢܒSƷŎƪŻĚǛŎŻƿƪ܌ʼnŻǜĩǛĩƢ܌ƷʼnþƷ'ĩŦþłĩþěơƿŎƢĩĢþ ƪƿĚƪƷþűƷŎþŦţűŻǜŦĩĢłĩŻŁƷʼnĩdþƟþűĩƪĩŦþűłƿþłĩܒ^ڛڛڛNĩƟƢŻĚþĚŦǢþƪƪŎƪƷĩĢ®ƷƢþǛŎűƪţǢŎűƪĩŦĩěƷŎűł the poems for the latter’s ¼ƢŻŎƪƟŻĪƪŎĩƪĢĩŦþŦǢƢŎơƿĩŠþƟŻűþŎƪĩŎűڐژڐڑܘڐڒþűĢƟƢŻǛŎĢĩĢFƢĩűěʼnƷƢþűƪŦþܮ tions.^ڛڛڜ Five of the seven poems of Sept Haï-kaïsþƢĩƷþţĩűŁƢŻůfŎţŻƿæþůþƷþܼƪþűƷʼnŻŦŻłǢŻŁƷƢþűƪ-ŦþƷŎŻűƪŻŁdþƟþűĩƪĩƟŻĩƷƢǢŁƢŻůĢŎDzŁĩƢĩűƷƟĩƢŎŻĢƪܣSur les lèvres japonaises, £þƢŎƪ܋hĩ'ŎǛþűڐژڑړܤܗ

ڶڵں ®ÿŰƠÿƸŊ܉ܶ żŏŰěÿƸżƣĪ¼Ŋÿǣŏ܏ܷ

ڶڵڻ £ÿƫŧĪƣ܉ܶ¦ÿĜĪ܉ƣŏĪŲƸÿŧŏƫŰ܉ÿŲģ'ŏƫƸŏŲĜƸŏżŲ܉ܷڍڌڒ܉ڍڍړ܏¼ŊĪƣĪĜżƣģŏŲŃŏƫƠǀěŧŏƫŊĪģżŲGƣÿŰżG܏ ܏ڔܫڍڏړڕڏ܏

ڶڵڼ fÿƫƫĪěÿǀŰ܉ܶfÿƣŲÿƸÿŤ¦ÿŃÿ܉ܷڕڕ܏

ڶڵڽ Ibid.

ڶڶڴ GżƣģżŲ܉ܶ'ŏƫĜżǜĪƣŏŲŃrÿǀƣŏĜĪ'ĪŧÿŃĪ܉ܷڏڌڎ܏

ڶڶڵ £ÿƫŧĪƣ܉ܶ¦ÿĜĪ܉ƣŏĪŲƸÿŧŏƫŰ܉ÿŲģ'ŏƫƸŏŲĜƸŏżŲ܉ܷڍڌړ܏

ڶڶڶ ¦żģƣŏŃǀĪǭ܉Maurice Delage ou La solitude de l’artisan܉ڏڔ܏

ڶڶڷ FǀŲÿǣÿŰÿ܉ܶ¼ŊƣĪĪdÿƠÿŲĪƫĪhǣƣŏĜƫÿŲģdÿƠżŲŏƫŰĪ܉ܷڎړڕ܏SƸŏƫŤŲżǝŲ܉ŊżǝĪǜĪƣ܉ƸŊÿƸ®ƸƣÿǜŏŲƫŤǣǀƫĪģƸŊĪ¦ǀƫƫŏÿŲ ƸƣÿŲƫŧÿƸŏżŲżłƸŊĪƠżĪŰƫģǀƣŏŲŃƸŊĪĜżŰƠżƫŏƸŏżŲÿŧƠƣżĜĪƫƫ܏®ƸƣÿǜŏŲƫŤǣܹƫĪŲƸŊǀƫŏÿƫŰłżƣdÿƠÿŲĪƫĪǝżżģƠƣŏŲƸƫ ÿŲģƸŊĪŏƣܶƸǝżܫģŏŰĪŲƫŏżŲÿŧܷĜŊÿƣÿĜƸĪƣƫĪĪŰƫƸżŊÿǜĪģĪǜĪŧżƠĪģŏŲģĪƠĪŲģĪŲƸŧǣżł'ĪŧÿŃĪܠƫĪĪŏěŏģ܏ÿŲģ¼ÿƣǀƫ-ŤŏŲ܉Stravinsky and the Russian Traditions܉ǜżŧ܏ݎڍ܉ڔڎڎܨڔڐڔܡ܏

Example 2.3: Maurice Delage, RagamalikaܩǛĩƢƪŎŻűŁŻƢǛŻŎěĩþűĢƟŎþűŻܒږڞږڙܪܒȁűþŦƪĩěƷŎŻű

żƠǣƣŏŃŊƸޣěǣ'ǀƣÿŲģޠ ŏĪڍڕڍڑ

űŻܒڕǜþƪƷƢþűƪŦþƷĩĢĚǢ£þƿŦܮhŻƿŎƪ ŻƿěʼnŻƿĢ܌ǜʼnŻŎűڐژڏڔʼnþĢƟƿĚŦŎƪʼnĩĢƿȁŦĢĩŦ݂ĩþƿ, a collection of French haikai܌þűĢűŻܒݑڒǜþƪǜƢŎƷƷĩűĚǢƷʼnĩFƢĩűěʼnƟŻĩƷGĩŻƢłĩƪ®þĚŎƢŻűܣڐڗڗڑܫڐژڐڗܤܒ^ڛڛڝ

ڶڶڸ ŊŏƠżƸ܉ܶrǀƫŏƢǀĪޠŊÿŏŤǀ܏ܷ¼ŊĪhaikai, a form of tanka ƠżĪƸƣǣܠłżŧŧżǝŏŲŃÿǜĪƣƫĪƫĜŊĪŰĪżłڑܫړܫڑܫړܫړƫǣŧŧÿěŧĪƫܡ ĪŰĪƣŃĪģŏŲdÿƠÿŲģǀƣŏŲŃƸŊĪǿǽƸĪĪŲƸŊƸżƫĪǜĪŲƸĪĪŲƸŊĜĪŲƸǀƣŏĪƫ܏æĪƸÿŰżŲŃƸŊĪƫĪǜĪŲƠżĪŰƫƫĪŧĪĜƸĪģěǣ'Īŧÿ-ŃĪ܉żŲŧǣƸǝżÿƣĪĪǢÿŰƠŧĪƫżłƸƣÿģŏƸŏżŲÿŧ haikułżƣŰܨÿƣĪģǀĜĪģǜÿƣŏÿŲƸżłƸŊĪhaikaiŰżģĪŧżƣŃÿŲŏǭĪģŏŲڑܫړܫڑƫǣŧ-ŧÿěŧĪƫܠŲż܏ڒěǣnitsura ÃĪšŏŰÿ܉ڍڒڒڍܨڍړڏڔ܉ÿŲģŲż܏ړěǣÿƫŊƕrÿƸƫǀż܉ڍڒڐڐܨڍڒڕڐܡ܉ǝŊŏŧĪƸǝżƠżĪŰƫŊÿǜĪƸżěĪ attributed to the medieval Heian-period wakaŃĪŲƣĪܠŲż܏ڍěǣfŏŲż¼ƫǀƣÿǣǀŤŏ܉ڔړڎܨڕڐڑ܉ÿŲģŲż܏ݎڎěǣ®żƫĪŏ܉Ĝ܏ڔڐڐܨ ڕڍڌܡ܏¼ŊĪƸŊƣĪĪƣĪŰÿŏŲŏŲŃƠżĪŰƫǝĪƣĪǝƣŏƸƸĪŲěǣĜżŲƸĪŰƠżƣÿƣǣƠżĪƸƫŏŲhaiku or haikai łżƣŰܠŲż܏ݎڏ܉ŏŲFƣĪŲĜŊ܉ěǣ GĪżƣŃĪƫ®ÿěŏƣżŲ܉ڍڔڔڎܨڍڕڍڔ܉Ųż܏ݎڐěǣNŏƣżŤżfÿƸÿǣÿŰÿ܉ڍڔړڔܨڍڕڑړ܉ÿŲģŲż܏ݎڑěǣŤŏŤżæżƫÿŲż܉ڍڔړڔܨڍڕڐڎܡ܏

/ǡþůƟŦĩڗܘڙܑrþƿƢŎěĩ'ĩŦþłĩܒSept Haï-kaïs ܩږڞڗژܞڗڙܪܒűŻܘښܑܿhþŦƿűĩĢ݂þƿƷŻůűĩܓܒ݀ƟŎþűŻǛĩƢƪŎŻű

żƠǣƣŏŃŊƸޣěǣd܏dÿǀěĪƣƸڍڕڎڐ

Both the piano and the ensemble version of the Sept Haï-kaïs were published by Jaubert in ڐژڑړܒȃĩěǢěŦĩǜþƪƟƢĩůŎĩƢĩĢŻűڐڕFĩĚƢƿþƢǢڐژڑڔŎűþ®SrěŻűěĩƢƷܣƪŻƟƢþűŻ܋dþűĩþƷʼnŻƢŎĩ܌

ěŻűĢƿěƷŻƢ܋'þƢŎƿƪrŎŦʼnþƿĢܤþűĢƟĩƢŁŻƢůĩĢþłþŎűþƷƷʼnĩS® rŁĩƪƷŎǛþŦŎűƟƢŎŦڐژڑژŎűGĩűĩǛþ ĚǢrþĢĩŦĩŎűĩGƢĩǢþűĢ/ƢűĩƪƷűƪĩƢůĩƷܒƢŻƿűĢƷʼnĩƪþůĩƟĩƢŎŻĢ܌Ŏűڐژڑڔ܌'ĩŦþłĩþűĢ¦þǛĩŦ ŻƢłþűŎǬĩĢþƟƢŎǛþƷĩěŻűěĩƢƷǜŎƷʼnƷʼnĩŎƢdþƟþűĩƪĩŁƢŎĩűĢdŎƢŻʼnþěʼnŎ®þƷƪƿůþܣڐژڏڐܫڐژږڕܤŻŁƷʼnĩdþƟܮ anese shamisenƟŦþǢĩƢfŎűĩǢþ®þţŎěʼnŎSßܣڐڗڗړܫڐژړڔܤŎűƷʼnĩþƟþƢƷůĩűƷŻŁƷʼnĩƟŎþűŎƪƷNĩűƢŎGŎŦܮ rþƢěʼnĩǡ܌ǜʼnŻʼnþĢƷŻƿƢĩĢdþƟþűŁŻƢƷʼnĩȀƢƪƷƷŎůĩƷʼnĩƪþůĩǢĩþƢܒ^ڛڛڞ'ĩŦþłĩĢĩĢŎěþƷĩĢþűŻƷʼnĩƢ ܣǢĩƷƿűƟƿĚŦŎƪʼnĩĢܤƪʼnŻƢƷƪŻűł܌ĚþƪĩĢŻűþhaiku ĚǢþƪʼnƔrþƷƪƿŻ܌ƷŻ®þƷƪƿůþŻűڑڏ'ĩěĩůĚĩƢ ڐژڑړþǼƷĩƢěŻůƟŦĩƷŎűłƷʼnĩSept Haï-kaïs.^ڛڛڟ

ȃĩ Sept Haï-kaïs܌ěƢĩþƷĩĢůŻƢĩƷʼnþűƷĩűǢĩþƢƪþǼƷĩƢ®ƷƢþǛŎűƪţǢܼƪȄƢĩĩdþƟþűĩƪĩhǢƢŎěƪ, are ʼnþƢĢŦǢƢĩŦþƷĩĢƷŻ®ƷƢþǛŎűƪţǢܼƪůƿƪŎěþŦƪƷǢŦĩܒtĩŎƷʼnĩƢŎƪƷʼnĩƢĩþűǢěŦĩþƢŎűĢŎěþƷŎŻűŻŁþűþĢþƟƷŎŻű ŻŁdþƟþűĩƪĩƪěþŦĩƪŻƢůŻĢĩƪܫþŦƷʼnŻƿłʼnƷʼnĩʼnþƢůŻűŎěƪƷƢƿěƷƿƢĩ܌ĚþƪĩĢŻűƪƷþěţĩĢŁŻƿƢƷʼnƪþűĢ ȀǼƷʼnƪ܌ůþǢǜĩŦŦĚĩĢĩƢŎǛĩĢŁƢŻůþƟŻŦǢůŻĢþŦþƢƢþűłĩůĩűƷŻŁƟĩűƷþƷŻűŎěŻƢʼnĩƟƷþƷŻűŎěƟŎƷěʼn ěŻŦŦĩěƷŎŻűƪܒ ¦ĩƟĩþƷĩĢŦǢ܌ 'ĩŦþłĩ ĩůƟŦŻǢƪ ĢƢŻűĩܮŦŎţĩ ƪƷƢƿěƷƿƢĩƪ Ŏű Ʒʼnĩƪĩ ƪŻűłƪܒ ȃĩ ȀƢƪƷ ƪŻűł ܣܹ£ƢĪŁþěĩĢĩfŻţŎűƪʼnŎŻƿܺܤþǼƷĩƢþŁƢĩĩƟƢĩŦƿĢĩĩƪƷþĚŦŎƪʼnĩƪþĢƢŻűĩŻű/K and BK with major and ůŎűŻƢƷʼnŎƢĢƪܣGܘGKܤƢĩƟĩþƷĩĢŦǢěŻŦŦŎĢŎűłŎűþƪĩƷƷŎűłƷʼnþƷƢþƷʼnĩƢěŦŻƪĩŦǢƢĩƪĩůĚŦĩƪƷʼnþƷŻŁRaga-malikaܒěþŦůĩƢǛþƢŎþűƷŻŁƷʼnĩƪþůĩʼnþƢůŻűŎěƟƢŎűěŎƟŦĩŎƪƷþţĩűƿƟŎűƷʼnĩƪĩěŻűĢʼnþŦŁŻŁűŻܒݑڕ ܣܹŦŻƢƪ܍ܺܤ܌ƟƢŻŦŻűłĩĢŎűƷŻƷʼnĩȀűþŦƪŻűłܣűŻܒݑږ܋ܹhܼĪƷĪ܍ܺܤ܌ĩƪƷþĚŦŎƪʼnŎűłþʼnþƢůŻűŎěŁƢþůĩŁŻƢƷʼnĩ ěǢěŦĩܒȃĩƷʼnŎƢĢƪŻűłܣܹhĩěŻơ܍ܺܤŎűƷƢŻĢƿěĩƪþƪŎůŎŦþƢƪƷƢƿěƷƿƢĩƢþŎƪĩĢĚǢþƪĩůŎƷŻűĩƷŻ/-B þűĢƷʼnĩěŻűǴ ŦŎěƷŎűłƷʼnŎƢĢƪG and G܌ƟƢŻǛŎĢŎűłƷʼnĩŁƢþůĩŁŻƢþůƿƪŎěþŦƟŎěƷŻƢŎþŦŎƪůƷʼnþƷĩǛŻţĩƪ ƷʼnĩěŻơܼƪěþěţŦŎűłĚǢƪʼnŻƢƷþƟƟŻłłŎþƷƿƢþƪŎűƷʼnĩƪƷǢŦĩŻŁ¦þǛĩŦܼƪHistoires naturellesܣڐژڏڕܤܒ^ڛڛڠȃĩ ƪĩěŻűĢܣܹhĩƪʼnĩƢĚĩƪĢĩŦܼŻƿĚŦŎ܍ܺܤþűĢƷʼnĩŁŻƿƢƷʼnƪŻűłܣܹhþƟĩƷŎƷĩƷŻƢƷƿĩ܍ܺܤþƪǜĩŦŦþƪƷʼnĩȀƢƪƷ ʼnþŦŁŻŁűŻܒݑڕ܌ŎűěŻűƷƢþƪƷ܌ƪŎƷƿþƷĩƷʼnĩĢƢŻűĩܮŦŎţĩƪƷƢƿěƷƿƢĩƪŻűůþŠŻƢƪĩěŻűĢƪܣ'ܮ/ŎűűŻܒݑڑ܌

F-GŎűűŻܒݑړ܌ ܮ'ܘ Kܮ'KŎűűŻܒݑڕܤܒàʼnŎŦĩűŻܒݑڑŎƪěʼnþƢþěƷĩƢŎǬĩĢĚǢůĩŦŻĢŎěŦŎűĩƪůŻǛŎűłŎű ƟþƢþŦŦĩŦŁŻƿƢƷʼnƪ܌űŻܒݑړþĢŻƟƷƪƷʼnĩþƟƟŻłłŎþƷƿƢþƪŁƢŻůűŻܒݑڒ܌ƟŻƪƪŎĚŦǢűŻǜƟŻŎűƷŎűłƷŻƷʼnĩěŦƿűţǢ movements of the tortoise.

ƢĩŁĩƢĩűěĩƷŻdþƟþűĩƪĩůŻĢĩƪŎƪƟĩƢʼnþƟƪŎűƷĩűĢĩĢŎűűŻܒݑڔܣܹhþŦƿűĩĢܼþƿƷŻůűĩ܍ܺܤ܌ǜʼnŎěʼn ƪƷþƢƷƪǜŎƷʼnþűŻƪƷŎűþƷŻȀłƿƢĩěŻůƟƢŎƪŎűłƷʼnĩƟŎƷěʼnܮěŦþƪƪĩƪ ܮ'ܮFܮGܮܣ/ǡܒݑڑܒړܤ܌ƢĩůŎűŎƪěĩűƷ of the ůŎǢþţŻĚƿƪʼnŎ-mode, popular in adaptations of Japanese melodies and modes around 1900.^ڛڛڡNŻǜĩǛĩƢ܌þůŻĢþŦþůĚŎǛþŦĩűěĩŎƪĩƪƷþĚŦŎƪʼnĩĢǜʼnĩűƷʼnĩǛŻŎěĩƷþţĩƪþƪŎƷƪƟŎƷěʼněĩűƷĩƢ þűĢþĢĢƪ/ƷŻƷʼnĩƟŎƷěʼněŻŦŦĩěƷŎŻűܣF-B-Cܮ/ܮFܤǜʼnŎŦĩƷʼnĩĩűƪĩůĚŦĩܘƟŎþűŻűŻǜþłþŎűܣþƪŎűƷʼnĩ ƟƢĩěĩĢŎűł ůŻǛĩůĩűƷƪܤ ěŻűƷŎűƿŻƿƪŦǢ ƪǜŎƷěʼnĩƪ ĚĩƷǜĩĩű G and Gܒ ȃĩ þůĚŎǛþŦĩűěĩ ƢĩůþŎűƪ ƿűƢĩƪŻŦǛĩĢƿűƷŎŦƷʼnĩĩűĢ܋þƷĩűĢĩűěǢƷŻǜþƢĢ/ůŎűŻƢŎűƷʼnĩȀűþŦƷǜŻĚþƢƪŻŁƷʼnĩŎűƪƷƢƿůĩűƷþŦ ƟþƢƷ܌ƪƿƟƟŻƢƷĩĢĚǢƷʼnĩܮ/ܮěŻűƷŻƿƢŎűƷʼnĩǛŻŎěĩ܌ŎƪƿűĢĩƢůŎűĩĢĚǢƷʼnĩĚþƪƪƷʼnþƷƪƿƟĩƢŎůƟŻƪĩƪ ƷʼnĩƟƢŻłƢĩƪƪŎŻűܮ'ĚĩŦŻǜƷʼnĩ/ůŎűŻƢʼnþƢůŻűǢ܌ƢĩƪƿŦƷŎűłŎűþƟŻŦǢůŻĢþŦþƢƢþűłĩůĩűƷŻŁþ ěŻůƟŦĩƷĩƟĩűƷþƷŻűŎěƪěþŦĩܣ'ܮ/ܮGܮܮܤܒ

ڶڶڹ FǀŲÿǣÿŰÿ܉ܶ¼ŊƣĪĪdÿƠÿŲĪƫĪhǣƣŏĜƫÿŲģdÿƠżŲŏƫŰĪ܉ܷڎړڔܨڎړڕ܏fŏŲĪǣÿ®ÿŤŏĜŊŏSßǝÿƫÿƣĪłżƣŰĪƣżłdÿƠÿŲĪƫĪƸƣÿ-ģŏƸŏżŲÿŧŰǀƫŏĜÿŲģģĪǜĪŧżƠĪģŧÿƣŃĪƣƸǣƠĪƫżłƫŊÿŰŏƫĪŲƫǀĜŊÿƫƸŊĪsero shamisen (cello shamisenܡÿŲģƸŊĪteion shamisen ܠܶŧżǝĪƣƣÿŲŃĪshamisenܷܡܠàÿģĪ܉Composing Japanese Musical Modernity܉ڎڑڌܡ܏NĪŲƣŏGŏŧܫrÿƣĜŊĪǢܠڍڔڕڐܨ ڍڕړڌܡƸżǀƣĪģdÿƠÿŲłżǀƣƸŏŰĪƫ܉ŏŲڍڕڎڑ܉ڍڕڏڍ܉ڍڕڏڎ܉ÿŲģڍڕڏړ܏¼ŊĪdÿƠÿŲĪƫĪĜżŰƠżƫĪƣæżƣŏƸƫǀŲĪrÿƸƫǀģÿŏƣÿܠڍڕڌړܨ ڎڌڌڍܡǝÿƫŏŰƠƣĪƫƫĪģěǣGŏŧܫrÿƣĜŊĪǢܹƫƠĪƣłżƣŰÿŲĜĪƫÿŲģƸżżŤƠŏÿŲżŧĪƫƫżŲƫǝŏƸŊŊŏŰǝŊŏŧĪƸŊĪƠŏÿŲŏƫƸǝÿƫŏŲ Japan (Galliano, æƕŃÿŤǀ܉ڔڏܨڔڐܡ܏SŲڍڕڏڒGŏŧܫrÿƣĜŊĪǢĜżŰƠżƫĪģQuatre [Deux] images du vieux Japon for piano.

ڶڶں FǀŲÿǣÿŰÿ܉ܶ¼ŊƣĪĪdÿƠÿŲĪƫĪhǣƣŏĜƫÿŲģdÿƠżŲŏƫŰĪ܉ܷڎړڕܨڎڔڍ܏

ڶڶڻ ¦żģƣŏŃǀĪǭ܉Maurice Delage ou La solitude de l’artisan܉ڔڏ܏

ڶڶڼ £ÿĜǀŲ܉ܶtÿƸŏżŲÿŧŏƫŰÿŲģrǀƫŏĜÿŧ®ƸǣŧĪŏŲSŲƸĪƣǝÿƣæƕŃÿŤǀ܉ܷڍڍܨڎڎܠƫĪĪěĪŧżǝܡ܏

ȃĩƢŎěʼnƪŻűŻƢŎƷŎĩƪŻŁƷʼnĩĩűƪĩůĚŦĩǛĩƢƪŎŻűěŻűƪŎĢĩƢþĚŦǢĩǡƟþűĢƷʼnĩƪĩƢĩƪƷƢþŎűĩĢʼnþƢůŻ-űŎěƪƷƢƿěƷƿƢĩƪŎűƷŻǛĩƢŎƷþĚŦĩǴ ŦþƪʼnĩƪŻŁěŻŦŻƢܒȃŎƪůþǢĚĩĩǡĩůƟŦŎȀĩĢĚǢƷʼnĩȀǼƷʼnƪŻűłþłþŎű ܣ/ǡܒݑ ڑܒڔܤܒ ȃĩ ơƿŎěţ ƷĩůƟŻ ʼnĩƢĩ ŦĩƷƪ Ʒʼnĩ ʼnŎłʼnŦǢ ƟĩƢŁŻƢþƷĩĢ ŻƢěʼnĩƪƷƢþƷŎŻű܌ ěŻůƟƢŎƪŎűł Ǵ ŦƿƷƷĩƢܮ ƷŻűłƿŎűłŎűƷʼnĩǴ ŦƿƷĩþűĢłŦŎƪƪþűĢŎŎűƷʼnĩƪƷƢŎűłƪ܌ƷƿƢűŎűƷŻþĢŎƪƪŻűþűƷþűĢĚĩǜŎŦĢĩƢŎűłƪŻűŻ-ƢŻƿƪȀĩŦĢܒȃĩěŻůƟŻƪĩƢܼƪłƢĩþƷþƷƷĩűƷŎŻűƷŻĢĩƷþŎŦ܌ĩǛŎĢĩűƷŁƢŻůƷʼnĩƪěŻƢĩ܌ƷʼnƿƪłŎǛĩƪǜþǢƷŻ a “sound composition” reaching far beyond established orientalist musical concepts. Although the current state of research does not allow a reliable conclusion as to the actual impact of dþƟþűĩƪĩƷƢþĢŎƷŎŻűþŦůƿƪŎ죯Ƣ'ĩŦþłĩܼƪěŻůƟŻƪŎƷŎŻűþŦěŻűěĩƟƷŎŻű܌ŎƷŎƪþƟƷƷŻƪþǢƷʼnþƷŎűěŻů-ƟþƢŎƪŻűƷŻƷʼnĩĩþƢŦŎĩƢŦŎƷĩƢþŦþƟƟƢŻþěʼnŎűܹhþʼnŻƢĩܺŻƢRagamalika, the Sept Haï-kaïs establish a far more abstract and concealed way of communicating with the non-Western tradition – most ŎůƟŻƢƷþűƷŦǢƷʼnƢŻƿłʼnþƢþĢŎěþŦŎǬĩĢþƟʼnŻƢŎƪƷŎ죯ƢůþűĢþʼnŎłʼnŦǢƢĩȀűĩĢܣƟŻŦǢܤůŻĢþŦʼnþƢůŻűǢܒ

Im Dokument Music and Sound Culture (Seite 84-94)