Incidence des développements du paramètre harmonique sur la périodisation et la structuration formelle des mélodies de Serge Garant
Among the generation of composers born in the 1920s, Serge Garant (1929-1986) is usually seen as one of the most radical figures of contemporary music. His art songs for voice and piano, the genre in which he composed most of the pieces of the beginning of his career, lend themselves well to the analysis of his explorations of dodecaphonic and serial idioms that followed his abandonment of tonality. Lefebvre and Provost associate the maturity of the composer with Garant's composition of the Caprices (1954), an art song cycle in which he used serialism, as he would in most of his later works. The close relationship between musical form and poetic structure, as well as the type of text setting provide evidence of the presence of a particular musical syntax both before and after 1954. The fact that maturity elements are already present in works written as early as 1951 helps us to understand the process that lead to the composer’s mature language.
Analysis Atonality Dodecaphonism Art song Quebec Poetry Harmony Musical form Serialism