Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 An Examination of Compositional Techniques in Selected Organ Solo Compositions of Naji Hakim. Hope Alysia Davis Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.edu/gradschool_disstheses Recommended Citation Davis, Hope Alysia, "An Examination of Compositional Techniques in Selected Organ Solo Compositions of Naji Hakim. LSU Historical Dissertations and Theses.edu/gradschool_disstheses/6306 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons.
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AN EXAMINATION OF COMPOSITIONAL TECHNIQUES IN SELECTED ORGAN SOLO COMPOSITIONS OF NAJI HAKIM A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Hope Alysia Davis Licentiate of the Royal Schools of Music, 1981 Fellow of the Trinity College of Music, 1982 Associate in Music Composition of the Trinity College of Music, 1983 Licentiate of the Royal Schools of Music, 1985 Licentiate of the Royal Schools of Music, 1986 M., University of Wyoming, 1987 December 1996 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 9712854 UMI Microform 9712854 Copyright 1997, by UMI Company. All rights reserved.
This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS The researcher would like to thank all members of the Doctoral committee for their kind assistance with the preparation of this Monograph.
Deepest gratitude is due Dr. Herndon Spillman and Dr. Dinos Constantinides for their sound guidance, keen interest, patience, encouragement, and strength of character, all of which kept my spirits high during this very challenging project. Special thanks goes to Dr.
Jack Guerry for his help in preparing the Prospectus for this Monograph. I am also grateful to my family and friends for their support during my tenure in the degree program. Finally, I offer special gratitude to all my professors at the Louisiana State University for their excellent teaching. ii Reproduced with permission of the copyright owner.
Further reproduction prohibited without permission. PREFACE One of the most talented Lebanese composers of the latter half of the twentieth century living in France is Naji Hakim. He is a very versatile and prolific composer whose works include solo organ compositions, organ duos, chamber music for various instruments and voice combinations, harpsichord solos, guitar quartets, harp solos, orchestral works, and oratorios. He and his wife co-authored a book entitled Guide Pratique d'Analyse Musicale.
Naji Hakim's organ solo works have become fairly popular in the 1990's, and many have been performed by organ virtuosi throughout the world. These include such great artists as Simon Bertram, Amy Johansen, Adrian Gunning, George Lucktenberg, Leonard Raver, Simon Preston, Marie-Bernadette Dufourcet (the composer's wife), and the composer himself. His organ solo compositions, mainly programmatic and symphonic in scope, include three-movement or four-movement works based on Biblical verses, Gregorian chants or poetry. He has also written several sets of miniatures, which are very short organ solos.
Expressions, a set of 15 liturgical pieces, and Mariales. a set of five pieces based on Gregorian themes, are two examples of this genre. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
The purpose of this study is to examine the compositional techniques used by Naji Hakim in organ solo compositions written between 1983 and 1993. The study will concentrate only on five of the published works written in that time frame. These were chosen because they are believed to be the most significant works of the aforementioned period. An examination of the compositional techniques used by Naji Hakim should enable the reader to have a better grasp of the influences (both past and present) on the composer's style.
As would be expected, the composer simulates styles of older composers as well as some of his contemporaries. These include his use of traditional and non-traditional formal structures used together with a non-tertian harmonic language based on modal scales and Gregorian chant, as well as hocket techniques, quotation techniques, minimalist techniques, and mathematical formulae. Such a study should also aid the organist in a valid interpretation of the organ works embracing this ten-year period. Reproduced with permission of the copyright owner.
Further reproduction prohibited without permission. TABLE OF CONTENTS ACKNOWLEDGMENTS. iii LIST OF FIGURES .v LIST OF EXAMPLES. A BIOGRAPHICAL SKETCH OF NAJIH A K I M.
5 Forms Used By Hakim .9 Modified Traditional Forms. 11 Use of Variation Forms .26 Use of Ostinato. 28 Ostinati Used As Accompaniments .49 Use Of Gregorian Chant. 50 Quotation of Ideas From Stravinsky.
58 Cyclical and Transformation Techniques. 66 Use Of Mathematical Formulae. 94 Use Of Quartal, Quintal and Secundal Harmonies. 97 Use Of Hocket Techniques.
SUMMARY AND CONCLUSION. 116 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES 1.
Hakim, Symphonie en Trois Mouvements. Movement II, Formal Structure 9 2. Hakim, The Embrace of Fire. Movement I, Formal Structure 9 3.
Movement I, Formal Structure 10 4. Movement II, Formal Structure 10 5. Hakim, The Embrace of Fire. Movement III, Formal Structure 11 6.
Hakim, Hommage a Igor Stravinsky, Movement I, Formal Structure 12 7. Hakim, Rubaiyat, Movement III, Formal Structure 12 8. Hakim, Symphonie en Trois Mouvements. Movement III, Formal Structure 13 9.
Hakim, The Embrace of Fire. Movement H , Formal Structure 27 10. Hakim, Hommage a Igor Stravinsky, Movement II, Formal Structure 27 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
LIST OF EXAMPLES 1. Hakim, Symphonie en Trois Mouvements. Hakim, Symphonie en Trois Mouvements, Movement III, p. Hakim, Symphonie en Trois Mouvements.
Movement III, pp. Hakim, Symphonie en Trois Mouvements. Hakim, Symphonie en Trois Mouvements. Movement III, mm.
Hakim, Hommage a Igor Stravinsky, "Prelude", Movement I, pp. Hakim, Hommage a Igor Stravinsky. "Final", Movement III, p. Hakim, Hommage a Igor Stravinsky.
"Final", Variation 1, pp. Hakim, Hommage a Igor Stravinsky. "Final", Movement III, Variation 4, p. Hakim, Hommage a Igor Stravinsky, Movement I, pp.
Hakim, Hommage k Igor Stravinsky, MovementII, pp. Hakim, Symphonie en Trois Mouvements. Movement III, pp. Hakim, Rubaiyat, Movement III, p.
32 vii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Hakim, Rubaiyat, Movement IV, pp. Hakim, The Embrace of Fire.
Hakim, The Embrace of Fire. Hakim, The Embrace of Fire. Hakim, Hommage a Igor Stravinsky, Movement II, p. Hakim, Hommage a Igor Stravinsky, Movement II, p.
Hakim, Rubaiyat, Movement I, p. Hakim, Rubaiyat, Movement I, pp. Hakim, Rubaiyat, Movement III, pp. Hakim, Rubaiyat, Movement II, pp.
Hakim, The Embrace of Fire. Movement II, pp. Hakim, Symphonie en Trois Mouvements, Movement H I , pp. Hakim, Memor, pp.
Stravinsky, Le Sacre Du Printemps, "L'Adoraticn de la Terre, p. Hakim, Hommage a Igor Stravinsky, "Prelude," p. 59 viii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Hakim, Hommage a Igor Stravinsky. Stravinsky, Le Sacre Du Printemps, "Cortege Du Sage," p. Hakim, Hommage *a Igor Stravinsky. Stravinsky, Le Sacre Du Printemps, "Action Rituelle Des Ancetres," p.
Hakim, Hommage a Igor Stravinsky. Stravinsky, Le Sacre Du Printemps. "Action Rituelle Des Ancetres," pp. "Danse Infernale de Tous les Sujets de Kastchei," pp.
Hakim, Hommage a Igor Stravinsky. Hakim, Hommage~a Igor Stravinsky, "Danse," p. Hakim, Symphonie en Trois Mouvements. Hakim, Symphonie en Trois Mouvements.
Hakim, Symphonie en Trois Mouvements. 11, 3rd line; and p. Hakim, Symphonie en Trois Mouvements. 12, 4th line; and p.
Hakim, Symphonie en Trois Mouvements, Movement III, p. 27, 4th line, mm. Hakim, Symphonie en Trois Mouvements. Hakim, Symphonie en Trois Mouvements.
Hakim, Rubaiyat, Movement I,p. 73 ix with permission of the copyright owner. Further reproduction prohibited without permission. Hakim, Rubaiyat, Movement I, pp.
Hakim, Rubaiyat, Movement IV, pp. Hakim, Rubaiyat, Movement IV, p. Hakim, Rubaiyat, Movement IV, p. Hakim, Rubaiyat, Movement IV, pp.
Hakim, Rubaiyat, Movement IV, pp. Hakim, Rubaiyat, Movement I, p. Hakim, Rubaiyat, Movement II, p. Hakim, Rubaiyat, Movement II, p.
Hakim, Rubaiyat, Movement 11, p. Hakim, Rubaiyat, Movement I, p. Hakim, Rubaiyat, Movement II, p. Hakim, Rubaiyat, Movement H I , p.
Hakim, Rubaiyat, Movement IV, p. Hakim, Rubaiyat, Movement I, p. Hakim, Rubaiyat, Movement II, p. Hakim, Rubaiyat, Movement I, pp.
Hakim, Rubaiyat, Movement H I , p. Movement Ill, pp. Hakim, Rubaiyat, Movement III, p. 92 Reproduced with permission of the copyright owner.
Further reproduction prohibited without permission. Hakim Symphonie en Trois Mouvements. Movement I, First 7 entries, p. Hakim, Symphonie en Trois Mouvements.
Movement I, Exerpt of 11th entry, p. Hakim, Symphonie en Trois Mouvements. Movement I, Exerpt of 13th entry, p. Hakim, Symphonie en Trois Mouvements.
Movement I, Exerpt of Coda, p. Hakim, Rubaiyat, Movement I, p. Hakim, Symphonie en Trois Mouvements. Hakim, Symphonie en Trois Mouvements.
Hakim, The Embrace of Fire. Hakim, Symphonie en Trois Mouvements, Movement H I , p. Hakim, Symphonie en Trois Mouvements. Hakim, Symphonie en Trois Mouvements.
Hakim, The Embrace of Fire. Hakim, Hommage a Igor Stravinsky, Movement I, mm. Hakim, The Embrace of Fire. 106 xi Reproduced with permission of the copyright owner.
Further reproduction prohibited without permission. Hakim, Hommage a Igor Stravinsky. jgg xii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
ABSTRACT Naji Hakim is one of the most talented Lebanese composers of the latter half of the twentieth century residing in France. His prolific output includes works for varied media including organ solos, organ duos, chamber music for varied instrument and voice combinations, guitar quartets, orchestral works, and oratorios. The goal of this study is to examine the compositional techniques used by the composer in five of his major published works for solo organ written between 1983 and 1993. The compositions chosen are Memor.
Hommage a Igor Stravinsky. The Embrace of Fire and Symphonie en Trois Mouvements. Hakim's use of traditional formal structures, modified traditional formal structures, ostinati, modal scales, Gregorian chant, mathematical formulae, hocket techniques, quotation techniques, cyclical techniques, and minimalist techniques were investigated, and similarities to some of his contemporaries as well as older composers are discussed.