An Analytical and Educational Survey of Roger Boutry's Mtachrome

images through motives, harmony, and exotic scales (whole tone, octatonic, and pentatonic) anddid not focus on resolutions. He treated music as an art of sound, particularly through timbre andwould often associate particular instruments with motives and separated musical layers throughtone color.Although large orchestras are required for many of his works, Debussy used soundsfor color, not for volume (Grout, 2006).Erik Satie (1866-1925) is known for his innovations in the use of parallel ninths, but it ishis "anti-Debussy mentality ,, that is of particular interest (Rostand, 1973). He was a strongadvocate for "the unembellished and the bare, and his search for simplicity and systematicnakedness" (Rostand, 1973). Satie's importance lies in directing the new generation of youngFrench composers away from impressionism towards a more concise style, Neo-classicism(Satie, 2008). This led to the group of composers known as Les Six, made up of composersGeorges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc, and GennaineTailleferre, and the group was given its name in 1920 by the critic Henri Collet. Les Six wereunited by their anti-Romanticism and appreciation for Satie's music, but soon broke off intodifferent paths (Griffiths, 2008). Honneger became a serious minded symphonic composer,Milhaud pursued polytonality, Durey became a committed Socialist, and Tailleferre faded awayalmost completely. Poulenc and Auric were the only two to maintain loyalty to the group'soriginal stand that music should be "spare, witty, and up to date" (Griffiths, 2008).The 1930s was a stagnant period for France in regards to innovations in music and thearts. Composers during this time include Henri Sauguet, Jacques Ibert, Jean Francais, JeanRivier, and Maurice Jaubert. This marked the end of the predominance of melody and solidtonality in French music, and after WWII French composers began experimenting and looking