1. Education and Mentorship

Born in France, Emmanuel was taught art by his mother. In 1880, he entered the Paris Conservatoire, studying solfège with Savard, harmony with Dubois, music history with Bourgault-Ducoudray, and composition with Delibes. However, due to his unique musical ideas (see 2. Style and Techniques), he was unable to qualify for the Prix de Rome. Consequently, Emmanuel received private instruction from Guiraud and developed a close friendship with Debussy.

2. Style and Techniques

He showed interest in folk songs in Burgundy. Furthermore, frequent visits to churches inspired him through liturgy. These two elements can be said to hold significant positions in Emmanuel's works. His pursuit of rhythmic "freedom" and use of the Phrygian mode, among other elements, were not accepted, preventing him from participating in the Prix de Rome selection.

Emmanuel, who was excessively self-critical, composed over 70 pieces but preserved only about 30 of them. His style can be described as a sonic proposition for the use of modes in the 20th century. The juxtaposition of major scale dominance with clear cadences, as well as polymodality and polyrhythm, are prominent.

3. Activities Other Than Composition

He studied classical literature, poetics, philology, and art history at the Sorbonne and the École du Louvre, earning a doctorate in literature in 1887. His doctoral thesis comprehensively discussed the freedom and treatment of rhythm in ancient Greek dance, in contrast to the rigidity observed in French dance of his time.

4. Teaching Career

Although there was talk of him teaching music history at the Collège de France, opposition prevented it, and he spent his time teaching art history in secondary schools until 1904. He was later appointed choirmaster at Sainte-Clotilde Church, but this time, his revival of Gregorian chant was not accepted, and he was dismissed. Finally, in 1909, he obtained a position as a lecturer in music history at the Paris Conservatoire. At this institution, he taught notable figures such as Casadesus and Messiaen.

5. Tendencies in Piano Works

He left behind six sonatinas. Each piece is endowed with a unique character, such as:

• The First Sonatina, subtitled "Burgundy"
• The Second, imitating bird calls
• The Fourth, based on Indian modes
• The Fifth, which is Emmanuel's version of a "French Suite"