Relevant bibliographies by topics / Olivier Messiaen

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Olivier Messiaen'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Olivier Messiaen"

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TAYLOR, HOLLIS. "Whose Bird Is It? Messiaen's Transcriptions of Australian Songbirds." Twentieth-Century Music 11, no. 1 (March 2014): 63–100. http://dx.doi.org/10.1017/s1478572213000194.

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AbstractThis article examines the meeting point of Olivier Messiaen, Australia and birdsong, particularly as it relates to the transcription of pied butcherbird (Cracticus nigrogularis) vocalizations. It draws upon correspondence from Messiaen to the Australian ornithologist Sydney Curtis, printed here for the first time, as well as two recordings not previously available to musicologists, from which Messiaen transcribed. Both the recorded birdsong models and Messiaen's transcription of them in hiscahiersare subjected to sonographic and waveform analysis. In analytical scrutiny of eight of these transcriptions, I demonstrate that Messiaen's pied butcherbird transcriptions conform to their models in a partial and highly personal way. I propose a provisional template for Messiaen's approach to birdsong transcription, in order to answer Alexander Goehr's question: ‘Why do birds sound like birds, but Messiaen's birds sound like Messiaen?’
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Zharkikh, T. V. "Musical Stained-glasses by Olivier Messian." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 23–35. http://dx.doi.org/10.34064/khnum2-14.02.

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Background. As it is well-known from the statements by O. Messiaen himself in conversations with K. Samuel [10; 7], the French composer had the phenomenon of “colored hearing” associated with the effect of synesthesia. A prerequisite in modern performing art, as in the work of a musicologistresearcher, is the introduction to the worldview of an author-composer. The study of Messiaen’s synesthetic associations helps the interpreter to expand his timbre range in connecting with emotional “immersion” in the essence of the work, and the researcher of his music – to interpret correctly (often – to “decipher”) and convey to the listener the author’s intention. That why consideration of the synesthetic aspect of the works of the French Master appears relevant. The purpose of this study is to reveal some features of the musical-visual ideas of O. Messiaen, the understanding of which is necessary for adequate perception and reproduction of his music. The material of the work is, mainly, the composer’s own statements, on which the generalizations made in the article based, and which the main conductors in the infinite multicolor spiritual world of the French composer are. The studies results. The child impressions, when Olivier together with his parents visited monuments, museums, churches – the Notre-Dame, the SaintChapel, the Chartres Cathedral, the Cathedral in Bourge – became the sources of the sound-color visions of the French genius. Magical colors of the MiddleAges stained glasses left an amazing feeling, an imprint, which did not disappear during his whole life. Stained-glasses as “the light, captured by the human” [7] are the constant awe and the love of O. Messiaen. In childhood, while reading W. Shakespeare, Olivier made stained glass-like scenery using transparent wrappers and packaging materials painted in different colors, then put the decorations to the windows. The sunshine, going through them, was lightening the little boy’s theater like the footlights. Later, the light, as something Divine, will become the main semantic emphasis in the works of the composer. Messiaen puts the color music above the church and religious, the color music, according him, does the same as medieval stained glass: “it brings us blinding admiration .... All sacred art ... should be, first of all, something like a rainbow of sounds and colors” [6]. Like a stained glass window consists of pieces of glass, so music consists of “pieces-cadres”, but, unlike cinematic montage, a stained glass has a mystical nature. From the inside, a stained glass shows one picture of the world, from the outside – another; it is a rosy view of the world and, at the same time, a prism, through which one can see the musical diversity. So, for O. Messiaen, the basis of the foundations is a religion related closely to philosophy; they serve music, and music serves the color music. A musicologist K. Zenkin defines the color music of O. Messiaen as the highest form of sacred music, as “the answer of human to God” [2, p. 171]. Being 11 and having become a student of Paris Conservatory, Olivier for the first time heard the opera by his teacher, Paul Dukas, “Ariadne and Bluebeard”. Messiaen was amazed by the episodes, where the main heroine consistently opens seven doors and finds herself in seven halls, filled with seven different kinds of precious stones; each one was characterized by different tone and timbre. Later, O. Messian continued the searches of his teacher in area of color-sound. About incredible enjoyment by the color the composer says in connection with painter-orphist Robert Delaunay, calling his paintings “colored dreams”. In the pictures of latter, he was most attracted by the principle of simultaneous contrast. The concept of “simultaneous contrast” refers to the phenomenon, in which our eyes, perceiving any color, involuntarily require a different color addition. For example, red requires green, yellow – purple, since these colors are diametrically opposed to each other on the color wheel, etc. If there is no such addition, the eye can simultaneously find (generate) it. As O. Messian had such rare natural quality as synesthesia, while listening to music, in his imagination different colors, corresponding to different sounds, appeared. Borrowing the painting principle of the simultaneous contrast, the composer applied it in his musical works, for example, in chord constructions. Messian’s “colour hearing” was connected not with tones, like to N. Rimsky-Korsakov or A. Skryabin, but with chords. Chords, in understanding of French composer, are the analogues of colors; changing of the chords leads to the changing of the colors and its patterns. The composer is characterized by the “vertical” perception of the sound-color range, but the “chord” factor does not exhaust his color perception, since O. Messiaen operates with the frets, which he calls “systems”. Each system is associated with a specific coloring of sounds. Colors and sounds are arranged for him on the principle of gamma. In the color scheme of O. Messiaen, there is no yellow color, instead of it an orange-golden one is introduced. Especially the composer likes violet or lilac color, belonging to the category of complex, which includes extremely cold blue and extremely warm red. This color has a lot of shades: with the dominance of red-scarlet, with the dominance of blue-hyacinth. In the Middle Ages, in the symbolism of stained glass windows, the first one identified Love to Truth, and the latter – Truth of Love. O. Messian perceived the laws of the universe through the prism of “infinite colors”. For the composer, painting becomes the basis of his artistic method and generates musical images. He felt the colors in the music by the “inner vision”. The subjective vision of sound colors was using by O. Messiaen in the process of creating musical canvases, called, in its turn, to affect the “inner vision” of the listeners.
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BALMER, YVES, THOMAS LACÔTE, and CHRISTOPHER BRENT MURRAY. "Un cri de passion ne s'analyse pas: Olivier Messiaen's Harmonic Borrowings from Jules Massenet." Twentieth-Century Music 13, no. 2 (July 26, 2016): 233–60. http://dx.doi.org/10.1017/s1478572216000025.

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AbstractUntil the present article, Massenet's influence upon the music of Olivier Messiaen has remained entirely unexplored. During the 1930 and 1940s, Messiaen professed his love for the music of Massenet and regularly used Massenet as a model in his teaching materials. Several examples of the way in which Messiaen selects and transforms passages from Massenet's Werther and Manon are considered. The inclusion of a harmonic formula borrowed from Massenet, contrasted with a melodic formula borrowed from Mozart, in ‘Amen du Désir’, the fourth movement of the Visions de l'Amen, reveals the operatic characters hidden behind the programme of one of Messiaen's best-known works. These intersecting source materials in Messiaen's teaching and composition open new roads for the analysis of the composer's music and pedagogy.
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Chimenes, Myriam. "Hommage a Olivier Messiaen." Vingtième Siècle. Revue d'histoire, no. 55 (July 1997): 151. http://dx.doi.org/10.2307/3770556.

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Irlandini, Luigi Antonio. "Gagaku, de Olivier Messiaen." Per Musi, no. 25 (June 2012): 49–56. http://dx.doi.org/10.1590/s1517-75992012000100005.

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A tensão entre nostalgia e inovação se manifesta de maneira única em Gagaku, o quarto movimento de Sept Haikai, de Olivier Messiaen. A religiosidade de Messiaen representa uma forma de nostalgia para a vanguarda intelectual francesa. Messiaen considera o senso de ritual e de estase como expressões musicais do sagrado. Através da comparação da estrutura do Gagaku de Messiaen (analisado à luz de seus próprios escritos sobre os seus métodos composicionais) e da estrutura da música tradicional japonesa gagaku, este artigo mostra de que modo o senso de ritual e de estase constitui o elemento estético comum existente independentemente em ambas as formas musicais. A existência de um elemento comum entre a "fonte" não-ocidental e a composição ocidental inspirada por esta fonte provê a condição necessária para a transformação de nostalgia em inovação. O conceito de écriture tem um papel importante na dialética de passado/futuro desta transformação, causando estrutura e estilo a se diferenciarem baseados no princípio da não-imitação, e afirmando-se como o elemento formativo que faz de Gagaku uma peça distintamente francesa.
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Machado, Luis A. "Olivier Messiaen. Homenaje - Referencias." Revista del ISM, no. 3 (November 29, 2005): 95–107. http://dx.doi.org/10.14409/ism.v1i3.500.

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Forte, Allen. "Olivier Messiaen as Serialist." Music Analysis 21, no. 1 (March 2002): 3–34. http://dx.doi.org/10.1111/1468-2249.00148.

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Messiaen, Olivier. "Message from Olivier Messiaen." Contemporary Music Review 17, no. 4 (January 1998): 15. http://dx.doi.org/10.1080/07494469800640251.

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Gudimova, Svetlana. "THE MUSICAL MYSTERY OF OLIVIER MESSIAEN." Herald of Culturology, no. 3 (2020): 68–77. http://dx.doi.org/10.31249/hoc/2020.03.05.

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The article is dedicated to the opera «St. Francis of Assisi» by the outstanding French composer of the 20 th century Olivier Messiana. This opera is the composer's great summa musicae. In it, he used almost all the musical means used by him earlier. As for the drama, it is completely different than in all operas and musical dramas that still exist, and not only in the sense of stage, but also musical. This is a completely new word in opera. “St. Francis of Assisi” is not only a musical mystery, since scenography (carefully designed by Messian in the libretto and score) plays a significant role here.
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Morris, David. "Olivier Messiaen: A Bibliographical Catalogue of Messiaen's Works (review)." Notes 57, no. 1 (2000): 116. http://dx.doi.org/10.1353/not.2000.0042.

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Dissertations / Theses on the topic "Olivier Messiaen"

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Lee, Hye-Young. "Tracing Messiaen in Naji Hakim's Le tombeau d'Olivier Messiaen." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/lee_hye-young/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 22, 2002, Apr. 4, 2003, Apr. 30, 2004, and Aug. 1, 2006. Includes bibliographical references (p. 44-46).
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Donkin, Deborah Jean. "The vocal works of Olivier Messiaen." Thesis, Rhodes University, 1995. http://hdl.handle.net/10962/d1002299.

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Olivier Messiaen's compositions for voice, though less widely known than his instrumental works, span some forty years and comprise a fifth of his total output. They have hitherto not been subject to much attention. A study of the elements comprising the vocal lines and accompanying instrumentation from the piano-voice song set, Trois melodies (1930), to the vast orchestral-choral La Transfiguration de Notre Seigneur Jesus-Chlist (1969) reveals, amongst other characteristic and evolving features, the emergence of a unique, simulated, plainchant style and its subsequent transformation into incantation with suitably modified accompaniment. While wide-ranging, chromatic and rhythmically free vocal lines are typical of many twentieth century compositions, Messiaen's use of such features is found to be novel, by virtue of the peculiar modal and temporal ambits within which he operated. Vocal delivery is progressively expanded from conventional bel canto production to humming, howling,and eventually speech and percussive sounds and reaches an apotheosis in the virtuoso effects of Cinq Rechants (1949). This recedes somewhat in La Transfiguration, which displays instead a wealth of hybrid plainsong-type writing. Choral works are interesting in that the emphasis shifts from standard part-writing to monody or accompanied unison singing, with an attendant absence of characterised solo parts. By constantly varying the colour of the single melodic line with different permutations of voice types, timbre assumes a new importance, particularly in La Transfiguration. The study of the texts, most of which were conceived by the composer simultaneously with the music, contributes much to the understanding of each work. Biblical symbolism in the early lyrics is progressively enriched by references to numerological, mythological and nature symbolism, mixed in an increasingly Surrealistic manner. The gradual incorporation of emotive phonemes in the texts, culminates in the invented language of Cinq Rechants. The thesis thus reveals an evolving yet persistently idiosyncratic vocal style, which establishes Messiaen as one of the most original composers of his time. It further demonstrates that his vocal works are an important component of his total oeuvre and also a significant contribution to twentieth century vocal literature.
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Zahrádková, Marie. "Olivier Messiaen a jeho varhanní tvorba." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177876.

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This diploma thesis deals with a prominent French composer, organist and pedagogue Olivier Messiaen and his organ works. The first part of the thesis brings relevant biographic information on the composer, overview of his works, compositional inspiration and specifies facets and components of Messiaens?s musical language (rhythm, harmony, melody, forms). In the following part, the focus of the thesis shifts to organ works: not merely to composition techniques but primarily to more thorough analysis of particular sheet music ? not however from the traditional musical-analytic perspective, but rather from outside-of-music, often theological context. The main goal of the thesis is to gain an insight into the core of Messiaens?s composition techniques, inspirations and motivations through the understanding of his music language as well as his life and philosophical perspectives. Uniqueness of this creator will be demonstrated by the analysis of the Gregorian melodies, Bible quotations and liturgical texts of the pieces ?Priere avant la communio? and ?La Nativité du Seigneur.?
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Sholl, Robert Peter. "Olivier Messiaen and the culture of modernity /." Boston Spa : British thesis service, 2005. http://catalogue.bnf.fr/ark:/12148/cb40036204g.

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Lundqvist, Fredrik. "Messiaen - L'Ascension : Utifrån interpretativa aspekter." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2657.

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Den franske 1900-talskompositören Olivier Messiaen komponerade L’Ascension – fyra symfoniska meditationer för orkester 1933, men skrev något år senare om verket för orgel. I denna skriftliga reflektion diskuteras hur man, som interpret och organist, kan förhålla sig till den noterade bilden och därmed uppnå en mer genomarbetad instuderingsprocess och en ökad förståelse. Till grund för reflektionen ligger instudering av verket, samt studier av partitur, litteratur och cd-skivor. Ur analysen framgår bl a att framför allt modus 2 och 3 använts, samt att flera skillnader förekommer mellan de två olika versionerna av verket. Studien går igenom några av Messiaens olika kompositionstekniker och orgelversionen sätts i relation till orkesterversionen. I viss mån behandlas även olika möjligheter att tolka den symbolik som kan utläsas ur notbilden. L'Ascension är, liksom många andra av Messiaens kompositioner, starkt kopplat till hans kristna tro. Det 85-åriga verket ingår i en lång fransk tradition, men är samtidigt i högsta grad modernt.
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Sholl, Robert. "Olivier Messiaen and the culture of modernity." Thesis, King's College London (University of London), 2003. https://kclpure.kcl.ac.uk/portal/en/theses/olivier-messiaen-and-the-culture-of-modernity(79504cac-021d-4977-bfd8-5a2004d839ed).html.

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Kraft, David. "Birdsong in the music of Olivier Messiaen." Thesis, Middlesex University, 2000. http://eprints.mdx.ac.uk/6445/.

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The intention of this investigation is to formulate a chronological survey of Messiaen's treatment of birdsong, taking into account the species involved and the composer's evolving methods of motivic manipulation instrumentation in corporation of intrinsic characteristics and structure. The approach taken in this study is to survey selected works in turn, developing appropriate tabular forms with regard to Messiaen's use of 'style oiseau', identified bird vocalisations and even the frequent appearances of music that includes familiar characteristics of bird style, although not so labelled in the score. Due to the repetitive nature of so many motivic fragments in birdsong, it has become necessary to develop new terminology and incorporate derivations from other research findings. The 'motivic classification' tables, for instance present the essential motivic features in some very complex birdsong. The study begins by establishing the importance of the unique musical procedures developed by Messiaen: these involve, for example questions of form, melody and rhythm. The problem of 'authenticity' - that is, the degree of accuracy with which Messiaen chooses to treat birdsong- is then examined. A chronological survey of Messiaen's use of birdsong in selected major works follows, demonstrating an evolution from the general term 'oiseau' to the precise attribution of particular material to particular birds. In later periods the composer explores new Instrumentation and accompanying harmonies (or chordal complexities) to create as closely as possible the unique timbres and other idiosyncrasies of birds' vocalisations; at the same time, Messiaen begins to introduce a much larger variety of species in to his music using birdsong from all over the world. The representations of birdsong are much more 'authentic', or at least more colourful, than in previous works and perhaps, with the accompanying portrayal of landscape in (for example) Catalogue, greater verisimilitude is created. The inclusion of so many exotic species in the scores of, for instance Sept Haikai and Chronochromie is a result of Messiaen's meticulous ornithological investigations and painstaking notations. More importantly, the monophonic bird style tends increasingly to be replaced by other textures such as two-voice homophony, homorhythm, hybrid forms and polyphony. The most pertinent works of this final period are evaluated clearly displaying the many features of each birdsong and call, and their part in the structure of the pieces. Conclusions are drawn concerning the technical means by which the composer realises t he distinguishing features of each birdsong. The thesis is sustained by a close study of three elements governing Messiaen's treatment of birdsong (rhythm, .melody and structure), especially considering the close relationship between them. There has not previously been a systematic attempt to analyse Messiaen's pieces in this way. This research provides a coherent structural overview of Messiaen's employment of birdsong, displaying recurring patterns found in the use of rhythm, melody and structure. Further, the recent publication of Messiaen's 'Trait de Rythme, de Couleur et d'Ornithologie' enables the research to be genuinely up-to-date, using the composer's personal comments on, and analyses of, birdsongs found frequently in his music.
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Whitmore, Brooks Blaine. "Rhythmic techniques in Olivier Messiaen's Vingt regards sur l'Enfant-Jèsus." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9992740.

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Von, Gunden Heidi Cecilia. "Timbre as symbol in selected works of Olivier Messiaen /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371218111.

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Fancher, Joseph E. "Pitch organization in the Turangalîla-symphonie of Olivier Messiaen /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080583.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 304-313). Also available for download via the World Wide Web; free to University of Oregon users.
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Books on the topic "Olivier Messiaen"

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Hirsbrunner, Theo. Olivier Messiaen, Leben und Werk. Laaber: Laaber-Verlag, 1988.

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Stephen, Broad, ed. Olivier Messiaen: Journalism 1935-1939. Burlington, VT: Ashgate, 2012.

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Anne, Liebe, and Vogel Oliver 1967-, eds. Olivier Messiaen: Texte, Analysen, Zeugnisse. Hildesheim: Olms, 2012.

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1908-1992, Messiaen Olivier, ed. Olivier Messiaen: The centenary papers. Newcastle on Tyne, UK: Cambridge Scholars, 2010.

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Hirsbrunner, Theo. Olivier Messiaen: Leben und Werk. Laaber: Laaber-Verlag, 1999.

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Olivier Messiaen, ou, La lumière: Essai. Paris: Hermann, 2008.

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Olivier, Philippe. Olivier Messiaen, ou, La lumière: Essai. Paris: Hermann, 2008.

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1908-, Messiaen Olivier, ed. Olivier Messiaen: Une poétique du merveilleux. Aix-en-Provence: Alinéa, 1989.

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Olivier, Philippe. Olivier Messiaen, ou, La lumière: Essai. Paris: Hermann, 2008.

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Paul, Griffiths. Olivier Messiaen and the music of time. London: Faber, 1985.

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Book chapters on the topic "Olivier Messiaen"

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Schweizer, Klaus. "Messiaen, Olivier." In Metzler Komponisten Lexikon, 485–89. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_191.

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Struck-Schloen, Michael. "Olivier Messiaen." In Kammermusikführer, 403–5. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_83.

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Schweizer, Klaus. "Messiaen, Olivier." In Komponisten Lexikon, 376–79. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_188.

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Benitez, Vincent P. "Messiaen Studies and Bibliographies." In Olivier Messiaen, 1–5. Second edition. | New York, NY : Routledge, 2018. | Series: Routledge music bibliographies: Routledge, 2017. http://dx.doi.org/10.4324/9781315101460-1.

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Benitez, Vincent P. "Primary Sources I." In Olivier Messiaen, 6–60. Second edition. | New York, NY : Routledge, 2018. | Series: Routledge music bibliographies: Routledge, 2017. http://dx.doi.org/10.4324/9781315101460-2.

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Benitez, Vincent P. "Primary Sources II." In Olivier Messiaen, 61–86. Second edition. | New York, NY : Routledge, 2018. | Series: Routledge music bibliographies: Routledge, 2017. http://dx.doi.org/10.4324/9781315101460-3.

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Benitez, Vincent P. "Primary Sources III." In Olivier Messiaen, 87–125. Second edition. | New York, NY : Routledge, 2018. | Series: Routledge music bibliographies: Routledge, 2017. http://dx.doi.org/10.4324/9781315101460-4.

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Benitez, Vincent P. "Biographical and Stylistic Studies." In Olivier Messiaen, 126–74. Second edition. | New York, NY : Routledge, 2018. | Series: Routledge music bibliographies: Routledge, 2017. http://dx.doi.org/10.4324/9781315101460-5.

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Benitez, Vincent P. "Topical Studies." In Olivier Messiaen, 175–232. Second edition. | New York, NY : Routledge, 2018. | Series: Routledge music bibliographies: Routledge, 2017. http://dx.doi.org/10.4324/9781315101460-6.

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Benitez, Vincent P. "Studies of Particular Works." In Olivier Messiaen, 233–93. Second edition. | New York, NY : Routledge, 2018. | Series: Routledge music bibliographies: Routledge, 2017. http://dx.doi.org/10.4324/9781315101460-7.

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Conference papers on the topic "Olivier Messiaen"

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Rosu, Adrian. "COMPOSITION POINTS OF REFERENCE AND MUSICAL LANGUAGE ELEMENTS IN "VINGT REGARDS SUR L ENFANT JESUS" BY OLIVIER MESSIAEN." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s25.035.

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Reports on the topic "Olivier Messiaen"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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