Dissertations / Theses on the topic 'Olivier Messiaen'

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).

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.

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.?

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.

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.

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.

Cette thèse étudie différents aspects du compositeur "œuvrant". Trois champs sont étudiés : les processus compositionnels, c'est-à-dire le genèse de l'œuvre ; les discours d'accompagnement de celle-ci, auctoriaux ou non, et l'influence des propos du compositeur dans la construction d'une image de l'œuvre conforme à ses souhaits ; la diffusion de celle-ci, en dernier lieu, et les pratiques d'organisation des concerts de son œuvre par le compositeur. On montre, chemin faisant, la construction de son image par Messiaen et les stratégies du compositeur pour attirer les regards sur lui et son œuvre. De nombreuses sources inédites et de première main sont convoquées dans cette recherche : notamment les brouillons manuscrits des Visions de l'Amen, le fonds Loriod-Messiaen de la Bibliothèque nationale de France (dont le catalogue constitue l'annexe principale de cette thèse) et le fonds des archives de l'Association Française de l'Action Artistique)
This dissertation concentrates on three different aspects of the composer as the creator of an "œuvre". 1)The compositional process or the creation of the work, 2) the texts written to accompany these works, whether auctorial (typical of the author's voice) or not and the role of the composer's words in constructing the image of a body of compositions conforming his wishes, and lastly 3) the diffusion of this œuvre and the composer's methods of organizing concerts of his own works. Along the way, the author addresses Messiaen's construction (and control) of his own image and his strategies for keeping himself and his work in the public eye (ear). This study brings together multiple unpublished sources, many of them first hand, including : the manscript sketches for the Visions de l'Amen, the Loriod-Messiaen program collection at the BNF (whose catalogue composes one of the dissertation's annexes) and the archives of the Association Française de l'Action Artistique

The main part of this submission is a portfolio of five selected compositions, representative of my compositional development between 2003 and 2009, three of which explore the expressive qualities of the solo voice, soprano, counter-tenor or baritone, in settings of highly symbolic or surreal poetry by Gerard Manley Hopkins (Life's Masque Mirrored), St. John of the Cross (En una noche oscura) and Federico Garcia Lorca (Virgen de la Soledad). While the Hopkins cycle features the piano in a substantive accompanimental role, the other two works make use of unusual chamber combinations. Hopkins' poetry also features in The May Magnificat for choir and organ; while the potential of the piano as a solo instrument is realised in the Sonata. Also included are recordings of two of the works, Virgen de la Soledad (2005-06) and Sonata for Piano (2007), programme notes and composer's analytical commentary, the latter of which outlines techniques and methodologies employed in the composition of the above works and acknowledges the diverse influences which have had some bearing upon them. A major component of the submission is a dissertation entitled Olivier Messiaen: musical and symbolic aspects of three later organ cycles, which has some relevance to the submitted compositions, most of which are settings of symbolic texts. The purpose of this study is to consider the particular nature and circumstances of Messiaen's own, deeply-held faith and to evaluate the extent to which the truths which he sought to illuminate were determinants of the form, structure and content of his compositions and to what degree these truths inform our understanding of his music. Three of the later organ cycles, each being representative of a different period of Messiaen's compositional development and each dealing with one of the most important mysteries of the Roman Catholic faith, are analysed in detail to achieve this end. Religious symbolism has, down the centuries, been a source of inspiration in many different areas of creativity, e.g. fine art, architecture, poetry, drama and music. A number of the more established contemporary composers look to some form of religious symbolism to underpin their work : James Macmillan, Arvo Part, and John Tavener come to mind. Olivier Messiaen himself said that "all art which attempt~ to express the Diivine Mystery may qualify as religious" and that “all music which approaches with reverence the Divine, the Sacred, the Ineffable, IS truly religious music in the full strength of the term". Most of Messiaen's music is strongly symbolic, but the organ repertoire is of particular importance since it is performed usually within a consecrated space, sometimes as part of the liturgy; furthermore, it spans his whole compositional career. The purpose of this present study is to consider the particular nature and circumstances of Messiaen's own, deeply-held faith and to evaluate the extent to which the truths which he sought to illuminate were determinants of the form, structure and content of his compositions and to what degree these truths inform our understanding of his music. Three of the later organ cycles, each being representative of a different period of Messiaen's compositional development and each dealing with one of the most important mysteries of the Roman Catholic faith, are analysed in detail to achieve this end.

Esta dissertação desenvolve uma análise musical de Concert à quatre (1990-1991), obra composta por Olivier Messiaen para quatro solistas (flauta, oboé, violoncelo, piano) e grande orquestra, apresentando os procedimentos harmônicos e os principais elementos que caracterizam a linguagem do compositor. Busca identificar e compreender a utilização de conceitos estabelecidos por Messiaen, bem como investigar os processos que estruturam a harmonia de Concert à quatre, priorizando uma abordagem baseada na análise das vozes comuns. Destacando Vingt Leçons d\'Harmonie (1951) no interior do levantamento bibliográfico que relaciona estudos sobre a produção bibliográfica do compositor, associa-o com os principais elementos composicionais de Concert à quatre e aborda referenciais que remetem à formação teórico-musical de Messiaen. Utiliza a segmentação por conjuntos e o mapeamento de vozes comuns em sucessões de acordes como ferramentas analíticas. O resultado da análise demonstra como os Modos de Transposições Limitadas e seus subconjuntos estruturam a obra, concomitante à ocorrência de breves tonicizações e à formação de centros referenciais harmônicos, evidenciando alturas e intervalos recorrentes. Além disso, destaca o uso dos elementos finalizadores de seções e os constituintes de trechos transitórios, os quais consolidam a sonoridade gerada pelas seções.
This work develops a musical analysis of Concert à quatre (1990-1), a work for four soloists (flute, oboe, cello, piano) and large orchestra, by Olivier Messiaen, presenting the harmonic procedures and the main elements that characterize his compositional language. Seeks to identify and understand the use of concepts established by Messiaen, as well as investigate the processes that structure Concert à quatre harmony getting priority to an approach based on analysis of common voices. Highlighting Vingt Leçons d\'Harmonie (1951) within the literature that relates studies on the bibliographic production of the composer, it associates this production with the main compositional elements of Concert à quatre and addresses references that refer to Messiaen\'s theoretical and musical studies. It uses sets segmentation and mapping common voices chord sequences as analytical tools. The analysis shows how the Modes of Limited Transposition and its subsets structure the work, being concurrent with the occurrence of brief tonicizations and forming harmonic reference centers, showing classes and recurring intervals. Furthermore, it emphasizes the use of the elements that are finishers constituent sections and transient portions, looking forward to consolidate the sound generated by each section.

When Olivier Messiaen completed the vast opera Saint Francois d'Assise in 1983, he was mentally and physically exhausted, believing that this monumental work would be his final compositional statement. Coaxed at first by his wife, Yvonne Loriod, he began to write a series of miniatures -a rarity in his output. Then, in the last years of his life, Messiaen composed a final large orchestral cycle, Eclairs sur l'Au-Dela ... This thesis examines the seven works which Messiaen completed after Saint Francois and argues that, following the crisis provoked by the opera, his music underwent a discernible change in style. In addition, the thesis uses the works in question to examine the characteristics of Messiaen's music, with a particular emphasis on an often overlooked aspect of his technique: harmony. In the process, many other questions are addressed, such as the ways in which Messiaen utilizes birdsong within a larger structure. The thesis is in three parts. Part I begins with a brief historical survey before discussing Saint Francois d'Assise as the work which defines everything that follows. Part II examines the series of miniatures whose significance belies their (relatively) modest proportions. Not only do they provide an indication of Messiaen's artistic self-confidence, but they also contain important links with his final masterpiece, Eclairs sur l'Au-Dela ... This sublime eleven movement work for large orchestra is the subject of Part III, and is the focus of the thesis. Each movement is analysed in turn, before the work is considered as an entity and its hidden structure and motivic cohesion is demonstrated.

Doutoramento em Música
O presente trabalho analisa nas vertentes estilísticas e composicionais, entre outras considerações e enquadramentos, uma obra específica – o Livre du Saint Sacrement, para Órgão - de um dos mais importantes compositores do séc. XX: Olivier Messiaen. Nascido em França em 1908 (morte em 1992), Olivier Messiaen deixou uma enorme influência no campo da composição musical, e em particular no repertório para Órgão. O Livre du Saint Sacrement foi a última obra escrita por Messiaen para Órgão, sendo também a maior obra em existência no repertório deste instrumento. Paralelamente, na presente tese faz-se um levantamento dos elementos de linguagem de Messiaen, assim como do uso estilístico dos mesmo, tendo em vista uma sistematização de um método de análise de todas as suas obras, mormente as tardias, mais complexas.
In this work an analysis is made about the Livre du Saint Sacrement, for organ, composed by one of the most important figures of the XXth century music: Olivier Messiaen. Born in France in 1908 (death in 1992), Olivier Messiaen has been of great influence in music composition, namely for the organ. The Livre du Saint Sacrement was the last piece Messiaen wrote for organ, and it’s the biggest work in existence for this instrument. Also in this work, a survey is made of all elements of Messiaen’s language, and the stylistic use of those elements, in order to establish a method for analysing his latter works.

Orientador: Silvio Ferraz Mello Filho
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação tem por objetivo observar, nos contextos específicos de distintas peças de Olivier Messiaen (1908-1992), o emprego específico de seu repertório técnico concernente à rítmica e a articulação deste com outros aspectos composicionais das obras em questão (e. g. trabalho harmônico e estruturação formal). Tendo tomado por base a diversidade de materiais, procedimentos e noções expostas e discutidas na obra teórica do compositor em questão, apresentamos aqui análises das seguintes peças suas: "Danse de la fureur, pour les sept trompettes" e "Liturgie de cristal" (1941); Neumes rythmiques (1949); "Yamanaka-cadenza" (1962) e La Fauvette des jardins (1970). Concluímos, por fim, que Messiaen emprega seu repertório técnico concernente à rítmica de maneira altamente contextual, de modo que decisões composicionais não previstas em seus procedimentos e nem sempre dadas no domínio da rítmica, propriamente, são cruciais para os resultados rítmicos obtidos pelo compositor
Abstract: This dissertation aims at observing, in the singular contexts of different pieces by Olivier Messiaen (1908-1992), the specific employment of his technical repertoire concerning the rhythmical domain and the articulation of such repertoire with other compositional aspects of the pieces studied (e. g. pitch management and formal constitution). Having taken as a base the diversity of materials, procedures and concepts exposed and discussed in Messiaen's theoretical work, analysis of the following of his works are here presented: "Danse de la fureur, pour les sept trompettes" and "Liturgie de cristal" (1941); Neumes rythmiques (1949); "Yamanaka-cadenza" (1962) and La Fauvette des jardins (1970). By the end of this dissertation, we will have verified that Messiaen employs his technical repertoire concerning the rhythmical domain in a highly contextual manner, in such a way that compositional decisions which were unforeseen in his procedures and not always immediately related to the rhythmic domain are crucial to the rhythmical results obtained by the composer
Mestrado
Processos Criativos
Mestre em Música

«Désir de la cessation du temps et aspiration à l'éternité chez Olivier Messiaen – 1908-1992 – » Ce titre, issu de deux phrases prononcées par le compositeur, donne d'emblée l'importance à deux concepts – temps (musical) et éternité – chargés tous deux de sens autant esthétiques que théologiques, qui eux-mêmes renvoient en miroir à l'orientation de cette recherche. Par ailleurs, un tel titre implique de mettre nécessairement en évidence et en relation les textes sacrés (les vérités théologiques de la foi catholique) et la musique de Messiaen. En conséquence, c'est toujours à la lumière de ces textes (les versets de la Bible mis en exergue en tête des oeuvres, très souvent en concordance avec des notions théologiques précises), que nous avons réalisé nos analyses et commentaires. De nombreux ouvrages existent sur Messiaen, si dans ces ouvrages notre problématique est forcément effleurée, aucun à notre connaissance n'en fait sa spécifité. Pour celui qui vivait et composait avec la certitude d'une vie dans l'Au-delà et aspirait à une vie éternelle dans laquelle ''il n'y aura plus de temps'', et dont les oeuvres sont à plus de 90 % religieuses, il était urgent une quinzaine d'années après sa mort de pallier à ce manque. Ceci ne veut pas dire que nous avons épuisé loin s'en faut le sujet, tant l'oeuvre est immense, mais au moins nous aurons montré qu'il est nécessaire aux théologiens comme aux musicologues de s'y investir
Desire for suspension of time and aspiration for eternity in Olivier Messiaen's work – 1908-1992 – This title proceeding from two sentences pronounced by the composer directly gives their importance to two concepts – time(musical time) and eternity – both full of senses as well esthetic sense as theological one, which themselves send to the orientation of this searching. By another way, such a title implies to make necessarily obvious and connect the sacred texts (theological truth of catholic faith) with Messiaen's music. Consequently, we always realized our analysis and comments according to these texts. There are numerous works about Messiaen, if our problematic is inevitably lightly touched in them, none of them made its specificity of it. For the man who used to live and compose with the certainty of Hereafter world and was longing for an eternal life in wich « there should be time no longer » and whose works are for more than 90% religious ones, it was urgent to palliate this lack about fifteen years after his death. This doesn't mean that we exhausted the subject, far from it, so vast the work is, but we showed at least, that theologians and musicologists necessarily ought to entrust with it

Este trabalho dedica-se à análise musical de três peças para piano de Olivier Messiaen (1908-1992): Regard de l\"Onction terrible (1944); Neumes rythmiques, (1949) e Le traquet stapazin (1956-1958). Procuramos nos concentrar em uma metodologia que levasse em consideração a inter-relação entre análise musical, análise da performance, percepção e performance musical, a fim de construir uma concepção analítica original das peças analisadas. Desse modo, relacionamos o corpus teórico de Messiaen a trabalhos de autores como: Hasty (1997), que desenvolve a ideia de projeção rítmica a partir da análise musical, não só da partitura, mas também pela audição de gravações; Straus (2005) e Healey (2013), sobre a aplicação da teoria dos conjuntos na identificação e compreensão dos materiais harmônicos de Messiaen; Cook (2009), Rink (2001), Fortunato, (2011), Gasques, (2013) e Rosa (2015), sobre a análise da performance a partir de material gravado; e por fim, o estudo das peças ao piano como fonte de retroalimentação entre a análise e a performance. Ao relacionar outras metodologias ao material teórico de Messiaen, procuramos lançar um olhar mais independente sobre sua obra, ora complementando, ora ressaltando o conteúdo deixado por Messiaen em seus registros. A estrutura dessa tese se configura em 5 capítulos. O primeiro aborda o referencial teórico que tomamos como base para as nossas análises. O segundo, o terceiro e o quarto capítulos tratam das análises das obras Regard de l\"Onction terrible, Neumes rythmiques e Le traquet stapazin, respectivamente. Procuramos atentar às particularidades de cada peça ao escolher as ferramentas mais adequadas à sua análise. Regard de l\"onction terrible exigiu um aprofundamento maior em relação às referências simbólicas inerentes à sua composição. Neumes rythmiques, por sua vez, apresenta uma linguagem mais técnica, o que nos levou a enfocar os processos de manipulação do material musical. Le traquet stapazin emprega materiais mais descritivos, advindos dos cantos de pássaros e de seu habitat, entretanto, estabelecemos uma relação destes materiais com outros mais abstratos presentes na linguagem composicional de Messiaen. O quinto capítulo traz uma discussão sobre as inter-relações na linguagem musical e pianística de Messiaen, traçando um paralelo entre as ideias desenvolvidas em seu material teórico e as análises das peças.
This work dedicates itself to the musical analysis of three piano pieces by Olivier Messiaen (1908-1992): Regard de l\'Onction terrible (1944); Neumes rythmiques (1949) and Le traquet stapazin (1956-1958). We have tried to focus on a methodology that took into account the interrelationship between musical analysis, performance analysis, perception and musical performance, in order to build an original analytic design of the analyzed parts. Thus, we relate the theoretical corpus of Messiaen to the works from authors such as: Hasty (1997), who develops the idea of rhythmic projection from the musical analysis, not only of the sheet music but also by listening to recordings; Straus (2005) and Healey (2013), on the application of set theory in the identification and understanding of Messiaen\'s harmonic materials; Cook (2009), Rink (2001), Fortunato, (2011), Gasques, (2013) and Rosa (2015) on performance analysis from recorded material; and finally, the study of the piano pieces as a source of feedback between analysis and performance. In relating other methodologies to the theoretical material of Messiaen, we try to launch a more independent look towards his work, sometimes complementing, or emphasizing the content left by Messiaen in his records. The structure of this thesis is configured in 5 chapters. The first deals with the theoretical framework we take as a basis for our analysis. The second, third and fourth chapters deal with the analysis of the pieces Regard de l\'Onction terrible, Neumes rythmiques and Le traquet stapazin, respectively. We have tried to pay attention to the particularities of each piece by choosing the most appropriate tools for its analysis. Regard de l\'Onction terrible required further deepening in relation to the symbolic references inherent to its composition. Neumes rythmiques, in turn, presents a more technical language, which led us to focus on the handling processes of the musical material. Le traquet stapazin employs more descriptive materials, coming from birds\' singing and their habitat, however, we have established a relation between these materials and other more abstract present in the compositional language of Messiaen. The fifth chapter discusses the interrelationships in Messiaen\'s musical and pianistic language, drawing a parallel between the ideas developed in his theoretical material, and the analysis of the pieces.

This thesis explores the performance practice of three major works involving piano composed by Olivier Messiaen between 1940 and 1944. These are considered through a descriptive analysis of historic commercial recordings that are known to have been directly influenced by the composer, a survey of existing interview material and secondary sources, and interviews with selected leading exponents of Messiaen’s piano music. Many issues of interest are apparent in the historic recordings analysed. Some involve factors not accorded detail in the score, others depart from instructions in the score, and some appear to be permanently intended changes to the published score. This suggests that a well informed performance practice of this music requires consideration of many elements that extend beyond the instructions in the printed score. Comparisons of recordings by pianists who studied the Vingt Regards sur l’Enfant-Jésus with Messiaen, or with his primary exponent Yvonne Loriod, reveal that their approaches diverged in some significant ways on the playing of this solo work, but to a much lesser extent when playing Visions de l’Amen or the Quatuor pour la fin du Temps. This suggests that at some point Loriod began to perform and teach Vingt Regards sur l’Enfant-Jésus in a more independent way, while Messiaen remained a guiding figure in rehearsals and recordings of the ensemble works. As a result, appropriate interpretation of Vingt Regards sur l’Enfant-Jésus may require consideration of the performances of pianists who worked on the repertoire directly with the composer. It is also evident that Messiaen genuinely intended the very slow tempi in certain movements of the works studied, and that he encouraged full use of these tempi in performance.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Orientadores: Maria Lucia Senna Machado Pascoal, Mauricy Matos Martin
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho propõe uma associação de técnicas de análise musical desenvolvidas durante os séculos XX e XXI aos conceitos teóricos proferidos por Olivier Messiaen no livro Technique de mon langage musical (Messiaen 1944a e 1944b) e nos três primeiros volumes do Traité de Rythme, de Couleur, et d'Ornithologie (Messiaen 1994a, 1994b e 1994c). Para tanto, nos dois Capítulos que o compõem, inter-relaciona tais conceitos teóricos a técnicas de análise apresentadas por autores como Allen Forte (1973), Joel Lester (1989), Joseph Straus (2005), Christopher Hasty (1981), Stefan Kostka (2006), David Cope (1997), Wallace Berry (1987), Michael Friedmann (1987), Elizabeth West Marvin (1991) e Felix Salzer (1982); e demonstra a eficiência do procedimento, através da apresentação de cinco análises de peças para piano compostas por Olivier Messiaen, contextualizadas tanto por dados biográficos do compositor, como por artigos anteriormente escritos por pesquisadores teoricamente relevantes. O trabalho justifica-se por contribuir para a bibliografia sobre análise musical em língua portuguesa, bem como por constituir um trabalho de análise musical que amplia a vertente teórica do compositor. Nos cinco Anexos que completam o exemplar, destaca declarações inéditas na literatura mundial, proferidas pelo compositor Almeida Prado, a respeito de planos não concretizados para a composição de um segundo Catalogue d'oiseaux. Na Conclusão, foram traçadas vertentes, tanto em relação às técnicas de análise utilizadas, como à obra para piano de Olivier Messiaen como um todo.
Abstract: This work proposes an association between musical analysis techniques developed during the twentieth and the twenty-first centuries and the musical theory concepts presented by Olivier Messiaen in his Technique de mon langage musical (Messiaen 1944a and 1944b) and Traité de Rythme, de Couleur, et d'Ornithologie (Messiaen 1994a, 1994b and 1994c), first, second and third volumes. For this purpose, it relates Messiaen's theory concepts to analysis techniques presented by authors like Allen Forte (1973), Joel Lester (1989), Joseph Straus (2005), Christopher Hasty (1981), Stefan Kostka (2006), David Cope (1997), Wallace Berry (1987), Michael Friedmann (1987), Elizabeth West Marvin (1991) and Felix Salzer (1982). Trough the analysis of five piano pieces by Olivier Messiaen the efficiency of this process is demonstrated. The analyses are supported by the composer's biography, as well as by articles previously written by prestigious researchers. It adds to the musical analysis bibliography in Portuguese language and it contributes to broaden the theory concepts presented by the composer. The five Annexes that complement this work bring new revelations by Brazilian composer Almeida Prado, about an Olivier Messiaen's project, never made concrete, to compose a second Catalogue d'oiseaux. In the Conclusion we trace lines of conduct concerning the musical analysis techniques as well as Olivier Messiaen's piano work as a whole.
Doutorado
Doutor em Música

Nombre de compositeurs du XXe siècle considèrent que le travail est beaucoup plus important que l’inspiration. Pour Messiaen, la part de celle-ci est aussi importante que le travail. On peut dire que sa musique a joué un rôle de pont entre la musique classique et la moderne : tout en créant un langage novateur, il a pris des éléments de traditions anciennes pour les appliquer à sa composition. Il a beaucoup encouragé ses élèves à faire avancer la musique, en leur ouvrant des horizons nouveaux. Comme la vie moderne évolue rapidement, surtout grâce aux technologies, il en est de même dans le domaine musical ; le souci majeur pour la plupart des musiciens contemporains est l’avancement de la technique. Mais Messiaen a plutôt fait évoluer ses éléments de musique à travers ses diverses sources d’inspiration. Parmi celles-ci furent l’écoute de la nature (symbole de liberté), sa foi (le monde des choses invisibles), la gloire de Dieu (l’inatteignable). Grâce à ce compositeur, on peut sentir tous ces éléments comme s’ils nous apparaissaient. A travers l’évolution de sa technique pianistique, on peut saisir au plus près ce développement, du début à la fin de sa vie. Le piano fut un atout principal, qu’il a choisis pour exprimer son désir d’approcher à la fois le monde d’en haut et le monde d’en bas
While many composers in the 20th century considered the work itself to be the most important factor in making admirable music rather than inspiration, Olivier Messiaen has regarded the inspiration as equally important to the work itself for his composition. We can say that he has bridged the era of classical music toward that of modern music. While pioneering in the creation of his own musical language, he fabulously applied all the traditional elements from the past to his composing. He has always encouraged his students to advance music by enlightening them with new vision. Undoubtedly, everything changes so fast these days especially due to the rapid advancement of technology. This is the same in musical domain, as well. Therefore, one of the major issues for the majority of contemporary composers is the advancement of technology. But, Messiaen used new musical elements adopted from his various inspirations. He has generated his inspirations by keeping his eyes and ears to the nature (the symbol of liberty), the faith (the object we cannot see) and the glory of God (the stature we cannot reach). Thanks to the hands of composer, we are able to feel as if they are in front of us. Exploring the evolution of his technique with piano, we can better understand his musical development from the beginning to the end of his life. The piano is the primary instrument he chose to express his desire to approach the world on the earth and the Heaven at the same time

Orientador: Silvio Ferraz Mello Filho
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Uma intersecção é uma conexão irreproduzível de uma multiplicidade de linhas de força constituídas pelas mais variadas imanências do Mundo. Acreditando-se que ela se manifesta também no campo musical, o presente trabalho traz uma amostra concreta de uma intersecção em música ao centrar-se na relação entre Almeida Prado e Olivier Messiaen, tendo por objetivo principal revelar algumas das potências sonoras absorvidas na formação do compositor paulista no período em que ele foi aluno de Messiaen, entre 1969 e 1973, e postas a campo na escrita da sua peça para piano solo Cartas Celestes I, de 1974. Para tanto, foi feito um estudo analítico comparativo entre essa peça e as peças para piano solo VI Momentos, 2º caderno de 1969, também de Almeida Prado, e La Fauvette dês Jardins, 1971, de Olivier Messiaen. Dentre os resultados obtidos, percebeu-se que na escrita da peça de 1969, além de Almeida Prado apresentar uma exploração textural com a qual se pôde fazer um paralelo com o ciclo de peças para piano de Villa-Lobos Prole do Bebê nº 2, o compositor paulista demonstrava um conhecimento prévio de alguns conceitos da música do seu futuro professor francês, em especial com a técnica aplicada por Messiaen em Vingt Regards sur L'Énfant-Jésus, peça para piano solo de 1944. Em Cartas Celestes I, peça posterior ao período de estudos de Almeida Prado na França, encontraram-se diferenças com o 2º caderno de Momentos de 1969 e semelhanças com a peça de Messiaen analisada, La Fauvette des Jardins, comprovando a hipótese de que houve mudanças significativas na escrita musical do compositor paulista no período. Além disso, foi possível traçar intersecções na peça de Almeida Prado de 1974 com a produção de Ligeti, de Murail e de Gaussin. Como conclusão, percebeu-se que a intersecção Olivier Messiaen-Almeida Prado se apresenta de maneira rizomática, caracterizada pelas múltiplas conexões, pela decalcomania e pela irreprodutibilidade do rizoma presentes nas Cartas Celestes I que fazem com que esta peça se torne única, insubstituível e original em seu contexto histórico e dentro do processo de formação do compositor paulista
Abstract: An intersection is a nonreproducible connection of a multiplicity of lines consisting by the most varied immanences in the World. Giving credit that it also manifests in the musical field, the present study shows a concrete sample of the intersection in music by centering itself into the relationship between Almeida Prado and Olivier Messiaen, aiming to disclose some of the sonorous potencies absorbed by the Brazilian composer during the period in which he was Messiaen's pupil, from 1969 to 1973, and put into practice while composing his piano solo piece Cartas Celestes I, from 1974. Therefore, a comparative analytical study has been done between the above mentioned piece, the piano solo pieces VI Momentos, 2nd book - 1969, also by Almeida Prado and La Fauvette des Jardins, 1971, by Olivier Messiaen. Amongst the obtained results, it has been noticed that in the compositional writing of the 1969 piece, Almeida Prado presented a textural exploration with which a parallel with Villa-Lobos cycle of pieces for piano Prole do Bebê nº 2 can be done. Furthermore, the Brazilian composer demonstrated a previous knowledge of some concepts of his future French teacher's musical production, especially from the technique applied by Messiaen in Vingt Regards sur L'Enfant-Jesus, piano solo piece from 1944. In Cartas Celestes I, piece that is subsequent to Almeida Prado's studies in France, there were found differences from the 2nd book of Momentos from 1969 and resemblances with the analyzed Messiaen's piece, La Fauvette des Jardins, proving the hypothesis that there were significant changes in the musical writing of the Brazilian composer in the period. Moreover, it was possible to trace the intersections in the piece of Almeida Prado from 1974 with the production of Ligeti, of Gaussin and of Murail. Hence, it has been identified that the intersection Olivier Messiaen-Almeida Prado presents itself in a rhizomatic way, characterized by the multiple connections, by the decalcomania and by the rhizome's non reproductability, all presented in Cartas Celestes I making it unique, irreplaceable and original in its historical context and within the Brazilian composer's developing process
Doutorado
Fundamentos Teoricos
Doutor em Música

Selon messiaen, chacun de nous devrait etre en mesure de voir des couleurs se manifester pendant l'audition. Sa surprise, devant l'absence d'un tel phenomene chez la plupart des auditeurs, messiaen l'a decrite a claude samuel, et c'est dans l'ouvrage que ce dernier a intitule : musique et couleur, que se retrouvent les paroles du compositeur : "je le dis au public, je le repete a la critique, je l'ai explique a mes eleves, mais personne ne me croit. J'ai beau mettre des couleurs dans ma musique, dans les harmonies, dans mes complexes de sons et dans mon orchestration, les auditeurs entendent mais ils ne voient rien". L'etude proposee de la correspondance des sons et des couleurs dans la musique de messiaen, n'entend pas demontrer la necessite de voir des couleurs en ecoutant de la musique. Non. Plus modestement a l'aide d'observations ayant trait a la correspondance des sons et des couleurs, puis a la correspondance du son et de la couleur, il s'agira de proceder a la "defense et illustration" de l'intention de messiaen, laquelle, le fait est a noter, semble se rattacher a une tradition fort ancienne
According to messiaen, every one could be able to see colours manifesting themselves during the hearing. His surprise, in front of the miss of such a phenomenon, with most of the hearers, messiaen described it to claude samuel, and it's in a work that this last one has intitled : music and color, that the words of the composer are found again : "i said it to the public, i repeat it to the cristicism, i have explained it to my students, but nobody believes me. I have in vain set colours in my music, in my harmonics, in my building of sounds and in my scoring, the hearers are hearing, but they are not seing anything". The study purposed about the correspondance of sounds and colours in the music of olivier messiaen, don't want to prove the necessity of seing colours by hearing music. No. More modestly, with the help of notes about the correspondance of sounds and colours, then the correspondance of sound and the colour, it will be the question to proceed with the "defence and immustration" of the messiaen's intent, which seems be connected to a very old tradition

Cinq rechants, composed in December of 1948, represents the culmination of Olivier Messiaen's rhythmic exploration. These rhythmic influences, including Greek versification, talas from ancient India, and medieval and Western associations with plainsong, canon, ostinato, and polymeter, drew Messiaen's attention to ways in which to alter rhythms. The techniques which Messiaen discovered enabled him to alter rhythmic patterns through added values, the addition or subtraction of a note, dot, or rest, and augmentation or diminution. An analysis of form, texture, text associations, and meter adaptation within Cinq rechants provides the framework for a study in the application of Messiaen's rhythmic discoveries and inventions.

Esta tésis tiene por objeto realizar una aproximación al lenguaje de Olivier Messiaen, a través del análisis de su obra para piano Vingt Regards sur l ´ Enfant - Jésus. El trabajo se centra en ofrecer una visión, una recreación de la obra desde la perspectiva analítico - musical, sin partir de métodos de análisis estereotipados sino obteniendo de cada una de las 20 piezas, de cada una de las Veinte Miradas aquéllas características específicas que las definen, aquéllo que les confiere un perfil particular. Se inicia la tésis con un capítulpo dedicado a enumerar las principales influencias que paulatinamente van gestando el lenguaje compositivo, tan personal e inconfundible, de Olivier Messiaen: la herencia de la tradición sonora del instrumento, que arranca con el romanticismo y llega hasta el impresionismo con Ravel y Debussy, sin olvidar tampoco la aportación de I. Albéniz; el sonido del órgano, como resultado de su práctica como organísta en la iglesia de la Trinidad de París; su acentuada religiosidad que le inspirará la temática de gran número de sus obras; la búsqueda de tradiciones musicales no occidentales, descubriendo en la música hindú la base de sus investigaciones en el campo del ritmo musical; el descubrimiento de la naturaleza y concretamente la utilización del canto de los pájaros, en relación de analogía con los rasgos y fluctuaciones melódicas de los neumas gregorianos; y el empleo que, de los pies rítmicos griegos, realiza el compositor del siglo XVI Claude Le Jeune y su relación con los diversos tâlas hindús. A continuación se estudia la aportación que realiza el compositor sobre cada uno de los componentes o parámetros sonoros de su música: a) En el aspecto tímbrico destaca el empleo exahustivo de todos los registros del intrumento, en polifonía de sonoridades; el empleo del pedal como medio para obtener sonoridades resultantes muy complejas, por acumulación sucesiva, uniendo fragmentaciones de formaciones acordales muy densas al objeto de obtener un sonido pleno, denso , robusto y muy amplio; su concepto del color generará en su música una audición - visión basada sobre la sensación coloreada.b) Armónicamente su concepto flexible de la densidad armónica, con función estructural junto con la utilización de formaciones acordales muy características, generará una rica paleta de recursos armónicos en la obra.c) A pesar de la influencia del raga hindú, del canto gregoriano y del canto de los pájaros, en sus melodías se observa una gran dosis de originalidad, desarrolladas mediante diversos procedimientos (eliminación, cambio de registro, interversión de notas y ampliación asimétrica)d) Estructuralmente prevalece en la obra la forma formada a la forma formante, con empleo de arquetipos formales de la tradición musical (Forma Sonata, Fuga) y con un predominio de la alternancia de Estribillo y Estrofa, en la organización del discurso musical.e) Música en la que prevalece el tratamiento motívico - temático del material sonoro y su ordenación modal a partir de sus modos de transposiciones limitadas (aunque algunas piezas no participan de ordenación modal alguna). f) La Mirada XII constituirá el nexo o enlace con la etapa especulativa o serial posterior del compositor (que se inicia en 1949 con la obra para piano Canteyodjaya), al tratarse de una pieza basada en una serie de 12 sonidos, cada uno de ellos adscrito a un registro sonoro concreto a lo largo de toda la pieza.A continuación se realiza el trabajo de análisis musical de cada una de las Miradas, obteniendo: un esquema formal (que determina la estructuración de la pieza, en sus diversas secciones), el desarrollo analítico de la propia pieza, finalizando cada análisis con una serie de conclusiones, que perfilan y definen aquéllas peculiaridades que identifican las diferentes piezas del ciclo.Se estudia a continuación la evolución y presentación de los diferentes temas propios o especificos de la obra: Tema de Dios, Tema de la Estrella y de la Cruz, Tema de Acordes y el Tema de Amor Místico, temas que aportarán cohesión y unidad a la obra.Se aborda asimismo el estudio de la simbología que contiene la obra, abundantemente utilizada por Messiaen, inicialmente puesta de manifiesto mediante la numerología simbólica, incidiendo en el orden de colocación de las diversas piezas. La obra posee símbolos:a) De naturaleza religiosa: Se establece en la tésis un itinerario a través de las verdades de la fé católica implicita en la simbología de los propios titulos y subtítulos de la obra.b) De naturaleza literaria: La partitura está repleta de indicaciones de carácter poético - literario, adscritas a rasgos melódicos o rítmicos, a motivos, a células a sucesiones de acordes.c) De naturaleza musical: en la elección de la armadura dominante de toda la obra y en su adscripción o sugerencia a una tonalidad concreta (FA# Mayor: tradicionalmente considerada tonalidad mística), en las citas idiomáticas a diversos instrumentos que aparecen en la obra, en las Miradas organizadas desde los moldes de la tradición musical y en el sentido de orden y organización que encierran, en el valor simbólico que poseen los temas especificos (Tema de Dios, Tema de la Estrella y de la Cruz, Tema de Amor Místico)El trabajo posee un capítulo dedicado a la relación estadística de todos los elementos musicales (atendiendo a los diversos parámetros sonoros) que aparecen en la obra, para facilitar su rápida localización, precisando a la vez su importancia en base a la frecuencia en que aparecen.Una discografia abundante y actualizada, el catálogo de obras del autor y el apéndice documental, cierran este trabajo de tésis, sobre una de las obras más paradigmáticas de toda la literatura pianística, que vió la luz - al menos- en la primera mitad del siglo XX.
The aim of this thesis is to approach Olivier Messiaen ´s language, through the analysis of his work for piano Vingt Regards sur l ´Enfant - Jésus.The work is focused on offering a view, a recreation of the composition from the analytic - musical perspective, without starting from methods of stereotyped analysis but obtaining from each one of the 20 pieces, from each one of the Twenty Looks those specific characteristics which define them and give them a particular profile.The thesis starts with a chapter dedicated to the reckoning of the main influences which gradually prepare the composition language, so personal and unmistakably Olivier Messiaen: the inheritance of the sonorous tradition of the instrument, which starts with the romanticism and reaches impresionism with Ravel and Debussy, without leaving behind I. Albéniz´s contribution; the sound of the organ, as a result of his practice as an organist in the Trinity Church in Paris; the stressed religiousness that inspires the themes of many of his works; the search for non - occidental musical traditions, discovering in Hindu music the base of his investigations in the field of musical rhythm; the discovery of nature and specifically the use of the singing of the birds, in relation of analogy with the features and melodic fluctuations of the Gregorian chants; and the use of the Greek rhythmic verses which the composer makes of the XVI century Claude Le Jeune and his relation with the several Hindu tâlas.Next, we study the contribution of the composer to each one of the components or sonorous parameters of his music:a) Regarding the timbre, what is outstanding is the thorough use of all the registers of the instrument, in the polyphony of sonorities; the use of the loud pedal as a means to obtain complex sonorities, by successive accumulation, linking fragmentations of dense harmonious formations with the object of obtaining a full sound, dense, strong and very wide; his concept of colour will generate an audition - vision based on the coloured sensation.b) Harmoniously his flexible concept of the harmonic density, with structural function together with the use of very characteristic harmonious formations, will generate a rich palette of harmonic resources in the work.c) In spite of the influence of the Hindu raga, the Gregorian chants and the singing of the birds, in his melodies, we find a good proportion of originality, developed by means of different procedures (elimination, change of register, interinversion of notes and asymmetric extension).d) Structurally what prevails is the formed form over the forming form in the work, with the use of formal archetypes of the musical tradition (Sonata Form, Fugue) and with the prevalence of the alternation of Chorus and Verse, in the organization of the musical speech.e) Music in which prevails the motif - thematic treatment of the sonorous material and its modal arrangement starting from its modes of limited transpositions (although some pieces do not participate in any modal arrangement).Then we make the musical analysis of each one of the Looks, obtaining: a formal scheme (which determines the structure of the piece, in its different sections), the analytic development of the piece itself, finishing each analysis with a series of conclusions, which outline and define those peculiarities that identify the different pieces of the cycle.Next we study the evolution and introduction of the different the proper or specific themes of the work: the Theme of God, the Theme of the Star and of the Cross, the Theme of Chords and the Theme of Mystic Love, themes that contribute cohesion and unity to the work.Also, we approach the study of the symbols in the work, used in abundance by Messiaen, initially shown by means of the symbolic numerology, calling the order of placing of the various pieces, and subsequently calling the symbols of religious nature, poetic - literary and the musical symbols which come about as a result.There is a chapter in this study dedicated to the statistical relation of all musical elements (attending to the different sonorous parameters) that are brought out in the work, to make its quick location easy, requiring at the same time its importance with a view to the frequency in which they come through.An abundant and updated collection of records, the catalogue of works of the author and documentary appendix, close this thesis, about one of the most paradigmatic works in piano literature, that came to light -at least- in the first half of the XX century.

This thesis ventures into the relatively neglected world of twentieth century vocal music, via the three song cycles of Oliver Messiaen. The song cycle is a comparatively young genre, generally dated from Beethoven's An die ferne Geliebte or by some, even later to Schubert's Die schone Miillerin. Nevertheless, considerable changes have taken place in the 160 years which separate Messiaen's cycles from those of the 'pioneers' mentioned above. A fuller appreciation of twentieth century cycles is facilitated by observing this evolutionary process and placing the works within an historical and cultural perspective. Such an introduction is provided in part one of this thesis, along with relevant details on the life and interests of Messiaen. The latter information gives insight into the compositions themselves and may satisfy the reader's curiosity on the origin of some of the more unexpected techniques or ideas Messiaen llses. Before embarking on a study of the cycles, it is necessary to look at the highly individual musical language of the composer. Section two undertakes this task in some depth, wherever possible relating the explanations directly to the songs which follow. In order to clarify the text and to simplify the exercise for the reader, numerous musical examples have been used. This contributes to the apparent bulk of this section. The main emphasis of the thesis is the detailed study of the 20 songs contained in Poemes pour Mi, Chants de Terre et de Cief and Harawi. The third section of the thesis deals with this material thoroughly and systematically, dividing it up into musical and extra-musical aspects. The texts are considered in terms of Surrealist, religious, Nature, numerological and, in the case of Harawi, mythological and Peruvian folk symbolism. The relationship of text to music is studied and evelopments highlighted. Musically, the study is further sub-divided into piano part and vocal part. In each case, an extensive exploration of the techniques required of the performer is presented. This makes possible the subsequent categorisation of the songs on the basis of similarities in the musical means. Conclusions reached show a progressive development through the three song cycles in the composer's handling of the text, his treatment of the voice, his use of the piano and his expansion of the voice-piano relationship. This body of solo vocal literature emerges as typical of Oliver Messiaen's compositional style in general and therefore properly representative of the meticulous craftsmanship with which his works are constructed. The detailed analysis of all aspects of the songs contributes original material to scholarship on Messiaen and on song cycles in the twentieth century.

Esta tese parte da premissa de que, na tradição da musica ocidental escrita, a performance restitui a obra musical ao tempo e o intérprete, responsável por esse processo, deve compreender profundamente as temporalidades propostas pela obra para, assim, planejar criteriosamente o fluxo dos seus eventos. Para isso, é necessário que o processo de construção interpretativa se desenvolva em simultaneidade e constante diálogo com dados decorrentes do estudo analítico da obra estudada e da percepção estésica do intérprete que, em sua prática diária, projeta e avalia em si mesmo o efeito pretendido. Com base nesse modelo, foi realizado um estudo interpretativo e analítico de Cantéyodjayâ para piano de Olivier Messiaen, compositor que, por meio de sua obra musical, seus textos teóricos e sua atividade pedagógica, teve importante impacto nas discussões a respeito do tempo na música do século XX. O primeiro capítulo da tese, Cantéyodjayâ contextualizada, posiciona Cantéyodjayâ no contexto da obra de Messiaen, especialmente no que se refere ao período de experimentação no qual se insere. O segundo capítulo, No princípio era o ritmo: o tempo musical em Messiaen, trata dos conceitos filosóficos e teológicos que apoiaram o pensamento rítmico-temporal em Messiaen e suas correspondências com procedimentos composicionais adotados pelo compositor. O terceiro capítulo, Análise e construção interpretativa em Cantéyodjayâ, apresenta o estudo analítico de Cantéyodjayâ articulado a decisões interpretativas. Compuseram a fundamentação deste capítulo os textos teóricos do compositor, em especial Technique de mon langage musical (1944) e Traité de rythme, de couleur et d’ornithologie (1994), articulados a conceitos apresentados por autores como J. Kramer (1988), W. Berry (1997) e J. Straus (2005).
This thesis assumes that performance brings a musical score to life by presenting it in real time. The performer – who is in charge of this process – must understand the complex relationships between rhythm and conceptual pacing of a particular work in order to plan the flow of events. Threrefore, the interpretive construction must be constantly supported by data from both the analytical investigation and the aesthetic perception. The performer in his daily practice designs the desired effect and evalutes the outcome. Based on this notion, an interpretive and analytical study was done about Cantéyodjayâ by Olivier Messiaen, a composer whose compositional output, theoretical writings and pedagogical activities have impacted the concept of time in the twentieth century music. The first chapter of this thesis, Cantéyodjayâ contextualizada, contextualizes Cantéyodjayâ in the entire oeuvre of Messiaen, especially within his experimental period. The second chapter, No princípio era o ritmo: o tempo musical em Messiaen, deals with philosophical and theological concepts based in Messiaen’s rhythmic thought, as well as its connections to the compositional procedures adopted by Messiaen. The third chapter, Análise e construção interpretativa em Cantéyodjayâ, presents an analytical study of Cantéyodjayâ linked to the interpretive choices. This last chapter is based on Messiaen’s theoretical writings, especially Technique de mon langage musical (1944) and Traité de rythme, de couleur et d’ornithologie (1994); it is also connected to the concepts presented by J. Kramer (1988), W. Berry (1997) e J. Straus (2005).

This dissertation investigates a "universal" question--what the exact nature of the relationship between music and theology is--by examining two particulars: (1) the music and thought of the French Roman Catholic composer Olivier Messiaen, and (2) the theology of music of Protestant theologian/musicologist Oskar Sohngen.
It should be emphasized, however, that the main focus of the paper is upon the "particulars," since the primary objective of this study is to demonstrate the remarkable similarity of thought which exists between the theory of Sohngen and the musical practice of Messiaen. After an exposition of Sohngen's three categories of relationship between music and theology (music as science, as worship, and as creatura) there is an extensive examination of Messiaen's compositional techniques which reveals the latter's implicit use of these same three categories.
In the final chapter of this work, after a discussion of several problems which are inherent in each of the particular approaches to music and theology, there is a return to the universal question, in response to which a precise, working definition is finally established.

Messiaen’s highly influential Quatre études de rythme and Livre d’orgue are regarded as seminal works in the development of Total Serialism. Frequently labelled as ‘experimental’, the works appear to represent a radical shift in Messiaen’s compositional aesthetics. Drawing on Messiaen’s analyses in the Traité de rythme, this thesis assesses the Quatre études and Livre d’orgue as a response to the resurgence of interest in serialism that happened after World War II. The analyses discuss and assess Messiaen’s new techniques but will also show that some of these have antecedents in practices developed by Messiaen earlier in the 1940s. Therefore, despite their apparent abstraction or asceticism, on one level the works can be seen as a logical development of Messiaen’s compositional language. Because of the explosive impact of Mode de valeurs et d’intensités, it is important to place the études and Livre d’orgue in the context of the development of Occidental music in the twentieth century, and in the context of Messiaen’s quintessential style as it was by the mid 1940s. The first half of the thesis, therefore, discusses issues surrounding the development of musical language and style in the twentieth century, Messiaen’s quintessential language, the renaissance of the Second Viennese School, and the pressures exerted by the emerging new generation of composers. These are all integral to understanding the composition of Messiaen’s experimental works, and an awareness of the people and events that shaped Messiaen’s life during this period also sheds light on ‘why’ Messiaen composed the études and Livre d’orgue. In order to determine what did or did not influence Messiaen, the thesis draws on theories of influence developed in art and literature, before highlighting experiences (positive and negative) that were influential in shaping the future direction of Messiaen’s musical language and, by implication, the future of twentieth-century music.

Les recherches entreprises sur Olivier Messiaen présentent encore de nombreuses lacunes bien que cet artiste figure parmi les compositeurs les plus connus et les plus influents du XXe siècle. Puisant à des sources primaires négligées dans les Archives nationales, la Médiathèque du CNSMDP, la fondation Sacher et des collections privées, cette thèse se penche sur trois aspects mal connus de cette figure phare de la modernité : la formation musicale de Messiaen au Conservatoire national de Paris pendant les années 1920 et les liens de sa musique avec les traditions pédagogiques de cet établissement, le développement de sa technique d’emprunt, de transformation et de juxtaposition des musiques préexistantes dans son œuvre pendant les années 1930 et 1940 et, enfin, ses expériences dans les domaines de la musique microtonale et de la musique concrète. Ce travail met en évidence plusieurs œuvres oubliées du compositeur et reconsidère notre compréhension de sa manière de composer
Despite his place of privilege among the best-known and most influential composers of the twentieth century, the state of current research on Olivier Messiaen leaves much room for development. This study focuses on three understudied aspects of this major modern figure drawing from neglected primary sources in the French National Archives, the Mediathèque of the Paris Conservatory, the Sacher Stiftung, and private collections, notably 1º Messiaen’s eductation at the Paris Conservatory during the 1920s and the relationship of his music to the institutions pedagogical traditions, 2º the development of Messiaen’s technique of borrowing, transforming and juxtaposing pre-existing music in his compositions during the 1930s and 1940s, and finally, 3º Messiaen’s experimentation in the domains of microtonal music and musique concrète. The current study brings to light many of the composer’s forgotten or lesser-known works and reconsiders our understanding of how he composed

Mestrado em Música
Este trabalho procura confrontar as características específicas das diferentes tradições sineiras, quer da Europa, quer da Rússia, com as obras Noël de Olivier Messiaen, Cloches à travers les feuilles de Claude Debussy e Sonata op. 36 nº 2 de Sergei Rachmaninov. Para isso, são apresentadas e estudadas as escolas sineiras, analisados os trechos musicais com inspiração sineira das obras seleccionadas e enquadrados biograficamente os três autores em causa. Através desta confrontação encontrei soluções técnicas e interpretativas para os referidos trechos musicais que respeitam as diferentes especificidades das tradições sineiras inspiradoras. Pretendo, também, demonstrar que este conhecimento pode sustentar uma performance fiel aos mundos musical, cultural e social destes compositores.
This work seeks to confront the specific characteristics of the different bellringing traditions, both European and Russian, with the pieces Noël by Olivier Messiaen, Cloches à travers les feuilles by Claude Debussy and Sonata op. 36 no. 2 by Sergei Rachmaninov. For this purpose, I present and study these bellringing schools, analyze the musical excerpts with bellringing inspiration of the selected pieces and contextualize the three above-mentioned authors biographically. Following of this confrontation I propone technical and interpretative solutions for the afore-mentioned musical excerpts which respect the different specificities of the bellringing traditions that inspired them. It is also my intention to demonstrate that this knowledge can support a performance that is faithful to the musical, cultural and social worlds of these composers.

The general attribute of Olivier Messiaen´s music is not only his specific musical language, which experiments with time, rhythm, colour, finds inspiration in birdsong, Gregorian chant and music of the exotic lands, but mainly the existence of a non-musical message. The first part of my thesis is introductory. It includes the description of Messiaen´s life and early musical influences, the nature of his musical style, his general musical aims, and an overview of his most important works. In the centre of my effort is the thematic analysis of Messiaen´s late organ cycle Méditations sur le Mystère de la Sainte Trinité (Meditations on the Mystery of the Holy Trinity). That is preceded with an introduction of the background of the piece, sources of inspiration and symbolism used. The main aim is to explore the complexity of Messiaen´s musical and thematic thinking, and to understand the message of the musical material.

This thesis examines four iconic piano works composed from 1949 to 1952 in relation to the discipline of music analysis: Olivier Messiaen’s Mode de valeurs et d’intensités (1949), Pierre Boulez’s Structures Ia for two pianos (1952), Karlheinz Stockhausen’s Klavierstück III (1952) and John Cage’s Music of Changes (1951). The primary aim is to investigate how music analysis has engaged with these four works over the last fifty years. Investigating the nature and content of earlier analyses reveals various aspects of the discipline: its aims and functions, its governing ideologies and, most importantly, its achievements. This investigation also allows for recent criticism of the discipline of music analysis to be reconsidered. In total, 29 analyses of the four works are closely evaluated. Building on these observations, the author contributes a further perspective on each work by offering her own analytical insights, at times challenging some of the common analytical approaches to them. Rather than applying an analytical system based on a particular theory, concepts from each composer’s own writings and theories are used to provide an appropriate analytical angle. This approach recognises that analysis should be a meaningful dialectic between the conceptual understanding of compositional theory and the perceptual experience of surface musical phenomena.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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The compositions of Steve Reich and György Ligeti both contain periodic rhythmic structures. Although periods are not usually easily perceived, the listener may perceive their combinations in a hierarchy of rhythmic structures. This document is an attempt to develop an analytical method that can account for this hierarchy in periodic music. I begin with an overview of the features of Reich's and Ligeti's music that contribute to the property of periodicity. I follow with a discussion of the music and writings of Olivier Messiaen as a precedent for the periodic structures in the music of Reich and Ligeti. I continue by consulting the writings of the Israeli musicologist Simha Arom and describing the usefulness of his ideas and terminology in the development of my method. I explain the working process and terminology of the analytical method, and then I apply it to Reich's Six Pianos and Ligeti's Désordre.

This study explores Messiaen's Catalogue d'oiseaux (1956-58), a solo piano work which consists of thirteen movements, each of which is inspired by a bird found in France, together with other birdsongs from the same habitat. The complete performance of the Catalogue lasts approximately for 2V2 hours, though individual movements are often chosen to be performed on their own or in groups. It is one of Messiaen's most important works of the 1950s, exhibiting a mature style of birdsong writing which greatly influenced his later work. A key event in the 1950s was Messiaen's meeting (in 1952) with the ornithologist Jacques Delamain, from which he obtained a detailed knowledge of birdsong There are four chapters in this study, while the extensive musical examples can be referred to in Volume II. Messiaen's development of birdsong writing since the 1940s will be discussed in Chapter One, `Introduction'. This includes an explanation of his creative journey while composing the Catalogue, and selected pages of sketches are analysed to identify how the composer transcribed his birdsong writing to the final score. The second chapter is concerned with details of Messiaen's piano writing in the Catalogue, highlighting some of the technical difficulties and in particular the aspect of the fingerings used in the work. Chapter three is the main focus for this study. Five movements from the Catalogue are selected for a performance analysis, including an identification of the different musical and poetic structures, discussion of Messiaen's musical language and of other aspects which aim to assist in a performance of these works. The last chapter is a discussion of interpretative issues where a selection of seven recordings are compared and evaluated. The objective of this final chapter is mainly to explore how pianists interpret these programmatic works, and the different approachesth at can be employed. Since the principal aim of this study is to illuminate issues of performance, the main intention of the analysis is to reveal an understandable and discernable structure in these works and to identify important features of the composer's style of piano writing. Along with the discussion of the Catalogue, earlier works will be explored in order to investigate Messiaen's development of piano writing which in the Catalogue received a whole new dimension from his transcription of birdsongs.

Comment définir les concepts de simplicité et de complexité au regard de la création musicale savante (dans la mesure où on peut les séparer) ? Deux courants musicaux ont émergé à la fin du XXe siècle : la Nouvelle Simplicité (Die Neue Einfachheit) en Allemagne et la Nouvelle Complexité (The New Complexity) en Grande Bretagne. Ils traduisent un problème esthétique qui s'étend au-delà de ces aires géographiques. Ils cernent des poétiques générales et se manifestent dans le champ de la communication humaine et divine. Mais ces définitions traditionnelles de surface semblent insuffisantes, comme les montrent les musiques issues des théories scientifiques du chaos et de la complexité. Ce qu'on appelle aujourd'hui la Complexité - telle que présentée par Edgar Morin -, réside essentiellement dans notre regard ; le réel est complexe et résiste au rationalisme. Pour comprendre la réalité complexe de la musique postmoderne, il s'agit donc d'appliquer en musicologie les méthodes et les démarches des théories de la complexité. Trois approches sont alors proposées sur trois niveaux : éco-cybernétique (une œuvre pour piano d'Olivier Messiaen), herméneutique (la pensée musicale de Horacio Vaggione issue de l'électroacoustique) et systémique (le genre complexe de l'opéra postmoderne). Par conséquent, cette thèse montre le renversement d'une " définition " vers une autre, à l'image d'un changement de paradigme, dans l'objet de son étude mais également dans ses méthodes pour l'approcher
How to describe the concepts of simplicity and complexity in comparison with erudite musical creation (in as far as one can disconnect them) ? Two musical currents emerged at the end of the twentieth century : The New Simplicity (Die Neue Einfachheit) in Germany and The New Complexity in the United Kingdom. Both interpret an aesthetic issue which extends beyond all these geographical areas. Both surround the widespread poetic and come to light in the sphere of the human and divine communication. But these conventional definitions seem deficient, as musics resulting from the scientific theories of chaos and complexity can prove it. Nowadays, what we use to entitle Complexity - according to Edgar Morin -, resides for the most part in our attitude ; the real is complex and escapes to rationalism. In order to understand the complex reality of the postmodern music, it would be essential to apply in musicology methods and attitudes of the theories of complexity. Three approaches on three levels are then proposed : eco-cybernetics (a piano piece of Olivier Messiaen), hermeneutics (the musical thought of Horacio Vaggione derived from electroacoustic and computer science) and systemic (the complex category of post-modern opera). Therefore, this thesis shows the inversion of a " définition " towards another, in comparison with a new paradigm, in the fact of its study and also in its methods to consider it