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Journal articles on the topic 'Olivier Messiaen'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Hirsbrunner, Theo. "Olivier Messiaen: „... sehr schwer einzuordnen!”." Die Musikforschung 42, no. 3 (September 22, 2021): 222–32. http://dx.doi.org/10.52412/mf.1989.h3.1319.

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12

COCHRAN, TIMOTHY B. "‘Crying Out With Life and Truth’: Simulating Immersion in Messiaen'sDes Canyons aux étoiles. . ." Twentieth-Century Music 14, no. 2 (June 2017): 179–207. http://dx.doi.org/10.1017/s1478572217000202.

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AbstractInDes Canyons aux étoiles. . ., a work commissioned to celebrate the American bicentennial, Olivier Messiaen defines the United States through representations of Utah's birds and canyons. Focusing on the phenomenological power rather than the pictorial intentions of Messiaen's music, this article examines ways that Messiaen uses textural saturation and varied repetition to draw the listener into a musically mediated Bryce Canyon. The music challenges a stable subject/object relationship for the listener by promoting humility and awe within the landscape over more visually oriented touristic encounters. Simulations of immersion serve implicit political and evangelistic goals as city-dwelling listeners are invited to embrace dwelling in the natural environment as a means of revaluing faith and breaking free from what Messiaen perceived as the twin hindrances of mechanized civilization and secularism.

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13

Roland, Breitndfeld. "Olivier Messiaen and the Electronic Music." Yonsei Music Research 15 (December 31, 2008): 58–78. http://dx.doi.org/10.16940/ymr.2008.15.58.

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14

Kabisch, Thomas. "Neue Musik ohne Moderne." Die Musikforschung 66, no. 3 (September 22, 2021): 232–46. http://dx.doi.org/10.52412/mf.2013.h3.121.

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ie französische Instrumentalmusik des 19. und frühen 20. Jahrhunderts, die Klaviermusik insbesondere, profitiert in mehrfacher Weise von der Distanz, die sie zur ästhetischen Theorie und kompositorischen Praxis des tönenden Diskurses hält. Das Projekt einer nicht-diskursiven Musik hat auf dem Gebiet der Klaviermusik vor allem durch die Auseinandersetzung mit dem Werk Franz Liszts Gestalt angenommen. Werk und musikalische Poetik Olivier Messiaens fügen sich offenbar leicht in das so entstandene Panorama. Andererseits dissonieren Messiaens Musik und Poetik im Kreis und vor dem Hintergrund seiner Vorgänger. Dies wird an ausgewählten Beispielen in ihren Konsequenzen erörtert. In einem ersten Schritt wird das Verhältnis von Material und Form beleuchtet, das Messiaen im Sinne der Neuen Musik entwickelt. Im zweiten Teil geht es um die Rolle der Satztechnik und damit um ein wesentliches Stück der französischen Tradition. Der dritte und letzte Teil widmet sich dem Affirmativen, das aus französischer (Klavier-)Musik vertraut ist und von Messiaen, insonderheit in Finalsätzen, gepflegt wird.

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15

Diósi, Dávid. "Olivier Messiaen zenébeöntött Credo-ja. Az orgonaművész és zeneszerző mint teológus." Studia Theologica Transsylvaniensia 12, no. 1 (June 15, 2009): 183–93. http://dx.doi.org/10.52258/stthtr.2009.1.09.

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Olivier Messiaen wurde ein Leben lang nicht müde zu betonen, dass sein katholischer Glaube bereits in seinem Elternhaus in die Wiege gelegt worden sei. Bei einem Komponisten, der sein Leben lang religiöse bzw. theologische Werke las, diese verinnerlichte und seine Ideenwelt davon beeinflussen ließ, durfte uns schwer fallen, seine Musik als Ausdruck subjektiver Frömmigkeit, Religiosität und Glaubensüberzeugung zu bezweifeln. Er erkennt in allem, was in die Welt und in das Leben der Menschen vom Schöpfer geheimnisvoll und wunderbar eingepflanzt ist, die unverwechselbare Handschrift Gottes. Seine Musik, die christozentrisch den kirchlichen in der Liturgie und während des Kirchenjahres gefeierten Mysterien des Erlösungsgeschehens kompositorisch Ausdruck verleiht, ist ein Lobpreis der Herrlichkeit des allgegenwärtigen und wirkungsmächtigen Gottes. Im Folgenden versuchen wir das ästhetische Credo Messiaens und seine Musikotheologie kurz vorzustellen.

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16

Benitez, Vincent. "Olivier Messiaen: Oiseaux exotiques (review)." Notes 64, no. 4 (2008): 743–45. http://dx.doi.org/10.1353/not.0.0010.

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17

Gladkova, O. I. "Four perspectives on solo piano." Vestnik of Saint Petersburg State University of Culture, no. 1 (30) (March 2017): 187–88. http://dx.doi.org/10.30725/2619-0303-2020-3-187-188.

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18

Dingle, Christopher. "‘La statue reste sur son piédestal’: Messiaen's La Transfiguration and Vatican II." Tempo, no. 212 (April 2000): 8–11. http://dx.doi.org/10.1017/s0040298200007567.

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The career of any great artist can be divided into broad creative periods denned by discernible traits. Olivier Messiaen is no exception, despte the fact that, when discussing his music, it is now part of the common currency to remark upon the constancy with which he stuck to his idiosyncratic musical language. It is true that some of the techniques and spirit which he used in the first of his works to be published, the Préludes, can still be heard in his final masterpiece Éclairs sur I'au-delà…. Indeed, Messiaen himself encouraged this perception, so that the received wisdom is of the composer as a steady accumulator of techniques for a continually expanding style. On one level, therefore, this is a reasonably accurate interpretation in retrospect of Messiaen's career. However, within this broad quality of consistency, it is possible to detect places where the composer markedly changes direction.

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19

Bruhn, Siglind. "Religious Symbolism in the Music of Olivier Messiaen." American Journal of Semiotics 13, no. 1 (1996): 277–309. http://dx.doi.org/10.5840/ajs1996131/412.

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20

Carl, Beate. "Rhythmus, Metrum und die Verknüpfung von Tondauer und -höhe in Olivier Messiaens Klavierzyklus „Vingt Regards sur l'Enfant-Jésus”." Die Musikforschung 49, no. 4 (September 22, 2021): 383–402. http://dx.doi.org/10.52412/mf.1996.h4.1049.

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Die 1944 entstandenen <Vingt regards> sind das letzte Klavierwerk der ersten Schaffensperiode Messiaens. In ihnen läßt sich eine getrennte Behandlung von Tondauer und -höhe beobachten. Der Parameter Tondauer wird gleichberechtigt behandelt oder zum primären Element vor Melodik und Harmonik. Das Hauptmerkmal der Messiaenschen Rhythmik ist die Rückführbarkeit auf einen kleinsten Wert. Dieses Prinzip ist von den indischen Rhythmen der Carngadeva aus dem 13. Jahrhundert abgeleitet. Messiaen verwendet zahlreiche indische Rhythmen und zeigt eine Vorliebe für Primzahlen, rhythmische Kanons, nicht-umkehrbare Rhythmen und die von ihm entwickelten "personnages rythmiques".

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21

Cochran, Timothy B. "“The Pebble in the Water”." Journal of Musicology 31, no. 4 (2014): 503–40. http://dx.doi.org/10.1525/jm.2014.31.4.503.

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In volume six of Traité de rythme, de couleur, et d’ornithologie, Olivier Messiaen uses the phrase “the pebble in the water” to identify a class of especially stark rhythmic contrasts in Debussy’s music that feature long durations interrupted by rapid rhythms. He invests these contrasts with an expressive logic built around the concept of shock—that is, the sudden stimulation of a static context by an outside presence. Messiaen unites various images—both natural and psychological—around this expressive pattern via analogy, suggesting that its essence is transferrable within a network of associated metaphors. Although for the most part in volume six Messiaen refrains from linking interpretations of Debussy with his own music, many of his rhythmic contrasts manifest the same expressive logic that he ascribes to Debussy’s music, particularly durational events that signify the interjection of birdsong within serene environments and that signal the striking appearance of divine power on earth. In addition to stylistic and semiotic correlations, the logic of shock theorized for the pebble in the water recurs more abstractly in Messiaen’s idiomatic views on musical experience and spiritual encounter. His interpretation of rhythmic contrast bears the marks of his more general aesthetics of shock, which in turn can be read as a reorientation of a broader modernist hermeneutic.

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22

Drew, David. "MESSIAEN – A SUGGESTED PLACING (1955)." Tempo 64, no. 252 (April 2010): 10–13. http://dx.doi.org/10.1017/s0040298210000124.

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It has often been said that David Drew first made his critical reputation with a series of three articles on the music of Olivier Messiaen – essentially, the first informed criticism of the French composer that had appeared in English – published in The Score and I. M. A. magazine in 1955. David's friendship with William Glock, who owned and edited The Score, was long-lasting: from this time, when he was essentially Glock's assistant in its editing and production, to after Glock's death in 2000, when he acted as co-executor of his Will. ‘A Suggested Placing’ is the concluding portion of the final Messiaen article, published in The Score Number 14, the issue of December 1955. The invocations of Charles Ives – at that period hardly known to his own countrymen in the USA, let alone outside it – seem particularly prescient, and should remind us that David had already published a knowledgeable survey of ‘American Chamber Music’(in Chamber Music, ed. Alec Robinson, Pelican Books, 1955).

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23

Boivin, Jean. "Olivier Messiaen et le Québec : une présence et une influence déterminante sur la création musicale de l’après-guerre." Canadian University Music Review 17, no. 1 (March 12, 2013): 72–97. http://dx.doi.org/10.7202/1014694ar.

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À sa classe du Conservatoire de Paris, Olivier Messiaen a enseigné l’harmonie, l’analyse musicale ou la composition à un nombre important de musiciens et de compositeurs canadiens, pour la plupart nés ou vivant au Québec. Sa musique et ses idées ont eu un impact réel sur la création musicale d’avant-garde au Québec ainsi que sur l’enseignement de la composition surtout au cours des 15 années qui ont suivi la Seconde Guerre mondiale. Plusieurs des élèves québécois de Messiaen (par exemple Serge Garant, Clermont Pépin et Gilles Tremblay), sont devenus à leur tour des pédagogues et ont contribué à faire connaître ses œuvres et sa pensée.

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24

Whittall, A. "Olivier Messiaen: Music, Art and Literature. Ed. by Christopher Dingle and Nigel Simeone. * Olivier Messiaen: Oiseaux exotiques. By Peter Hill and Nigel Simeone." Music and Letters 89, no. 4 (November 1, 2008): 679–82. http://dx.doi.org/10.1093/ml/gcn032.

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25

Ziarnowska, Zuzanna. "Wizje Apokalipsy w muzyce XX wieku (Olivier Messaien, George Crumb, Bernadetta Matuszczak, Aleksander Lasoń)." Kwartalnik Młodych Muzykologów UJ, no. 53 (2) (September 19, 2022): 59–72. http://dx.doi.org/10.4467/23537094kmmuj.22.009.16246.

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Visions of the Apocalypse in 20th-century Music (Olivier Messiaen, George Crumb, Bernadetta Matuszczak, Aleksander Lasoń) This article aims to various interpretations of The Apocalypse of St. John in 20th-century music. Because of its comprehensive use of symbols and mystery, The Apocalypse was often an inspiration for painters, poets, and composers. Particularly, worth analysing are symbols and visions used in selected compositions, such as The Quartet for the End of Time by Olivier Messiaen, Black Angels by George Crumb, Apokalipsis and Septem Tubae by Bernadetta Matuszczak, Symphony ‘1999’ by Aleksander Lasoń. Seven trumpets, seven horns, God’s anger, angels, destruction, God’s omnipotence, the victory of good over evil, and hope—those are the most common symbols used in these compositions. Transcendental and mysterious meaning is reflected by composers in various ways (from timbre and instrumentation, rhythmic diminution and tempo that shows eternity, to quotations and characters from The Apocalypse). Music written by different authors gives us a broad perspective on how the topic of Apocalypse was adapted in music.

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26

Wai-Ling, Cheong. "MESSIAEN'S CHORD TABLES: ORDERING THE DISORDERED." Tempo 57, no. 226 (October 2003): 2–10. http://dx.doi.org/10.1017/s0040298203000299.

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When Heinrich Ströbel commissioned Olivier Messiaen to write a new piece for the Donaueschingen Festival, he took care to specify that the piano and the ondes martenot were to be strictly forbidden. (‘Attention, Messiaen! Cette-fois-ci, pas d'onde, pas de piano!’) Such a specification is liable to be read as a measure taken to guard against any possible revival of the sound-world of Turangalîla-symphonie (1946–8). In an effort to surpass the achievements of Turangalîla, however, Messiaen had moved rapidly and decisively in the intervening years. Brief periods of teaching at Darmstadt and Tanglewood led to an obvious surge of experimental works, followed by Réveil d'oiseaux (1953), Oiseaux exotiques (1955–6) and Catalogue d'oiseaux (1956–8), his first attempts at composing primarily with bird songs. With the completion of Chronochromie (1959–60), the aesthetic stance of most of the ensuing works was firmly in place.

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27

Hart, Brian. "Olivier Messiaen: A Research and Information Guide. (Routledge Music Bibliographies)." Music Reference Services Quarterly 12, no. 1-2 (June 2009): 61–63. http://dx.doi.org/10.1080/10588160902963546.

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28

Rindom, D. "Illuminating the Beyond: The Life and Work of Olivier Messiaen." Cambridge Quarterly 35, no. 2 (January 1, 2006): 188–91. http://dx.doi.org/10.1093/camqtly/bfl006.

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29

Sánchez-Alarcos, Raúl Fernández. "Olivier Messiaen y Pablo d'Ors: una relación en la escucha atenta de la plegaria." Diablotexto Digital 7 (June 30, 2020): 122. http://dx.doi.org/10.7203/diablotexto.7.16779.

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Este trabajo, desde el análisis de las obras del compositor Olivier Messiaen y del escritor Pablo d’Ors, pretende llevar a cabo un estudio de naturaleza interartística que cabe en el marco teórico de la Literatura Comparada. A partir de algunas referencias de la cultura occidental en torno a cómo la poesía y la música han tratado históricamente el problema de la plenitud del sentido, se analizan algunas obras de los autores citados, para destacar, en primer lugar, su contenido religioso y espiritual y, en segundo, el carácter vanguardista e innovador de sus respectivos lenguajes artísticos. Por último, y frente a la abolición de los vínculos tradicionales y el nihilismo propio de la modernidad, se destaca que tanto Messiaen como d’Ors tienen en común la propuesta de una poética de la afirmación o de la luz.

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30

Yakymchuk, O. M. ,. Belova N. V. "Messiaen analyzes Messiaen: author’s comments on the piano cycle «Twenty Contemplations on the Infant Jesus»." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 36–49. http://dx.doi.org/10.34064/khnum2-14.03.

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Background. Most of Messiaen’s works has an author’s comment. The composer usually prefaces his compositions with preambles, epigraphs, analytical notes. There are also two wide theoretical works devoted to explaining the technique of Messiaen’s compositions and grounds of his system: «Technique of my musical language» (1942) and «Treatise Messiaen addresses to a listener, when he commented on the thematic structure of the cycle, providing semantic and figurative orientations for perception. The composer immediately determines the cross-cutting themes that pass through the cycle: the theme of God, the theme of mystical love, the theme of the Star and the Cross, the theme of chords, showing in what plays they sound and how they are transformed. It all looks quite understandable and can really help the listener navigate in music. However, it may seem that Messiaen deliberately disorients the reader of his Notes. For example, the theme of chords, in his definition, is “abstract, it is similar to the series, but very specific and very easily recognizable due to its colors: gray-and-blue, steel, supersaturated red and bright orange, violet-and-lilac, shrouded brown and surrounded by purple-and-crimson” [4: 32]. It is clear that the addressee of such a text is an extraordinary listener of academic concerts, and, it should be admitted, – an extraordinary performer. The same conceptual multidirectionality is also characteristic for the treatise «Technique of My Musical Language» created shortly before the «Twenty Contemplations on the Infant Jesus». In the treatise one does not to look for a good statement on the bases of the musical composition – it is a colorful and mysterious mix of concepts, images, various spheres of human knowledge and arts. Such a complicated explanation of a mixture of different concepts can lead to hopelessness even a musicologist who operates by traditional notions of musical form. How can one understand the form where «development precedes the exposition»? How does the principle of fugue combine with the Indian rhythms? How can be the traditional principles of Gregorian chorus unfolded through the modes of limited transposition? We should admit that if we only read the texts of Messiaеn, we would definitely go to a dead end. However, the problem someway disappears, if you start listening to his music, especially the one that is being discussed. Based on music, not text, one can find that the musical process is entirely explained by the concepts used by Messiaen, although some, undoubtedly, require certain effort to decrypt. Messiaen’s musical (including thematic) material is represented traditionally in complex, where the melodic-harmonic basis is inseparable from its rhythmic realization. As for the musical forms and principles of musical organization, presented in the Messiaen’s works, «Twenty Contemplations on the Infant Jesus» can be considered as the “catalog” of those and others. Some concepts the composer introduced he uses for the first time, some of these he re-thinks in a new way in his system. Thus, the entire musical theory, presented by Messiaen in his “Notes”, may be translated into “a normal” language comprehensible for us. Why would Messiaen complicate the perception of his texts if he wanted to be clear? Indeed, even a musicologist (not to mention a listener or a performer) has to make some effort for expanding his knowledge beyond the scope of musicology in order to understand adequately his comments. It is likely that the Word used by Messiaen is a kind of invitation to co-creation. The programs of his works, according to the definition of musicologist K. Zenkin, preserve “the entire impossibility of translation” of the musical images, returning “music into music that has absorbed all the fullness of color and poetic sensations” [1: 8]. Another explanation for such a strong connection of Messiaen’s music with the Word lies, obviously, in his belonging to the French Church, particularly, to its organ tradition. The desire to interpret and explain is characteristically for the Church tradition. Throughout his life Messiaen was performed the duties of a church organist in the St. Trinity Church in Paris, and he could not fail to be influenced by the Church. Among the most important for the composer ideas and concepts, which appear in the texts of his verbal comments, those that related to Christianity in general and Catholicism in particular are predominant. Conclusions. If we go deep into the question of the religiosity of Messiaen, then it will lead us very far, since religiosity was one of the most important foundations of his outlook in general. Is it a possible to listen to his music without the comments? Of course, the magic of Messiaen’s music will influence onto an audience and without the texts, but the quite substantial component will disappear from it. We can conclude that a person who meets with the music of Messiaen – and it does not a matter, simply he listens to it, performs it or analyzes it with notes – becomes involved in the orbit of the Messiaen’s Universe, where the music embodies the Word in a Divine sense, and where the Word filled with life and meaning of the Music. ornithology» (1949–1992, not finished). Obviously, that the composer tries to present his ideas to the audience. But whom are his words turned to? To the listener, performer, to the musicologist analyzing his compositions? Why is his music not enough, and the composer obviously tries to clothe his ideas in a wordy form yet? Understanding of the composer’s intentions is important and for performing of his music, and for its adequate perception. In addition, a composer’s word in the XX century became usual for us, it is a part of the modern cultural paradigm. The objective of this research is the studying of author’s comments on the piano cycle «Twenty Contemplations on the Infant Jesus» and identification of the meaning of a Word and its communicative purpose for the commented music. The article used the analytical and comparative methods applying to author’s texts of Messiaen («Notes on the piano cycle “Twenty Contemplations on the Infant Jesus”», «Technique of My Musical Language») as well as to the results of the musicological studies related to these texts, with there after generalization of the observations and the opinions. Results of the study. The cycle «Twenty Contemplations on the Infant Jesus» is indicative for Messiaеn’s creativity. «Notes on the piano cycle “Twenty Contemplations on the Infant Jesus”» were written in 1978 and published in the edition “Hommage à Olivier Messiaen” by Paris publishing house “La recherché artistique”, 1978. In the first edition, the composer presented an epigraph and a brief explanation to each of the twenty plays. But over time, he understood that this was not enough, so he added to the first short comments the more detailed explanations on composition methods (including his own), the construction of musical forms, specificity of imaginative content, the designation of leitmotivs and their transformation.

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31

Berman, Greta. "Synesthesia and the Arts." Leonardo 32, no. 1 (February 1999): 15–22. http://dx.doi.org/10.1162/002409499552957.

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The term “synesthesia” has often been used metaphorically rather than accurately. Ongoing scientific research shows the condition to be “real,” rather than imagined. The author focuses her discussion on the effects of colorsound synesthesia, or “chromesthesia,” and on a selection of composers and visual artists. The composers discussed include Alexander Scriabin, Olivier Messiaen and Michael Torke. Visual artists discussed include Robert Delaunay and David Hockney.

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32

Schultz, Rob. "Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen." Music Theory Spectrum 30, no. 1 (April 2008): 89–137. http://dx.doi.org/10.1525/mts.2008.30.1.89.

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33

Koozin, Timothy. "Spiritual-temporal imagery in music of Olivier Messiaen and Toru Takemitsu." Contemporary Music Review 7, no. 2 (January 1993): 185–202. http://dx.doi.org/10.1080/07494469300640111.

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34

Boivin, Jean. "Serge Garant à Paris : parcours d’un crucial apprentissage." Les Cahiers de la Société québécoise de recherche en musique 19, no. 1-2 (June 8, 2020): 29–41. http://dx.doi.org/10.7202/1069874ar.

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D’octobre 1951 à mai 1952, Serge Garant séjourne à Paris en compagnie de ses amis Wilfrid Lemoyne et Suzanne Gagnon. Tout en découvrant les trésors culturels de la capitale française, il assiste aux célèbres cours d’analyse donnés par Olivier Messiaen au Conservatoire national supérieur de musique de Paris. Il prend également des leçons d’écriture auprès d’Andrée Vaurabourg-Honegger, l’une des pédagogues les plus respectées de la capitale française. Cette période d’apprentissage sera marquante dans le développement du compositeur, comme en font foi plusieurs lettres et témoignages de Garant, de même que les oeuvres composées durant cette période. Cet article vise à mettre en lumière les points saillants du séjour de Garant à Paris, par exemple la découverte des oeuvres de Messiaen et de Pierre Boulez, et l’impact de cette expérience sur les activités subséquentes du compositeur québécois.

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35

Bragança, Guilherme Francisco Furtado. "Parâmetros para o estudo da sinestesia na música." Per Musi, no. 21 (2010): 80–89. http://dx.doi.org/10.1590/s1517-75992010000100010.

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Estudo sobre a relação entre sinestesia como condição neurológica e a metáfora sinestésica. Propõe-se uma escuta sinestésica do 5º movimento Joie du sang des étoiles de Turangalîla de Olivier Messiaen, seguida de uma análise da relação entre os elementos apontados na escuta sinestésica e a estrutura da obra. A partir desta análise e da fenomenologia, sugere-se a sistematização de categorias sinestésicas, tomando-se a sensação sonora como primária entre as sensações sinestésicas mais comuns.

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36

Ling, Cheong Wai. "Review: Olivier Messiaen: Music, Art and Literature, edited by Christopher Dingle, Nigel Simeone; Messiaen Studies, edited by Robert Sholl." Journal of the American Musicological Society 63, no. 2 (2010): 392–401. http://dx.doi.org/10.1525/jams.2010.63.2.392.

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37

Alves, Aline, and Adriana Moreira. "Musical Analysis of Regard de l’Onction Terrible by Olivier Messiaen: Context, Symbolism, Form and Performance." Opus 23, no. 1 (April 30, 2017): 35–60. http://dx.doi.org/10.20504/opus2017a2302.

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38

Muller, Rene J. "A Significant Upper Arm Injury Sustained While Learning Simon Preston's Alleluyas: A Proposal for Avoiding this Malady." Medical Problems of Performing Artists 31, no. 4 (December 1, 2016): 244. http://dx.doi.org/10.21091/mppa.2016.4042.

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Simon Preston’s Alleluyas is an organ solo of moderate difficulty written partly in the tonal language of Olivier Messiaen. While learning this piece, I experienced a slight discomfort in my right upper arm. A more severe pain developed later, over several weeks, and my right hand became partially paralyzed. Full recovery took almost 2 months. … My reversible injury was caused by playing just six bars, and it may owe something to the way I “handled” this brief section, or more likely, “footed” it.

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39

Simeone, Nigel. "Fauvettes de l’Hérault: Concert des garrigues pour piano seul by Olivier Messiaen." Notes 78, no. 1 (2021): 119–22. http://dx.doi.org/10.1353/not.2021.0078.

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40

Schloesser, Stephen. "Fear, Sublimity, Transcendence: Notes for a History of Emotions in Olivier Messiaen." History of European Ideas 40, no. 6 (February 27, 2014): 826–56. http://dx.doi.org/10.1080/01916599.2014.881120.

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41

Gärtner, Susanne. "Pierre Boulez' "Sonatine für Flöte und Klavier" und ihre neu aufgetauchte Frühfassung." Die Musikforschung 55, no. 1 (September 22, 2021): 51–59. http://dx.doi.org/10.52412/mf.2002.h1.745.

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Die Sonatine für Flöte und Klavier (1946) gehört zu den frühesten veröffentlichten Kompositionen von Pierre Boulez. Sie dokumentiert das Bestreben des Zwanzigjährigen, verschiedene Kompositionsverfahren zu einer neuartigen Musiksprache zu verbinden. Beschreibungen des Werks bestaunen den zukunftsweisenden, an Anton Webern orientierten Umgang mit der Zwölftontechnik. Nun sind Dokumente aufgetaucht, die belegen, dass vor der Druckfassung 1949 eine deutliche Überarbeitung stattfand. Wie die Frühfassung zeigt, hielt die Prägung des jungen Boulez durch seinen Lehrer Olivier Messiaen länger an und war stärker wirksam, als man es bisher annahm.

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42

Rae, Caroline. "Henri Dutilleux and Maurice Ohana: Victims of an Exclusion Zone?" Tempo, no. 212 (April 2000): 22–30. http://dx.doi.org/10.1017/s0040298200007580.

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Until recently, the music of Henri Dutilleux and Maurice Ohana was largely overlooked in Britain, despite both composers having achieved widespread recognition beyond our shores. In France they have ranked among the leading composers of their generation since at least the 1960s and have received many of the highest official accolades. In Britain, the view of French music since 1945 has often been synonymous with the music of Olivier Messiaen and Pierre Boulez, to the virtual exclusion of others whose work has long been honoured not only in France and elsewhere in Europe but in the wider international arena. These ‘others’ include Dutilleux and Ohana. Developing an innovative and forward-looking approach, independent from the preoccupations of their contemporaries who congregated at Darmstadt, both Dutilleux and Ohana were excluded from representation at the concerts of the Domaine musical. As a result, their music was neglected in Britain throughout the years when the programming policies of Boulez and Sir William Glock were at their most influential. Undoubtedly, Boulez is one of the most phenomenal figures in music of the last 50 or so years and the position of his erstwhile teacher Messiaen is secure as one of the giants of the 20th century. Yet, however significant their respective contribution, Boulez and Messiaen represent only one facet of French music since 1945.

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43

Neidhöfer, Christoph. "A Theory of Harmony and Voice Leading for the Music of Olivier Messiaen." Music Theory Spectrum 27, no. 1 (April 2005): 1–34. http://dx.doi.org/10.1525/mts.2005.27.1.1.

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44

Benitez, Vincent P. "Olivier Messiaen: Texts, Contexts, & Intertexts (1937–1948) by Richard D E Burton." Notes 74, no. 2 (2017): 279–81. http://dx.doi.org/10.1353/not.2017.0122.

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45

Fallon, Robert. "Review: Olivier Messiaen: Le livre du centenaire, edited by Anik Lesure, Claude Samuel, Messiaen by Peter Hill, Nigel Simeone; The Reinvention of Religious Music: Olivier Messiaen's Breakthrough Toward the Beyond by Sander van Maas; Musik des Unsichtbaren: Der Komponist Olivier Messiaen (1908––1992) am Schnittpunkt von Theologie und Musik, edited by Michaela Christine Hastetter, Christian Lenze." Journal of the American Musicological Society 63, no. 2 (2010): 378–92. http://dx.doi.org/10.1525/jams.2010.63.2.378.

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46

Dingle, Christopher. "Ravel: Analyses des Œuvres pour Piano de Maurice Ravel by Olivier Messiaen and Yvonne Loriod-Messiaen. Durand (United Music Publishers), £18.35. Technique of my Musical Language by Olivier Messiaen, English translation by John Satterfield. Alphonse Leduc (United Music Publishers), £48.20." Tempo 59, no. 231 (January 2005): 61–62. http://dx.doi.org/10.1017/s0040298205220065.

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47

Siglind Bruhn. "Traces of a Thomistic De musica in the Compositions of Olivier Messiaen." Logos: A Journal of Catholic Thought and Culture 11, no. 4 (2008): 16–56. http://dx.doi.org/10.1353/log.0.0015.

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48

Toop, Richard. "Arts/Sciences: Alloys — the thesis defense of iannis xenakis before Olivier Messiaen, Michel Ragon, Olivier Revault D'allonnes, Michel Serre and Bernard Teyssedre." Musicology Australia 9, no. 1 (January 1986): 78–79. http://dx.doi.org/10.1080/08145857.1986.10415172.

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49

Alves, Aline, and Adriana Moreira. "Análise musical de Regard de l’Onction terrible, de Olivier Messiaen: contexto, simbologia, forma e performance." Opus 23, no. 1 (April 30, 2017): 9–34. http://dx.doi.org/10.20504/opus2017a2301.

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50

Sun, Jiayan. "Bird Voices in the Piano Cycle of Olivier Messiaen: on the Problem of New Musical Material." Университетский научный журнал, no. 61 (2021): 202–10. http://dx.doi.org/10.25807/22225064_2021_61_202.

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