Texte remanié de: Diss.--Halle, 2001. / Exemples musicaux. Bibliogr. et sources p. 526-547. Index.

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.

Ng Mei Chu, Debbie. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (leaves 135-143). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.iii / Prologue --- p.1 / Chapter Chapter I --- Technique in the light of Traite --- p.4 / Chapter Chapter II --- Visions --- p.31 / Chapter Chapter III --- Messiaen's Techniques in Visions --- p.31 / Chapter 1. --- Rhythmic Innovations / Chapter 2. --- Modes of Limited Transposition / Chapter 3. --- Invented Chords and Chord Progressions / Epilogue --- p.86 / Musical Examples --- p.89 / Appendices --- p.130 / Selected Bibliography --- p.135

Typescript (photocopy) / 2 v. : music ; 26 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Music, 1979

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.

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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.

Whenever a new form or style of musical composition is introduced, of which our society has not been adequately conditioned, there arises an immediate desire to present some type of logical and artistic interpretation to this person's new form of expressing himself. Thereby, if a performer or teacher of music desires to understand composition and the interpretation given to a piece of music, he usually draws from his reservoir of information which has been built upon the style and tradition of the past. However, this cannot be achieved when studying the music of our contemporaries, or of such a man as Olivier Messiaen, for he goes much further than any other composer and brings to use an entirely new form or media of musical expression. Although the organ music of Messiaen is becoming more and more widely known in this day of organ and stereo enthusiasts, there exists only in very rare cases, a musical and a spiritual understanding of his music. From the performing point of view, the music in most cases is technically difficult, requiring a real virtuosity in the French tradition, such as explored by Marcel Dupre (playing and composing or Improvising simultaneously). Unfortunately nearly all of our concert organists today employ the big, showy pieces of Messiaen as spectacular technical showpieces, forgetting entirely their deeply spiritual nature, and in many cases, insecure-or inacurate rhythmic presentations of the works, produce a distortion of the composers intent.Therefore, it is now the problem of the student, the recitalist, and theorist to study Messiaen's philosophies, plus the many new techniques in his composition, so that a true, concise, and valuable interpretation might be rendered in performance. Because the need for study in this area was felt, the creative project was selected and to these ends was directed.

鄭中. / 論文(哲學博士)--香港中文大學, 2004. / 參考文獻 (p. 240-259). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts also in English. / Zheng Zhong. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (p. 240-259).