Olivier Messiaen and Naji Hakim are both representative composers of the twentieth century. For the performer this "modern" music is difficult to analyze because of the increased complexities of its harmonic language. Therefore the purpose of this study is to demonstrate a way to approach Naji Hakim's Le Tombeau d'Olivier Messiaen through Messiaen's own musical language. This study examines how Hakim has borrowed Messiaen's theory and used it in his own piece. Chapter I outlines the purpose and motive of this study. Chapter II briefly outlines the piece, introduces the meaning of Tombeau in music history, and presents Messiaen's modes of limited transposition, one of the main sources used in the composition of Le Tombeau d'Olivier Messiaen. Chapter III details Messiaen's influence in Hakim's piece. This influence consists of four elements: melody, mode, harmony, and extra-musical ideas. This chapter is the primary portion of the document. After examining the influence of Messiaen, a conclusion of this study is offered in Chapter IV. Four appendixes are attached to this document: an interview with Naji Hakim about Le Tombeau d'Olivier Messiaen; the modes of limited transposition in Le Tombeau d'Olivier Messiaen; a biographical sketch of Naji Hakim; and program notes from Le Tombeau d'Olivier Messiaen.

Thesis (D. Mus. Arts)-- University of Washington, 2005. / Vita. Includes bibliographical references (leaves 77-79).

Thesis (M.M.)--Duquesne University, 2004. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 79-82) and index.

Diss.--Philosophie--Cambridge, Mass.--Harvard Univ., 1998. / Bibliogr. et discogr. p. 317-343.

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.

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.

The lecture recital was given April 10, 1978. The importance of symbolism in and its relation to the music in Messian's Vingt Regards sur l'Enfant Jésus was discussed. The following pieces from this work were performed: I. Regard du Pére; II. Regard de l'étoile; III. L'échange; VII. Regard de la Croix; VIII. Regard des hauters; XIII. Noël.

This study first traces the evolution of a new musical design, one which emphasizes textual elements in the structural foundation. It follows with an account of the life and musical style of Olivier Messian, a contemporary composer who has emphasized timbre as a structural parameter in his music - most notably in several works of the sixties. An analysis of his Couleurs de la Cité Céleste (1963) is offered in the final chapter, indicating in particular the important role that timbre, as well as other textual elements, plays on forming the large-scale design.

No description available.

The dissertation identifies three types of tonality: scalicfmodal, melodic, and harmonic. Scalic/modal tonality and melodic tonality are known to have been existent in Antiquity. Messiaen adheres to these ancient types of tonality and also harmonic tonality. Messiaen uses these types of tonality in his own combinations -- his concept of tonality is revealed to be highly complex. / Musicology / M.Mus. (Musicology)