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

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.

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

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)

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.

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T20:51:51Z (GMT). No. of bitstreams: 1 Oliveira_FranciscoZmekholNascimentode_M.pdf: 17835256 bytes, checksum: f089c90989716d677aecfc4ece18d169 (MD5) Previous issue date: 2013 / 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

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.