Musical and formal interrelationships in Messiaen's ......MUSICAL AND FORMAL INTERRELATIONSHIPS IN...

Musical and formal interrelationshipsin Messiaen's Catalogue D'Oiseaux

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MUSICAL AND FORMAL INTERRELATIONSHIPS IN MESSIAEN»S

CATALOGUE D'OISEAUX

by ,

Achilles Guy Calenti

A Thesis Submitted to the Faculty of theSCHOOL OF MUSIC

In Partial Fulfillment of the Requirements For the Degree ofMASTER OF MUSIC

WITH A MAJOR IN MUSIC THEORYIn the Graduate College

THE UNIVERSITY OF ARIZONA

1 9 8 0

STATEMENT BY AUTHOR

This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is :'in the interests of scholarship. In all other instances, however, permission must be obtained from the author.

APPROVAL BY THE THESIS DIRECTOR This thesis has been approved on the date shown below:

VUlOuvvv I .nW ( v r r u l h

0 William P/4 Lecturer v]lugjradt .n Music( h k u o j f , j 9 7 fDate ' /

To Monica; Without whose love, example, and encouragement none of this would have been possible.

ACKNOWLEDGMENTS

The author wishes to express his sincere gratitude to the following:

Mr, William Pflugradt, for his invaluable assistance and advice in the planning, organization, and completion of this.thesis.

Mr. Eugene Sweeney, for his generosity in the preparation of the final manuscript.

My parents, for their love, support, and- subtle guidance through this endeavor,- and'through life itself.

TABLE OF CONTENTS

LIST OF ILLUSTRATIONS LIST OF TABLES ABSTRACT

o e o o o o o o o o o c o o t

o o o o o o o o o o o o e o o o . o t

o o o o o o o o o o o o o o o o o c o o <

CHAPTER1. THE COMPOSER:- INTRODUCTION AND

BACKGROUND o o o o o o e o o p e o o . o o <

The Influence of Catholicism and.Debussy The Musical Language of Messiaen . .

Pitch Rhythm Purpose of -Study Methods and. Terminology-

o e o o o o o ■ o - o - o & - 0 — o — o o *

O O - P 0— 0:0 0-0 O O O - O O O 0 <o ~ o a o o o 0 0 0 . 0 0 «

o ot — - o e o — o • o — o — <

THE DEVELOPMENT OF BIRDSONG AND THE CATALOGUE E'OISEAUX . . . . . . . .The Early Birdsong Works . .

Pitch Rhythm Form

The Later Birdsong Works Pitch .Rhythm Form

The Catalogue d'OiseauxBackground and Introduction Use of the Piano

o o a ■ .0 o o *

O O O O O O O O O O O O O O O i

O O O O O O O' - o &• o - 0 - o o o o ■ <<7 • O O O O O O o O o O - 0 - 0 — O O <

O O O O O O O O i

0 O O O O O 0 . 0 O 0 0 O O O 0 t

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 O O O O O 0 O O O O O O - O 0 O *

0 o o o o-o 0 o *

0 O O O O 0 . 0 0 O 0 i

Form . . . o o O O O O O O 0 O O 0 *

V

Pageviii

xixii

1234 811

12

15

181922232324 27 27 27 272930

TABLE OF CONTENTS— Continued

PageITLE CHOCARD DES ALPES,f . • i . .o . o 32Birdsong o o o o a o o o o o o o o o o o o 32

Pitch o o o g o o o o o o o o o o q o 33Rhythm 0 0 0 0 0 0 9 0 0 0 0 0 0 0 0 0 3^

Non-Bird Material o . . . . , , , , . 38Pitch 0 0 0 0 0 0 0 0 0 0 0 0 0 a o o 39Rhythm 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 j-1

Bird-Related Material .................. 46Pitch O O O O O O O O O O O 0 0 0 0 0 46Rhythm and Tempo « • • * » * » ' » • » * 48

Form in tTLe Chocard des Alpes 9 <, <, <, 0 o 49Summary o o 0 0 o 0 0 0 & 0 0 0 0 0 0 0 0 3

Birasong o~ o o o - » a o o © © © » © © © 3 Non-Bird Material © © © © © © © © © © 52Bird^Related Material.......... © © 52Form © 0 . 0 0 © © © © © © © - © . 0 0 — 0 © © 5 2

"LA BOUSCARLE" © © © © © © © © © © © © © © 54.Birdsong . - © © © © © © © © © © © © © © © © © 54

Pitch O O O O O O O O O O O O O O O O 5,5Rhythm © © © © © © © © © © © © © © © © 64

Non-Bird Material © © © © © © © © © © © © 67Pitch © © © © © a © 0 © a © © 0 0 0 0 67Rhythm © © © © © © © © © © © © © © © © 72

Bird-Related Material © © © ............ 74Pitch O O O O O O O O O O O O O O O O 74Rhythm © © © © © © © © © © © © © © © © 76

Form in "La Bouscarle" » © © © © © © © © © 76Birdsong Variation © © © © © © © © © * © © 80Summary © © © © © © © © © © © © © © ©© ©

Birdsong © © © © © © © © © © © © © © © 84Non-Bird and Bird-Related Material .© © 85Form 0 0 0 © 0 0 0 0 0 0 0 0 0 0 0 0 0 85

viiTABLE OF CONTENTS— Continued

PageSUMMAEY AND CONCLUSIONS . 0 86Bn* dsoxiLg o <* < * 0 0 0 0 0 0 0 0 0 0 0 0 0 0 8 6

PltCh. o o o a o o o o o o o o o o a o o 8SJh.y thill o a a e a a o o o a & o o o o o 9

Non-Bird Material o * . ' * * . * . , . * . * * 921 t C 3bt O O 4 4 O O G G O O 0 Q O O 0 O O 9 2

Rhythm o o » o o o < ? o o e o o o o o o 9 5Bird-Related Material * * * * • „ , * « • « 93

Pitch o o o g G » e » a o g o- , o -o o o e 9 4R h y t h m o o a o o o o «» o e e fl <a© o a 94

Musical interrelationships • c « * . * * * 94Pitch o o a a o o o a o o o o o o o o a 93Other Factors <, 98

FOrm o o 0 0 0 o o o e « ' p - o> o a o 0 a o a 99

LIST OF REFERENCES . .. . . o , . . - . « 102

LIST OF ILLUSTRATIONS

Figure Page1« 1 Messiaen’s Modes of Limited Transposition . „ 52.1 Quartet, p.1, system I , , . . , , , , , , , 202.o 2. Visions de 1’Amen, p, 56, system 1 , 212.3 Visions de 1’Amen, p.56, system 2 , , , , , 212, If Oiseaux Exotiques, p « 3 . . . » « . » « » 263» 1. "Le Cho card des Alpes", p„2, . system 3 « = « 333.2 . "Le Chocard des Alpes", p. 2,. system 4 ° . » 343.3 "Le Cho card- des Alpes?-', p.3, system" 5 . . . 353.4 - "Le Chocard des Alpes", p.9, system 2 . . . 363.5 "Le Chocard des Alpes", p. 3si system -1 ," . 373.6 . "Le Chocard des Alpes"y p.1g system.1 . . . 393.7 "Le Chocard des Alpes", p. 4, system 4 ->' • - 40 -3.8 Rhythmic scheme for first non^bird

section, "Le Chocard des Alpes", right hand". 423.9 Rhythmic schejne for first non-bird section,

"Le Chocard des Alpes", left hand . . . . 433.10 Rhythmic scheme for last non-bird section,

"Le Chocard des Alpes", right hand . . . . - 443.11 Rhythmic, scheme for last non-bird section,

"Le Chocard des Alpes", left hand ... . . . 453.12 "Le Chocard des Alpes", p.3s system 1 . . 473.13 "Le Chocard des Alpes", p.9s system 3 . . 47 -3.14 Formal Chart, "Le Chocard des Alpes" . . . 30

viii

ix

Figure4«14.24.3 4» 4 4-5

4.6 -

4. 7

4.8 ..

4.9 -

4.10 -

4. 11

4. 12

4.134.14 4.134.164.174.18

LIST OF ILLUSTRATIONS— Continued

Page"La Bouscarle'% p« 4? system 2 . 56"La Bouscarle", p. S9 system 2 « , < - » « . » » 56"La Bouscarle", p, 12, system 2 . « . . » « 57"La Bouscarle", p.1, system 1 . . . . . . . 58Set similarities in Birdsong,"La Bouscarle" . . . . . . . . . . . . . . . 59Set structures of nine birds in"La Bouscarle" . . . . . . . . . . . . . . 60Register indications for Birdsong in "La Bouscar 1 e" . . . . . . .. . .. . . . . . 61Dynamic levels of Birdsong in ."La Bouscarle" . . . - . - ... . . . . . . - 62.Textural makeup" ;6f Birdsong in"La Bouscarle". . . . . . . . . . . . . . . . 63Tempo chart - for-Birdsong in"La.Bouscarle" . . . . . . . . . . . . . . 66"La Bouscarle", p.1, systems 3-4 . . . . . 68"La Bouscarle", p.2, system 3 . . . . « . . 69"La Bouscarle", p. 4? system i f . . . . . . . 70"La Bouscarle", p.13? system 2 . . . . . . 70"La Bouscarle", p.21, system 4 . . . . . . 72Rhythmic canon, "La Bouscarle", pp. 2-3 » • 73"La Bouscarle", p.5? system 3 - 74."La Bouscarle", p.8,. systems-4-5 « . . . . 75

X

LIST OF ILLUSTRATIONS— Continued

Figure Page4.19 Formal Chart, "La Bouscarle" 774-20 Second appearance of the warbler in

"La Bouscarle", p.2, system 2 <, <, « <, = » 824°21 Third appearance of the warbler in

"La Bouscarle", p . s y s t e m 2 824.22 "La Bouscarle", p.11, system 4 ° 83

1 Set Interrelationships between differentbirds in the Catalogue d'Oiseaux . » . » , 89

3.2 Set Interrelationships between the samebird in different pieces in theCatalogue d'Oiseaux . . . . . . . . . . . . 89

5-3 "La Bouscarle", p.7, systems 3-4 « . . . . . 903.4 "Le Loriot", p. 3? system 2... . . . . . . . 905.5 "Le Merle Bleu", p.1, systems 1-2 . . . . . 965.6 "La Bouscarle", p. 2, system 3 . . . . . . . 973.7 Rhythmic unity in contrasting sections

of "La Bouscarle" . . . . . . . . . . . . . 98

LIST OF TABLES

Table Page2.1 Formal Chart, Catalogue dlOiseaux .«.«»«.<. 28Zfo 1 Recurrence and variation of

warbler material . . . » . 81

ABSTRACT

Olivier Messiaen (b, 1908) has long been considered a powerful force in contemporary music. His compositions, as well as his teachings, have influenced many of today's leading composers.

In the 1950s Messiaen turned to birdsong as the essential material in his work. Birdsong practically monopolozed his style for over ten years. The culmination of this birdsong period was the Catalogue .d'Oiseaux, (1958), for piano. The development of this birdsong, and its usage, along with other material in the Catalogue d'Oiseaux, is the subject of this thesis.

The Catalogue d'Oiseaux contains seven books and thirteen individual pieces. There are seventy-seven different birds depicted in the work. Birdsong is presented both homophonically and polyphonically, in both a tonal and atonal context.

Material other than birdsong which is contained in the work includes non-bird, and bird-related material. This material relies heavily on the Modes of Limited Transposition, the 12-note set, and rhythmic permutations for their derivation.

xiiiThe two pieces analyzed in depth are "Le Chocard

des Alpes", from Book I, and "La Bouscarle", from Book V.Birdsong material in these pieces is analyzed

according to interval set structures. Interrelationships based on these and other parametric criteria are studied. Non-bird and bird-related materials are discussed as separate entities as to their derivation from the Modes of Limited Transposition, rhythmic modes, and other sources. The relationships which exist between bird** song and the other material are studied with regards to similarities of pitch, tempo;- dynamics, and rhythm.

CHAPTER.. 1

THE COMPOSER: INTRODUCTION AND BACKGROUND

Olivier Messiaen (b. 1908) is one of the most important French composers since Debussy* and has had both a direct influence on the development of twentieth-century compositional trends— -as evidenced by the critical acclaim accorded his compositions— as well as an indirect influence through the writings and compositions qf his many pupils* among, them Pierre Boulez* Karlheinzr Stockhausen, Luigi Nono* and -. 'Iannis: Xenakisr Presently* Messiaen.:is living- An Paris-* where he is occasionally organist at the Church of the i Trinity* a post he has held since 1931 -

As a youth* Messiaen attended the Paris Conservatory*, where his teachers included Paul Dukas in Composition* and Maurice Emmanuel and Marcel Dupre in Literature, Since his first composition in -1917* La-Dame de Shalotte, Messiaen has written over 60 works, mostly for keyboard and/or orchestra* though there are many notable works in different media.1

1. For a discussion of the style periods of Messiaen* refer:to; David Drew, "Messiaen-.-A Provisional Study"The Score, 13 (Sept. 1935)

1

The Influence of Catholicism and Debussy.In speaking of influences on the composer, it is

necessary to mention first and foremost that Messiaen is a devout Catholic, and that most of his works reflect this devotion in some way,

A certain number of my works are-destined therefore, to highlight the theological truths of the Catholic faith. This is the main aspect of my work, the most noble, without doubt the most useful, the most valid, the sole aspect which I will not perhaps regret at

, the hour of my death.2In the program notes to the first London performance

(1958) of La Hativite du Seigneur,- Messiaen says Catholicism , . is the best subject, -for .it encompasses all-subjects,

and the abundance of technical, means allows the heart to open up freely."5 Closely alligned with this devotion is his - intense love of nature. It is also from nature that Messiaen drew his most productive inspirations. "Nature ». » » an indis' tinguishable it-reasure. house of sounds and colors, forms and rhythms, the unequaled model for total development and perpetual variation;,, . nature-ris .the supreme resources " 4 Messiaen found in fellow Frenchman Debussy a shared affinity for the beauties of nature and their possibilities in

2.. Claude Samuels, Entretiens avec Olivier Messiaen. (Pierre Bel fond, 1967), pp. 11-12. trans, by the author.

3. M. Cooper, ed. The New Oxford History of Music, Vol..: 10, New "York: -Oxford University Press, p. 255.

if. Olivier Messiaen, The Brussels Conference.(Leduc, 1958), p. lif.

musical composition, "We do not listen to the thousands of sounds with which nature surrounds us. We are not sufficiently on the'alert to hear the varied music which she so generously offers , , « it envelopes us , , , , This, to my mind, is a new path, , , , much remains to be done, and he who does it will be a great man,"5

It was in Debussy that Messiaen found a composer not rooted in the strict traditions of Germanic music, Debussy's music was more concerned with timbral variations than with "functional" harmonies. Rhythm was elusive, non-pulsatiie, vague,:concealed by syncopations and uneven divisions .of the beat, - Chords -existed as separate sonorous units,. complete in themselves, Messiaen identified readily with all-ef this. In his writings^ he speaks of sonorities as color, a typically French idea, each sonority evoking thoughts of a certain color. He:is very.specific about these and incorporates them regularly in his music. In the selection of pitch materials,Messiaen borrows readily from Debussy. It was Debussy who exploited the"whole-tone scale and pentatonic scales as melodic material.

The Musical Language of Messiaen An illumination of the technical language of

Messiaen's compositional style is beneficial in itself and

5. 'L. Valias,- The Theories of .Claude Debussy, (London: Oxford University Press, 1929) p. 9»

4as a guide to ■'the analysis of some of his works in the following chapters,

PitchThe music of Messiaen is essentially modal or

polymodal. These modes were personally constructed by the composer and have no connection to the modes of the Middle Ages or the Greek modes. These "Modes of Limited Transposition" form the basis for some of his melodic, as well as harmonic ideas. The modes are chromatic and are based on the twelve notes of the equal tempered system. They are. composed of a number of similar note groups,-the last note of one group becoming the first note of the -next,.-'Each mode can be transposed only...a certain number of times,.- after which it returns enharmonically to the original. The.. best known of these scales is the-whol'O—tone.scale (not invented by Messiaen),- It can be transposed once before it .repeats. When-Messiaen-uses this scale, it is usually concealed in a thick"., texture and is not. readily identifiable.

The Modes of Limited Transposition are illustrated on the following page, in Figure 1,1,

6, In 1944? Messiaen wrote Technique of My Musical Language, (Paris: Leduc, 1944) 2 vols, trans by J, Satterfield, in which he outlines the basic vocabulary of his style upto that point, A thorough study of this book is essential to anyone wishing to gain insight into Messiaen’s style,

7. Messiaen, Technique^ p-, 58, •

Mode I-Whole-Tone scale Mode II

Mode III McLde_JX

Mode VII

Figure 1.1 Messiaen’s Modes of Limited Transposition

Mode I is the whole-tone scale, already mentioned. Mode II is transposable twice. Mode III, three times, and Modes IV through VII are transposable five times. Messiaen’s predilection with these modes stems from what he calls their "charm of impossibilities. . . . They are at once in an atmosphere of several tonalities without polytonality, the composer being free to give predominance to one of the tonalities or leave the tonal impression unsettled.

8. Messiaen, Technique, p. 58

An examination of the following sonorities derived from Mode II,

wil be beneficial in understanding this concept. This configuration, found in Messiaen's book,(vol.2, p.50) shows the use of the mode to generate different sonorities. Each voice realizes the entire mode, starting on a different de

chords with an added augmented fourth, alternating with dominant seventh chords with an added augmented sixth. The different intervallic relationships between the voices of the first chord govern the subsequent sonorities. Messiaen exploits these relationships according to his needs in a particular situation.

music and color. To him it was sometimes a literal analogy, certain sonorities suggesting to him certain colors. Musically speaking however, color implies timbre, and the chord of resonance was one of Messiaen's tools in control-

mentioned above is one such resonance chord. In the resonance of a low C for instance, an acute ear can hear an F#.

O ~[> ft

gree of the scale. The resulting sonorities are major ^

Messiaen had a predisposition to the affinities of

ling timbre. The ^ chord with added augmented fourth

This F#, ( 11th. partial) is thus strongly attracted to the fundamental and naturally resolves to it.9 in Messiaen*s conception of the chord of resonance the overtones of the fundamental cause subtle timbral changes in the principle sound. As timbre is contingent upon the strengths of the various overtones in the series,1 Messiaen controlls timbre through the manipulation of these overtones. For example, in the C overtone series, a typical chord of resonance would be as follows:

All voicings of the chord are not so triadically oriented. All of the notes of the chord of resonance are contained in the third Mode of Limited Transposition.( See Figure 1.1). Thus, as has been pointed out, whereas traditionally harmony and timbre have been viewed as separate concepts, the use of added resonance brings the two together in a way which enables harmony to function as

9- Messiaen, Technique, p. 47.10. Refer to H. Helmholtz/ On the Sensation of Tone

as a Physiological Basis for the Tneory of Music. 1877;6th. ed. (hew York, P.Smith, 1948).

timbre. This concept pervades much of Messiaen's thought. Certainly then, in much of Messiaen's music, harmony is •more a consideration of timbral explorations than functionality.

Although all intervallic relationships are naturally used by Messiaen, certain ones are exploited and become characteristic in his music. The tritone, the minor 2nd. and the major ?th. are the most important and are found extensively in both a melodic and harmonic context. The minor 6th. is also heard frequently in most works.

RhythmOne of the most important aspects of Messiaen's

rhythmic language is the use of the Indian deci-t&las, a table of 120 Indian rhythms.^1 These ametrical rhythms coincide nicely with Messiaen's conception of rhythm as not based on beat groupings but on the smallest note value from which a rhythmic figure can be developed. Thus, Messiaen's music is also ametrical. Bar lines are added "to indicate periods and to make an end to the effect of accidentals. This notation is evidently best for the composer, since it is the exact representation of his musical, conception."12

11. R. S. Johnson, Messiaen. (Berkeley and Los Angeles: University of California Press, 1975)« This excellent book on Messiaen features a complete listing of the deci-talas,pp. 194-198.i

12. Messiaen, Technique. p. 28

9Among the other rhythmic techniques employed by

Messiaen are rhythms with added values. These are rhythms in which a short durational value has been added to any rhythmic group, thereby varying it slightly. Ametrical music is very conducive to this type of manipulation.In the rhythms

a. b.m 'm"a” is the original cell. MbM is the same cell with a sixteenth note value added to the second tone.

Another device is the use of augmented or diminished rhythms. As the name implies, a basic rhythmic cell is eother augmented or diminished by a constant duration. In the following example,*'n b' j j . ' j j i"a” is the basic cell. "b" is an augmentation of the "a"cell to tv/ice its original value. "c" is the augmentationof Mb" by a sixteenth beat.

Augmentation of a rhythm by the addition of a dotis another way Messiaen changes a rhythmic figure. Thetwo rhythmic cells

a. - i. ...... b.

jtj millustrate this type of augmentation. The "a” cell is the original idea. In the "b" group, the entire "a" idea is

augmented by the addition of a dot after each note.Messiaen uses this device often in his earlier works.

"Personnages Rhythmic” is the term Messiaen gives to any rhythmic idea which is put through a permutational (gradual altering) process whereby the original rhythmic idea is both successively augmented and diminished in subsequent rhythmic cells.15

A very important part of Messiaen*s rhythmic vocabulary are what he calls non-retrogradable r h y t h m s .

Regardless if they are heard left to right or right to left, the rhythm remains the same.

t h . j j

Messiaen sees these non-retrogradable rhythms as intimately connected with the Modes of Limited Transposition. The various modes realize in a vertical direction what the non- retrogradable rhythms realize in a horizontal direction.1He also makes the following analogies: That the modes cannot be transposed beyond a certain point without repeating, just as it is impossible to retrograde the rhythms without

13- For a detailed discussion, and examples of this process, see Chapter III, under Rhythm, pp. 41-46.

14- Messiaen, Technique, p. 20.15. Ibid. p. 21.

repeating. An examination of the structure of the modes listed previously in Figure 1.1 also demonstrates that the modes are divisible into symmetrical groups, and that the last note in one group becomes the first note in the next group. The rhythm illustrated on page ten is also divisible.into symmetrical groups, although in retrograde symmetry. Also, the rhythms frame a constant value common to both groups. Finally, the modes contain within themselves small transpositions while the rhythms contain small internal retrogradations. This musical vocabulary, says Messiaen, "will lead him to that sort of musical rainbow which the musical language. . <>.. = ' attempts' to be." ^

Purpose of StudyWhile the incorporation, of these _materials in

Messiaen's compositions shows a high level of musical unity, this has.sometimes-been overlooked in the studies done on his music. The purpose of this study is to ascertain, through a parametric analysis of the Catalogue d'Oiseaux]^ (here- . after referred to as Catalogue) the compositional style of Messiaen, and the musical significance of the birdsong incorporated. This study will attempt to delve further into the musical style of Messiaen than have previous studies by

16. Messiaen, Technique..- p.21.17. Olivier Messiaen, Catalogue d'Oiseaux. (Paris:

Leduc, 1958)

12examining sonorities and rhythmic and formal interrelationships in birdsong and other materials, drawing conclusions based purely on musical, and not programmatic grounds.

Methods and TerminologyThis chapter has hopefully presented and clarified

aspects of Messiaen's musical vocabulary and the techniques he employs in his works, particularly the Catalogue. An understanding of these techniques is essential for the analysis which follows.

Chapter 2. will deal with the evolution of birdsong from its first appearance.. (Quatuor pour. 1 e fins du TampR. 1941) up to and including the Catalogue. Chapters 3 and 4 will each deal with an in depth analysis of one of the, pieces comprising the work. Chapter 5 will be a summary of, and conclusions regarding the musical significance of the birdsong depicted, and the musical interrelationships which exist in the-work, as evidenced by the pieces studied. Examples of the techniques illustrated in the first chapter will be discussed as they appear in the context of the composition. Parametric relationships will be examined throughout. A parameter is a distinctive attribute of sound, in terms of which one (elementary) sound or sound configuration may be distinguished from another.1^

18. James Tenney, Meta & Hodos, taken from Mary Wennerstrom, Parametric Analysis of Contemporary Musical Form, (Indiana: University of Indiana Press, 19o7) p.29.

Musical examples, charts, ana diagrams will be presented as needed to clarify concepts.

The analysis necessitates the use of terminology with which the reader may be unfamiliar. This terminology is listed below.

Ametrical: Music which has no stated meter. Bar lines are used to indicate periods and cancel accidentals The number of pulses may vary between measures.

Bird-related Material: A musical depiction'of anyevent other than song perpetrated by a bird^ i.e., flight.

Birdsong: A musical depiction or interpretation ofthe sounds produced by a bird.

Cohesive Parameters: Those parameters which createinter-, or intra=?-sectiona-1 connections. 9

Differential Parameters:- Those parameters which create sectionalization.^

Duration Complement: The total number of durationsin a work or a fragment of one. 21

Interpolation: An abrupt change of elements in acomposition, followed by an almost"immediate continuation of the first idea.

19« Wennerstrom. Parametric Analysis, p. 25.20. Ibid. p. 25.21. R„ Delone, V. Eliewer, H. Eeisberg, M.

Wenner strom, A-. Winold, G„ Wittlich,Aspects of 20th Century Music, 6. Wittlich, ed. New Jersey: Prentice-Hall, 1975. P 236.

14

Interval Class; An interval class (IC) consists of "an interval(only simple intervals are considered) and its complement. There are six interval classes.1. (m2,. M7), 2. (M2, m?), 3« (m3, M6),4« (M3, m6), 3. (P4, P5), 6. (aug. 4, dim. 3)» 2

Interval Set Structure: A convenient abstraction forsymbolizing generic collections of intervals. To determine a set structure, the pitch class members are assembled so that there is the least possible interval distance between the first and last notes. They are then numbered in semitone distances above the first element, 0.

Juxtaposition: The abrupt change of parametric elements in a composition.

Non-bird Material: ' That material which depicts anyaspect of the birds environment^ i» e., wind9 a river, mountains.

22. Delotie, E. et al..- -Aspects, p.474«23. Ibid. p. 475* •

CHAPTER 2

THE DEVELOPMENT OF BIRDSONG AND THE

CATALOGUE D'OISEAUX

Probably the most important aspect of.Messiaen's style from the 194-Os to 1958 is the use of birdsong as the essential material in his works.

Although Messiaen had been notating birdsong since his early teens, it did not appear in his music until 194-1, when Messiaen was a prisoner of war. Inspired in part by the birds freedom as compared to his own plightj- the sounds of a bird are -the first sounds heard in the piece,- Quatuor •pour le Fins du Temps, (hereafter referred to as Quartet). "If you want, symbols, let us go on to say that the bird is the symbol of freedom.- We talk, he flies. We make war, he s i n g s . T h e inclusion of birdsong in the technique of Messiaen was just one more extension of his love of God, and the endless possibilities of nature as material for composition.

1. Andre Golea, Recontres avec Olivier Messiaen.(New York: Julliard Press, I960) p.. 53. trans. by author.

15

16Messiaen’s birdsong related works can be divided

into two periods: 1) Early Works, (1941-1952), whichcontain birdsong but are not dominated by it; 2) Later Works, (1953-1958), which are much larger in scope and use birdsong and other materials as a basis for a major part of the work. Compositions of the Early Works period include:

Quatuor pour le Fins du Temps. (1941------Clarinet, violin

Visions de 1’Amen. (1943)cello and piano Two pianos

Vingt Regards sur 1’Infant Jesus. (1944)— PianoHarawi, (1945)--”------------Turangalila Symphbnie. (1948)lie de Feu. (1950)----------Messa de la Pentecote,,(1950)Livre d’Orgue. (1951)— — ----Merle Noir. (1951)---- —

•PianoOrgan Organ:" ■ ■Flute, piano

OrchestraSoprano, piano

Compositions of the Later Works period include:Beveil des Oiseaux, (1956) •Piano and

OrchestraOiseaux Exotiques. (1956) •Piano and

OrchestraCatalogue d’Oiseaux, (1958) Piano

17Important historically among these works is Vingt

Regards snr lfInfant Jesus, in "being the first piece to name a specific "bird in the score. The Turangalila Sym- phonie is also important historically. The massive work of ten movements is Messiaen* s first large orchestral work to include birdsong. Regarding birdsong development, the symphonie Offers no new innovations, and in relation to the immensity of the work, the bird sections are quite brief.

Much has been written regarding the accuracy and authenticity of Messiaen's birds.

The latest works of Messiaen,(Reveil des Oiseaux, Oiseaux.Exotiques, and Catalogue d'Oiseaux are again of a rathep . special-nature’ and are based entirely-.on birdsong taken down from nature with the most meticulous rhythmic and melodic:exactitude.^

Eric Salzman adds: "primary--sources -of Messiaenic inspi^ration are bird calls. He is an expert ornithologistand his bird songs are ..authentic. "3 This belief in theaccurate nature of the birdsong _ls countered by otheropinions.

From a musical point of view, the grand tutti is a remarkable moment...but it is nothing like a dawn chorus. Nor does the piano sound like a nightingale, or the E^ clarinet like Cetti's warbler, or the glockenspiel like a whitethroat. They

2. Claude Rostand, '.'Trends and Tendencies in Contemporary French Music", contained in Twentieth Century Music: a Symposium, ed. by Rollo Myers, rev. ed. 1968, p. 130.

3« Eric Salzman, Twentieth-Century Music: An Introduction, '1st. ed, (New Jersey: Prentice-Hall, 1967) .P* 159."

18sound like piano, clarinet, and glockenspiel.The overall sound created "by Reveil is not of a dawn chorus but of a cageful of mechanical birds.And why not? The music is enjoyable as music.4

What is obvious about birdsong is that it is not exact imitation. Birds sing at extremely fast tempi, and in a very high range, both of which are impossible to reproduce on conventional instruments. Also, birds do not sing in well defined, tempered intervals, and adjustments must be made for this aspect of the transcription.

The basic contention of this study is that the birdsong of Messiaen is not some haphazard, inaccurate exercise in transcription, nor are they absolutely "authentic", but : they are a thorough and comprehensive, integration _of all the techniques of composition which.Messiaen had at his disposal.

The Early Birdsong WorksAll of Messiaen's earliest-explorations of birdsong

show similar basic tendencies. Birdsong is presented simply, with an- almost, exclusive emphasis on the melodic aspect of the song. A study of the parametric manipulations which occur during this embryonic stage of development will assist us in determining the evolutionary process of this type of material.

if. . Trevor Hold,.. ’’Messiaen’ s Birds'.'-Music and Letters, April 1971? p.118.

PitchIn its earliest stages, (1940s), pitch was the most

important element in defining birdsong material. The naturally melodic nature of birdsong material drew Messiaen to consider intervallic relationships and melodic contour first and foremost. Birdsong was presented almost exclusively as a single melodic line, with no harmonization. Before discussing intervallic relationships however, a determination of the method of selecting pitch materials is necessary.

There are a few instances in early birdsong where pitch material is derived from madal sources. In Harawi. (1945)5. Messiaen draws pitch material ’from- a combination of Modes II and III of the Modes of limited Transposition. Inclusion of scalar material is. rare in birdsong of any period. More often Messiaen dispenses with scales and employs pitches which best capture the intended sound. Pitch material is generally restricted for each bird, and"not chromatic, but not based on any of the established scalar patterns. "Intervallic relationships v/hich exist in the melodic line are more important than scalar patterns. In Messiaen’s earliest works, he emphasizes intervals that remain important in all subsequent works.

Figure 2.1, on the following page, illustrates the very first appearance of birdsong in Messiaen’s music, the Quartbt, written in 1941« Interval Class (IC) 1 immediately establishes itself as an interval of prime importance. It

20is heard at the beginning, middle, and end of the first measure. IC4 is also heard in the first measure and is important both in an ascending and descending manner in later works, particularly in its minor 6th form. Finally, 106 is an important idea in the second measure and continues to be throughout the work.

VIOLO.N

S L A R I N E T T E

en SI t>

/ I O L O N C E L L E

B i e n modore, en poudroiement harmonieux

(comme un oiseau)

p expreasif

PPP (»•

Figure 2.1. Quartet, p. 1, system 1.

The first birdsong theme of the fifth movement of Visions de I1Amen. (1943) is shown in Figure 2.2, on the following page. The material is Messiaen* s first attempt to depict birdsong in any way other than single line melody, and the idea is repeated throughout the movement. The pitch material in both voices is identical,though interverted. The interval class which results on the important downbeats are ICZf. Melodic ideas are subject to expansion or contraction. These ideas vary from long melodic lines to short phrases with staccato leaps.

Figure 2.2, Visions de lf Amen, pe system 1.

Although vertical simultaneities occur in most types of music, the accompaniment to the early birdsong works is generally quite independent of the birdsong itself. There doesn't seem to be a conscious effort to affect or alter the timbre of the birdsong, at least not to the extent found in later works. In Visions de 1'Amen, for two pianos, each piano has its own defining character, Piano I playing the bird melodies and Piano II providing the <

accompaniment. See Figure 2.J.

___

Figur-e 2.3. • Visions de 1' Amen p. 36, system 2.

22The sonorities in Figure •£. 3» on the preceding page, are part of an ostinato pattern, tnat is, a number of recurring sonorities which provide the accompaniment to most of the birdsong in this section. The chords are triadicaily oriented, with added notes. The effect is one of polytonality, with both and A being emphasized.

Factors of dynamics, register and range all vary considerably in early birdsong material. Figure 2.1, from the Quartet;, is not typical either in terms of dynamics or register. More often than not, birdsong is presented in a high tessitura at a high dynamic level. Figure. 2.2 is much more indicative of the register and dynamic level of birdsong.

RhythmDefinitive rhythmic aspects of birdsong are presented

in the earliest works-. . Rhythm in the third movement of the Quartet for instance, is ametrical. Although some works of Messiaen are written in a metrical framework, this results from performance necessities more than anything else. The most characteristic techniques of the early period are single pitch repetitions, (usually in a high tessitura), short, abrupt lines with many rests, and long lyrical lines.An important factor in the early birdsong works is that there are no instances of use of the Greek and Indian rhythmic modes, which are to be used extensively in later works.

FormA clear indication of Messiaen’s style concerning

form is seen in the third- movement of the Quartet. The birdsong is interspersed and.juxtaposed with non-bird material. The sudden parametric changes which occur between this material become form defining elements in this and later works. The juxtaposition of these ideas becomes indispensible in Messiaen’s conception of form, and is the basis for formal structure in all birdsong related works. Return of.material can either be in a varied form, or exact.In the fifth movement of Visions de 1’Amen, for example, the main birdsong theme appears throughout the -entire section, interspersed between other material. At each entrance it • returns exactly as the original appearance, with no parametric changes.

The Later Birdsong WorksMessiaen’s later works, (1953** 958) illustrate the

prominence which birdsong gained in his compositional procedures. The main developments of this period are the extension of birdsong to become the most important aspect of the composition, and the manipulation of timbre in the depiction of the birdsong.5

5» All the aspects of parametric manipulation discussed in this chapter concerning the later birdsong works will be further elucidated through the study of sections of the Catalogue, in the chapters to follow.

. 24The Reveil' des Oiseaux (1953) for piano and orchestra

can almost be considered a concerto because of the extensive piano cadenzas. It is Messiaen’s only work to make exclusive use of the piano for all its materials, both melodic and rhythmic. There are no other types of materials in Reveil des Oiseaux other than birdsong. Rhythms are not based on any of the Greek or Indian modes as they are in later works. Rhythms are generated from the depiction of the natural song style of the birds.

PitchIn all works of the later period, pitch material is

derived both from scalar and non-scalar sources. In the example following. Figure '2«4» from Oiseaux Exotiques. there is no use of scalar material. The pitch inventory for the entire aggregate of sound encompasses the entire chromatic scale, but each instrument—plays-only: four different pitches.

As in the early works, intervallic relationships and structure define bird material more"clearly than do other pitch criteria. A linear examination of the eight different voices heard in Figure 2.4 (the clarinet doubles the piano) reveals a set structure of (0,1,2,7) in three of them. This emphasis on IC1 and IC6 as contained in the (0,1,2,7) is consistent with earlier birdsong. Because of melodic repetition, there are actually only four different sonorities in the example. An examination of their set

structure reveals internal relationships between them. The first sonority is a (0,1,2,3, 4, 6, 7) cluster. The secondsonority is (0,1,2,3, 4, 6, 7, 8), and the third is (0,1,2,3, 3, 7,8,10). These same pitches and sonorities then repeat.The final chord,(the end repetitions) consist of an (0,1,2, 4, 3, 6, 7,9) set. All sonorities contain eight different pitches, resulting in a rich,complex, timbral sound. Each sonority varies slightly in set structure, thereby varying timbre. The first two sonorities differ only by one interval. Both share (0,1,2,3,6,7) subsets. The third sonority shares a (0,1,2,3,7,8) subset with the second, and the fourth shares a (0,1,2,3,7) subset with the third.

This example is innovative for two reasons. First, birdsong is presented in a thick,complex manner, and not single line melody. Second, the complex sonorities show strong internal relationships by virtue of set structure.See Figure 2.4«

26

1 Ht h

K1.'1 Cla r. •Vi /.

2 C la r St k

• W voc i/eru tion im placable

1 T r pvociferation implacable

Clock

P i a n oSolo

( O a r r u l a x e de 1’ H i m a l a y a )

3 Tpl. bl.

3 Confrs

T a m - t a mr m

Figure 2.4- Oiseaux Exotioues, p. 3-

RhythmIn the later birdsong works, rhythm plays a much

more important role in the depiction of both birdsong ‘and non-bird material. Greek and Indian rhythms are used frequently, especially in the depiction of non-bird material. Other rhythmic techniques such as added rhythms, "personn.ages rhythmic" and palindromic rhythms are also found in these birdsong works.

FormThe form of the later birdsong works depends

entirely on the underlying program of the work. Symmetry and form .are established by relationships of timbre, texture, pitch, dynamics, and rhythm. Common to all later works, formal sections are arranged symmetrically. The Reveil des Oiseaux is. concerto like, with piano cadenzas framing the central tutti’-s. - Oiseaux Exotiques and the Catalogue are much more sectionalized in form. This sectionalization is the basic and most.important aspect in Messiaen’s conception of form and is the basis for the entire Catalogue.

The Catalogue d’OiseauxL

Background and IntroductionMessiaen’s most ambitious work for solo piano and

the .culmination of his work with birdsong is the Catalogue d’Oiseaux. The work was begun in October 1956, and finished in September 1958. It is dedicated to Yvonne Loriod,

28whom he married tfoh. following year. The Catalogue "integrates birdsong in its fully developed form with the rhythmic and modal techniques of the post-war period, while incorporating some of the earlier Modes of Limited Transposition, and rhythmic devices."^

The Catalogue is a massive work comprising seven books and requiring approximately two and one half hours for performance. The thirteen individual pieces are arranged symmetrically as shown in Table 2,1. .Relative performance times, have been added for comparisons of length.

Table 1. Formal Chart, Catalogue d?Oiseaux

Book Piece Title PerformanceTime

. I I "Le Chocard des Alpes" 10*25''II "Le Loriot"" 9«20''III "Le Merle Bleu"' 13»30'»

II IV "Le Traquet Stapazin" 15150''III V "La Chouette Hulotte" 8'10''

VI . "L’Alouette Lulu" 8'55''IV VII . "La Rousserolle Effarvatte" 30'20'«V VIII "L'Alouette Calandrelle" 5'25''IX "La Bouscarle" 11'20''VI X "Le Merle de Roche" 18'45"VII XI "La Buse Variable" 9»30 "XII "La Traquet RLeur" 7'25'*XIII "Le Courlis Cendre" 11'00''

6. Johnson, Messiaen, p. 128.

As can be seen, there are three pieces in each of the first and last books. There is one piece each in books II and IV, and two pieces each in book III and V. The middle book, number IV, contains one piece, by far the largest individual piece in the entire work. The palidromic symmetry first seen here continues to be an important concept in the technique of Messiaen. The brackets in the table on the preceding page, (Table 2.1.,) indicate that the pieces can be divided into groups of three, with the exception of the middle piece, and all groups require roughly the same amount of time for performance, one half hour.

The title of each piece reflects the dominant bird in that particular piece. No programmatic explanation can be found for the ordering of the particular birds in the work. Although some pieces proceed chronologically in a particular day, for example from sunrise to sunset, with certain birds heard at specific times of the day, the entire work does not proceed in this fashion. There is a short preface before each piece describing its programmatic implications.

Use of the PianoThe piano would seem at first to be hardly con

ducive to the authentic reproduction of bird sounds. • It is unable, for example, to produce crescendos on a single tone. Narrow range glissandi between tones, very important

30and common in birdsong cannot be produced with great effect on the piano. The ability to vary timbre is extremely limited in c'omparision to the potentialities of the full orchestra. Why then, did Messiaen employ the piano as the medium for such a large work? Messiaen explains.

The rendition of timbre is particularly difficult, especially on the piano. Everyone knows that timbre represents more or less a great number of harmonics. It is therefore necessary to look for unexpected combinations of sounds, reinverted for each bird.

On the other hand, by the extension of its •• register and the immediacy of its attack, it is the only instrument capable of combatting the speed, tempo, and placement of high sounds of certain (bird) virtuosos. ‘

To this Johnson adds:.His desire to treat each bird in a more

individual way demanded an instrumental medium more.homogenous than the orchestra. The use of the piano was ideal for ..this purpose because the performer had at his disposal an instrument of great flexibility, dynamic range., „ and expression. Indeed, because he is the only performer, he can give greater individual interpretation of each birdsong, o

FormA large scale formal structure does not exist in

the Catalogue, except for the layout of the books into symmetrical units, however, interrelationships between

?. Messiaen, Liner Notes, Vega recording of the Catalogue d'Oiseaux, trans. by Carmine Calenti

8. Johnson, Messiaen, p.128.

31books, and between pieces in a book exist, dependent on the following factors. .

1» All pieces in the book have a formal structure based on the process of segmentation and return. This segmentation interposes and juxtaposes birdsong with other material in the piece.

2. There are seventy seven different birds depicted in the Catalogue. A number of these birds are heard in more than one piece. At each appearance of a particular • bird, cohesive parameters make it readily identifiable and related to material previously heard. Exact repetition between pieces is rare, though it does occur. More common are parametric similarities based on tempo, dynamics, mode,

) register, and rhythm.Pitch and rhythmic characteristics of birdsong in

this massive work vary greatly. In order to gain insight into the specific nature of birdsong..and .other materials in the Catalogue, an in depth study of two of the pieces in the work, "Le Chocard des Alpes" from Book I, and "La Bouscarle” from Book V will be presented in the following chapters.V

CHAPTER 3

"LE CHOCARD DES ALPES" .

"Le Chocard des Alpes" is the first piece in the Catalogue, Pro grammatically 3 it is. set in the mountains of the Dauphiny region of France, The piece depicts the songs of two birds found in the region, the chocard des alpes, (alpine chough) and the grand corbeau, (raven). In addition to the birdsong, there are musical depictions of non-bird and bird-related.material, - including bird flight mountains, glaciers, lakes, and other factors comprising the total environment of the birds.

The piece is an alternation between birdsong and nonbird material. As this process of segmentation and eventual return is the formal basis for the entire Catalogue, a parametric analysis of both types of materials presented, as well as their function in the delineation of formal structure, will aid in the total understanding of the piece.

BirdsongThe essential characteristics of birdsong.result

from the interactions of the various musical parameters.An elucidation of these parameters is therefore indispensable in determining the musical significance of the material.

32.

PitchPitch material for birdsong in this piece is not

derived from any of the Modes of Limited Transposition or any other modal pattern whatsoever. All twelve notes of the chromatic scale are used in the depiction of birdsong. Intervallic relationships define bird material more readily than does actual pitch inventory.

Figure 3* 1 > shows the first appearance of birdsong in the piece, (the chough). The first sonority of this material consists of an (0,1,2,3,6,7) set. The second sonority is a subset, (0,1,3,6,7) with octave transposition of three of the original notes. These are both important sonorities and generate further subsets as the piece progresses. There is an emphasis on IC6 in the first sonority.

Chocard des A lp e sB ten m o d e r e =112)

long

n \

a(vn Chocard traverse le precipice en criant)

Figure 3.1. "Le Chocard des Alpes" p. 2, system 3.

The Figure below continues this material. Sonorities are (0,1,4,8), (0,1,5,6), and (0,1,5,6) sets. These (0,1,5,6) sets are also subsets of the original sonority. Between the second and third sonorities of this example, pitches are identical, but switch registers. The first sonority of the second measure has the same pitch and set structure as the original sonority (Figure 3.1) in the right hand only.The sonority following this is an (0,3,6) set. Finally, the (0,1,6,7) sonority that ends the material is a subset of the very first bird sound heard. Again, there is an emphasis on IC1 and IC6 in the final two measures. See Figure 3« 2, below.

M o d e r e = 132)

Figure 3.2. MLe Chocard des Alpes" p. 2, system 4-

35Figures 3-3 and 3.4 show Messiaen1 s method of subtle

timbral manipulation in birdsong. The first right hand sonority in Figure 3.3, below, is heard three times in the measure. Each time however, it is harmonized differently, the resultant set structures being (0,2,3,8,9), (0,1,3,6,?), and (0,1,3,3,8). In addition to the timbral changes, the section brings back important sonorities. The (0,1,3,6,7) sonority is the same as the second chord in Figure 3-1•The second sonority in Figure 3-3, (0,1,2,3,6) is a subset of the first sonority in Figure 3*1• Thus we see unity of material through interrelationships of set structure.

n'f Chocard des A lp e s

Figure 3.3. "Le Chocard des Alpes" p.3, system 5.

36In Figure 3.4, the soprano line of each of the three

fragments remains intact, but the harmonies beneath it change. The "a" fragment shows structures of (0,1,4,8),(0,3,4,7), and (0,3,3,7). The "b" fragment remains constant at (0,1,3,7), and the Mc" fragment has set structures of (0,1,2, 7), (0,2, 3, 7), and (0,2, 3, 7). Thus, the material is being changed slightly in each fragment while maintaining its basic morphological shape. In addition, the resulting sonorities cause a stronger unity of the entire material.The (0,1,3,7) is a subset of the original bird sonority.Figure 3- 1 • Also, the (0,1,2,7) set will be important in the birdsong of the raven, the only other birdsong in the piece.

Figure 3* 4* MLe Chocard des Alpes” p. 9, system 2.

In comparison with the chough, the raven material is restricted and repetitive. Set structures occasionally return at different pitch levels, but are secondary to the repetitive, rhythmic drive of the material. Figure 3- below, shows a typical entrance of the raven. The set is (0,1,2,7), thereby linking it with the chough material.

Modere

sanj u=: =: sourd. -*■

Figure 3.3. "Le Chocard des Alpes" p. 3, system 1.

Range is an important factor in birdsong material.The range of the chough material is quite extensive, extending from F#F# to f#*'. The raven material, on the other hand, is very restricted in range and in a very low register. It lies between G#G# and g1. These differences in range and register are important defining factors in the birdsong, and act along with other factors to differentiate birdsong material.

Rhythm

T he e s s e n t i a l c h a r a c t e r o f b i r d s o n g i n " L e C h o c a r d

d e s A l p e s " i s r h y t h m i c a n d p e r c u s s i v e i n n a t u r e . T h e r e a r e

no l o n g , l y r i c a l b i r d m e l o d i e s i n t h i s p i e c e . S h o r t r h y t h m i c

c e l l s d o m i n a t e t h e e n t i r e b i r d s o n g m a t e r i a l . T h e m o s t

i m p o r t a n t u n i f y i n g r h y t h m i s t h e ^ f o u n d i n a l l o f t h e

p r e v i o u s e x a m p l e s ( s e e F i g s , 3 - 2 - 3 - 5 ) • R h y t h m i c c e l l s

l o n g e r t h a n t h i s a r e r a r e a n d a r e l e f t t o t h e b i r d - r e l a t e d

m a t e r i a l s .

A l t h o u g h a t t i m e s t h e c h o u g h m a t e r i a l i s m a r k e d a t

o t h e r t e m p i , t h e m a i n b u l k o f t h i s b i r d m a t e r i a l i s h e a r d

a t J s 1 1 2 , a n d J = 1 3 2 . T he r a v e n s t e m p i a r e c o n s t a n t a t

J = 1 3 2 , a n d J = 14 4 * T h i s s h a r i n g o f t h e same 132 tem p o

i s a n o t h e r i m p o r t a n t u n i f y i n g f a c t o r b e t w e e n t h e b i r d s o n g

m a t e r i a l s .

N o n - B i r d M a t e r i a l

T he n o n - b i r d m a t e r i a l i n " L e C h o c a r d d e s A l p e s ”

i s h o m o g e n o u s i n i t s c o n t e n t a n d d i f f e r s s i g n i f i c a n t l y f r o m

b i r d s o n g i n a l m o s t a l l a r e a s . T h e r e a r e t h r e e l a r g e s e c

t i o n s o f n o n - b i r d m a t e r i a l i n t h e p i e c e , a n d a l l a r e c l o s e l y

r e l a t e d . F a c t o r s o f p i t c h a n d r h y t h m a r e m o s t i m p o r t a n t i n

e a c h a p p e a r a n c e o f t h e n o n - b i r d m a t e r i a l .

P i t c h

P i t c h m a t e r i a l u s e d i n t h e f i r s t s e c t i o n o f n o n

b i r d m a t e r i a l c o n s i s t s o f o v e r l a p p e d 12- n o t e a g g r e g a t e s .

A l t h o u g h i t i s d i f f i c u l t i f n o t i m p o s s i b l e t o d e t e r m i n e

e x a c t l y w h e r e o n e s e t e n d s a n d t h e n e x t b e g i n s , t h e f e a t u r e s

o f t h e s e t r e m a i n : a l l t h e n o t e s o f t h e c h r o m a t i c s c a l e

a r e t r e a t e d e q u a l l y , w i t h n o n e p r e d o m i n a t i n g . S e e F i g u r e

3 * 6 .

f (implacable e massif)

F i g u r e 3 . 6 . ” L e C h o c a r d d e s A l p e s " p . 1, s y s t e m 1.

T h e s e c o n d n o n - b i r d s e c t i o n a l s o u s e s t h e 1 2 - n o t e a g g r e g a t e ,

a s d o e s t h e t h i r d . T h e s e t s i n t h e s e c o n d s e c t i o n h o w e v e r ,

a r e c l e a r l y d i s c e r n i b l e d u e t o t h e s t r i c t t h r e e a n d f o u r

v o i c e h o m o p h o n i c t e x t u r e . S e e F i g u r e 3 . 7 .

1. J o h n s o n , M e s s i a e n , p . 135-

40

Jftodere = 120)

( enoAme et p u issa n t)

F i g u r e ? . " L e C h o c a r d d e s A l p e s " p . 4 , s y s t e m 4*

S o n o r i t i e s a n d I n t e r v a l s . A l o o k a t t h e f i r s t f i v e

s o n o r i t i e s i n F i g u r e 3 - 6 r e v e a l s t h e f o l l o w i n g s e t s .

( 0 , 2 , 6 , 7 ) , ( 0 , 3 , 5 , 6 ) , ( 0 , 1 , 5 , 7 ) , ( 0 , 1 , 2 , 7 ) , a n d ( 0 , 1 , 4 , 5 , 7 , ) .

I m m e d i a t e l y s e t s t r u c t u r e s a c t a s u n i f y i n g e l e m e n t s

b e t w e e n b i r d a n d n o n - b i r d m a t e r i a l . T he ( 0 , 2 , 6 , 7 ) i s a

s u b s e t o f t h e o r i g i n a l b i r d s o n o r i t y , a s a r e t h e ( 0 , 1, 3 , 7 )

a n d ( 0 , 1 , 2 , 7 ) s e t s . ( S e e F i g u r e 3 . 1 ) . T h i s ( 0 , 1 , 2 , 7 )

s e t i s a l s o c o n t a i n e d i n t h e " c " f r a g m e n t i n F i g u r e 3*4-

F i n a l l y , t h e ( 0 , 3 , 5 , 6 ) s e t i s h e a r d e x a c t l y i n t h e b i r d

m a t e r i a l show n i n F i g u r e 3- 2 .

T he s e t s t r u c t u r e s f o r s o n o r i t i e s i n F i g u r e 3*7

a r e a s f o l l o w s : ( 0 , 1 , 5 , 7 ) , ( 0 , 4 , 6 , 7 ) , ( 0 , 2 , 3 , 6 ) , ( 0 , 1 , 2 , 3 ) ,

( 0 , 3 , 4 , 6 ) , ( 0 , 4 , 6 , 7 ) , ( 0 , 1 , 6 , 7 ) , ( 0 , 1 , 4 , 6 ) , a n d ( ( 0 , 2 , 3 , 6 ) .

T h e o n l y s e t i n common w i t h t h e f i r s t n o n - b i r d s e c t i o n

i s t h e ( 0 , 1 , 3 , 7 ) . T h i s s e t i s t h e i m p o r t a n t s u b s e t t o

41

t h e v e r y f i r s t " b i rd s o n o r i t y , ( F i g u r e 3 »1 ) » I n a d d i t i o n ,

t h e ; ( 0 , 1, 6 , 7 ) s e t h e a r d h e r e , i s t h e l a s t s o n o r i t y . o f t h e '

b i r d m a t e r i a l i n F i g u r e 3 „ 2 .

S e t s t r u c t u r e t h e n , i s u s e d t o u n i t e n o t o n l y b i r d

m a t e r i a l w i t h o n e a n o t h e r i n a p i e c e , b u t a l s o t o u n i t e

b i r d s o n g w i t h n o n - b i r d m a t e r i a l - T h i s i s t h e f i r s t e x a m p l e

o f a n e x t r e m e l y i m p o r t a n t c o n c e p t i n t h e f o r m a l t h i n k i n g o f

M e s s i a e n , s t r o n g p a r a m e t r i c l i n k s b e t w e e n o t h e r w i s e d i v e r s e

• m a t e r i a l s .

Rhythm

As i m p o r t a n t a s p i t c h i n t h i s . n o n - b i r d m a t e r i a l

i s t h e a s p e c t o f r h y t h m . I n e a c h n o n - b i r d s e c t i o n , M e s s i a e n

p u t s a g r o u p o f r h y t h m i c " c e l l s " t h r o u g h a p e r m u t a t i o n a l

p r o c e s s h e c a l l s " p e r s o n n a g e s r h y t h m i c " . F i g u r e 3 » 8 , o n t h e

f o l l o w i n g p a g e , o u t l i n e s t h e r h y t h m i c s c h e m e f o r t h e f i r s t

n o n - b i r d s e c t i o n i n t h e p i e c e , r i g h t h a n d o n l y . T he t h r e e

c e l l s e i t h e r r e m a i n t h e same o r a r e a u g m e n t e d o r d i m i n

i s h e d b y a c o n s t a n t v a l u e . T h e s e c e l l s c a n b e f o u n d e i t h e r

f u l l y o r w i t h some v a r i a t i o n , i n t h e I n d i a n d e c i - t & l a s . 2

2 . S e e f o o t n o t e 13? C h a p t e r 1.

42

C e l l " a " i s t h e s i m h a v i k r a m a w i t h a n a d d e d s i x t e e n t h n o t e

v a l u e . C e l l " b " i s t h e r a j a m a r t a n d a r h y t h m , a n d c e l l " c " ,

m i n u s t h e h a l f n o t e , i s t h e h a m s a r h y t h m . I n t h e " a " g r o u p ,

t h e r h y t h m i s p r o g r e s s i v e l y d i m i n i s h e d b y a s i x t e e n t h n o t e .

I n t h e " b " g r o u p t h e r e i s a n a u g m e n t a t i o n b y t h a t same

v a l u e . The " c " g r o u p r e m a i n s u n c h a n g e d . S e e F i g u r e 3 . 8 .

j j j j: j. j j.„j s x 1 J la b e

m / . j / i j / j / i I j, i iv r “ / v i j \ /

a b e

; 1 1 1 J 1 j j. j 1 j. i 1X____________________________________/ \ ________________/ \ ------------------------ /

a b e

i h i j / j 1 j/ j j. ; ij,\ _____________________________________/ x I ___ / \________________ — y

a b e

F i g u r e 3 - 8 . R h y t h m i c s c h e m e f o r f i r s t n o n - b i r d s e c t i o n ,MLe C h o c a r d d e s A l p e s " , r i g h t h a n d .

43

The l e f t hand, d i s p l a y in g rhythmic independence

from the r i g h t , c o n s i s t s o f fou r rhythmic groups which go

through cooresponding p e rm u ta t io n s . Cell "a" i s augmented

by a s i x t e e n t h no te . C e l l "b" i s d im in ished by t h a t same

v a lue . Cel l " c ” i s a l so augmented by a s i x t e e n t h no te , and

c e l l "d" remains unchanged. Thus we see t h a t while p a ra

m ete rs o f dynamics and tempo remain s t a t i c , t h e r e i s an

inward c o n t i n u i t y based on rhythmic pe rm u ta t ion which

p ro v id e s forward movement to th e s e c t i o n . See F igu re 3* 9-

nnnj.jjjj'j'j.xjjjjja b c d

a b c d

J m f U X J Ia b c d

F ig u re 3-9- Rhythmic scheme fo r f i r s t n o n -b i rd s e c t io n , MLe Chocard des Alpes", l e f t hand.

44

A l t h o u g h t h e n e x t n o n - b i r d s e c t i o n a l s o f e a t u r e s

r h y t h m i c m a n i p u l a t i o n , i t i s o f a much l e s s s t r i c t t y p e .

L a r g e r h y t h m i c p a t t e r n s r e t u r n w i t h some v a r i a t i o n , b u t

t h e r e i s no e v i d e n c e o f t h e " p e r s o n n a g e s r h y t h m i c ” t e c h n i q u e .

T he l a s t n o n - b i r d s e c t i o n a l s o d i s p l a y s r h y t h m i c

p e r m u t a t i o n s . L i k e t h e f i r s t n o n - b i r d s e c t i o n , t h e r e i s

r h y t h m i c i n d e p e n d e n c e b e t w e e n h a n d s . A s c h e m a t i c d i a g r a m ,

( F i g u r e 3 . 1 0 ) o f t h e r h y t h m s h o w s t h e p a t t e r n s a n d p e r m u

t a t i o n s w h i c h e v o l v e . The " a ” p a t t e r n i s r e p e a t e d a s

sh ow n . T he " b ” c e l l i s b r o k e n i n t o p a t t e r n s w h i c h a r e

e i t h e r d i m i n i s h e d ( d i m . ) , a u g m e n t e d ( a u g . ) , o r r e m a i n t h e

same w i t h i n t h e l a r g e r f r a m e w o r k o f t h e p a t t e r n .

, / / / / / / / / / j j ].i/j..r r j . J / . JJ

a

/ ! ,

b

J ,\ / 1 UJ ,

b

N J r ; . J 1a

\ J1

b

u j j j s f . i j .' a

( d i m . ).1

( a u g . ) ( a u g . ;

F i g u r e 3 - 10 . R h y t h m i c s c h e m e f o r l a s t n o n - b i r d s e c t i o n , ” L e C h o c a r d d e s A l p e s ” , r i g h t h a n d .

45

The f o l l o w i n g e x a m p l e i l l u s t r a t e s t h e l e f t h a n d

r h y t h m f o r t h e f i n a l n o n - b i r d s e c t i o n . T h e " a " n a t t e r n

r e m a i n s u n c h a n g e d . T h e " b " p a t t e r n i s a u g m e n t e d b y a

c o n s t a n t v a l u e , a s i x t e e n t h n o t e , w i t h t h e tw o s i x t e e n t h

n o t e s i n t h e c e n t e r r e m a i n i n g t h e sam e . T h e b e g i n n i n g o f

t h e s e c t i o n r e v e a l s n o a p p a r e n t p a t t e r n s i m i l a r i t i e s w i t h

t h e r e s t o f t h e s e c t i o n . S e e F i g u r e 3 . 11 .

/ / / / j / / / ; /

; j ./ f f j : / / / j j.

b/

--------- ——— /

; / J. .b/ / j . j .

a i„

bf ;— fe—

F i g u r e 3 . 1 1 . R h y t h m i c s c h e m e f o r l a s t n o n - b i r d s e c t i o n ,Le C h o c a r d d e s A l p e s " , l e f t h a n d .

46

The e x i s t e n c e o f r h y t h m i c p e r m u t a t i o n s a n d t h e

" p e r s o n n a g e s r h y t h m i c " t e c h n i q u e t h r o u g h o u t t h e n o n - b i r d

s e c t i o n s o f t h e p i e c e a t t e s t t o t h e f a c t t h a t i t w as i n

t h i s t y p e o f m a t e r i a l t h a t M e s s i a e n e x p l o i t e d h i s r h y t h m i c

l a n g u a g e . F r e e f r o m t h e c o n s t r a i n t s - o f b i r d r h y t h m s , w h i c h

h e t r i e d t o d e p i c t a c c u r a t e l y , M e s s i a e n w as a b l e t o u s e a l l

o f t h e r h y t h m i c t e c h n i q u e s a t h i s d i s p o s a l s E s p e c i a l l y

i m p o r t a n t a r e t h e I n d i a n r h y t h m s o f t h e d e c i - t & l a s .

B i r d - R e l a t e d M a t e r i a l

B i r d - r e l a t e d m a t e r i a l p l a y s a n i m p o r t a n t p a r t ± n

f o r m a l s t r u c t u r e a n d s e g m e n t a t i o n i n " L e C h o c a r d d e s A l p e s " .

T h e r e a r e two m a i n b i r d - r e l a t e d i d e a s , w h i c h a r e i n s t a r k

p a r a m e t r i c c o n t r a s t t o t h e m a t e r i a l w h i c h p r e c e d e s o r f o l

l o w s th e m . T h e two i d e a s a r e d i f f e r e n t i a t e d m a i n l y b y

t e m p o , a n d w i l l b e r e f e r r e d t o i n t h i s r e s p e c t .

P i t c h

S c a l a r p a t t e r n s a r e n o t u s e d i n t h e s l o w b i r d -

r e l a t e d s e c t i o n s . " A l l 12 n o t e s o f t h e c h r o m a t i c s c a l e a r e

h e a r d , t h o u g h i n no d e f i n i t e s e q u e n t i a l o r d e r . ( T h e

b e g i n n i n g o f t h e f i r s t s l o w s e c t i o n i s a 12- n o t e a g g r e g a t e ,

b u t t h i s b r e a k s down q u i c k l y ) . On t h e o t h e r h a n d , t h e f a s t

b i r d - r e l a t e d s e c t i o n s a l l e m p lo y t h e 12- n o t e a g g r e g a t e s

i n t h e d e p l o y m e n t o f p i t c h m a t e r i a l . F i g u r e 3 » 1 2 , o n t h e •

f o l l o w i n g p a g e , s h o w s t h e f i r s t a p p e a r a n c e o f t h e f a s t

f l i g h t m a t e r i a l i n t h e p i e c e , a n d t h e a g g r e g a t e s w h i c h r e s u l t .

47

(bri/lutit)

Figure 3 .12 . "Le Chocard des Alpes" p . 3, system 1.

Although the f i r s t 12 n o te s a re i n m u tua l ly e x c lu s iv e

hexachordal g roupings , t h i s b reak s down i n subsequent

passages . F ig u re 3-13* which fo l low s , shows b i r d - r e l a t e d

m a te r i a l aga in . This m a t e r i a l p r e s e n t s th e 12-note

agg rega te i n a l i n e a r f a sh io n , each hand p r o j e c t i n g the

e n t i r e s c a le b e fo re i t i s r e p e a te d .

nf (brillant)

F i g u r e 3 » 13» nLe C h o c a r d d e s A l p e s " p . 9* s y s t e m 3-

48

I n t e r v a l s i n t h e s l o w s e c t i o n s a r e q u i t e r e s t r i c t e d a n d

r a n g e f r o m I C 3 t o I C 6 . (m3 t o a u g . 4 ) • I n t h e f a s t s e c t i o n s

a l l i n t e r v a l c l a s s e s a r e e x p l o i t e d a n d n o n e p r e d o m i n a t e s .

A l l m a t e r i a l i s p r e s e n t e d i n a p o l y p h o n i c t e x t u r e ,

u s u a l l y n o t e a g a i n s t n o t e c o u n t e r p o i n t . T h e c o n t o u r o f

t h e s l o w s e c t i o n i s a s c e n d i n g t h r o u g h o u t , w i t h p a r a l l e l

m o v e m e n t o f v o i c e s , w h i l e t h a t o f t h e f a s t s e c t i o n s i s q u i t e

a n g u l a r a n d d i s j u n c t .

R hythm a n d Tempo

Tempo i s a n e x t r e m e l y i m p o r t a n t p a r a m e t e r i n t h i s

m a t e r i a l , b o t h i n t e r m s o f s e p a r a t i n g i t f r o m t h e r e s t o f

t h e m a t e r i a l i n t h e p i e c e a n d i n s e p a r a t i n g t h e two t y p e s

o f b i r d - r e l a t e d m a t e r i a l . The t e m p o o f t h e s l o w s e c t i o n

i s J = 3 2 , w h i l e t h a t o f t h e f a s t s e c t i o n i s J * 160 . The

a u r a l e f f e c t o f t h i s d i v e r s i t y i n tem po i s s t a r k . The s l o w ,

d e t e r m i n e d a s c e n t o f t h e f i r s t m a t e r i a l i s c o n t r a s t e d w i t h

t h e b l u r o f s o u n d f r o m t h e f a s t s e c t i o n . Tempo t h e n , i s

a n i m p o r t a n t d i f f e r e n t i a l p a r a m e t e r i n t h i s m a t e r i a l .

R h y t h m i c a l l y , t h e b i r d - r e l a t e d s e c t i o n s a r e f l o w i n g

a n d u n i n t e r r u p t e d b y r e s t s . The e x p a n s i v e n e s s o f t h e i d e a s

i s i l l u s t r a t e d b y t h e f a c t t h a t t h e y r u n f o r a s many a s

t h r e e s y s t e m s w i t h o u t b e i n g i n t e r r u p t e d b y a b a r l i n e .

T h e r e a r e i n s t a n c e s o f t h e ^ / r h y t h m w h i c h w a s so i m p o r t a n t

i n t h e d e p i c t i o n o f t h e b i r d s o n g . T h u s , r h y t h m a l s o

s e r v e s t o u n i f y b i r d s o n g w i t h b i r d - r e l a t e d m a t e r i a l .

Form i n " L e C h o c a r d d e s A l p e s "

Form r e s u l t s f r o m a n i n t e g r a t i o n o f m u s i c a l e v e n t s

w h i c h f o r m s a c o h e s i v e w h o l e when c o m b i n e d w i t h f a c t o r s o f

r e t u r n . T h i s s e g m e n t e d a p p r o a c h , w i t h s t a r k j u x t a p o s i t i o n s '

o f m a t e r i a l , i s b a s i c t o M e s s i a e n ’ s c o n c e p t i o n o f f o r m , a t

l e a s t i n b i r d s o n g w o r k s . " L e C h o c a r d d e s A l p e s " i s s h a p e d

b y c o n t r a s t s , o f t e n b e t w e e n b r i e f p a r t s , a n d t h e w h o l e i s

u n i f i e d b y a l a r g e r p a t t e r n o f r e l a t i o n s h i p s o f t h e s m a l l e r

p o r t i o n s w h i c h d e v e l o p . B l o c k s o f s o u n d , c o m p o s e d o f s p e = -

e i f i c p a r a m e t r i c u n i t s , a r e j u x t a p o s e d a n d i n t e r p o l a t e d

t h r o u g h o u t t h e p i e c e . T h e s e m a t e r i a l s . . a r e . t i ie b i r d s o n g , n o n -

b i r d , a n d b i r d - r e l a t e d s e c t i o n s w h i c h - h a v e - b e e n a n a l y z e d .

T he o n l y . o t h e r , t y p e o f m a t e r i a l i n t h e p i e c e w h i c h h a s n o t

b e e n d i c u s s e d . i s t h e " l e n t " i n t e r p o l a t i o n s h e a r d a t s t r a

t e g i c p o i n t s i n t h e p i e c e . T h e s e s h o r t i n t e r p o l a t i o n s a r e

t h i c k b l o c k s o f s o u n d w h i c h a r e s e p a r a t e d f r o m a d j a c e n t

m a t e r i a l s - b y l o n g s i l e n c e s . - F o r m a l l y , t h e y a r e i m p o r t a n t

b e c a u s e t h e y u n i t e t h e p i e c e t h r o u g h e x a c t r e c a l l o f m a t e r i a l .

T h e y a l s o s i g n i f i c a n t l y a f f e c t t h e f l o w o f t h e p i e c e b e c a u s e

o f t h e d e c r e a s e i n t em p o a n d t h e d e c a y e f f e c t o f t h e

s o n o r i t y .

F i g u r e 3 . 14 , i s a d i a g r a m o f t h e f o r m a l s t r u c t u r e o f

t h e p i e c e . A l l t h e "A" s e c t i o n s d e p i c t n o n - b i r d m a t e r i a l

a n d a r e h o m o g e n o u s i n t e r m s o f d y n a m i c s a n d t e m p o , a s w e l l

a s p i t c h d e p l o y m e n t a n d r h y t h m i c m a n i p u l a t i o n . T h e p r e c i s e

o r d e r i n g o f s e g m e n t s i n t h e "B" s e c t i o n s h o w s t h e t y p e

o f l o g i c a l o r d e r i m p o s e d b y M e s s i a e n i n h i s c o n c e p t i o n

o f f o r m .

S e c t i o n A

N o n - b i r d m a t e r i a l . p a g e 1, s y s , 19 t o p a g e 2 , s y s , 3

S e c t i o n B

C hough p a g e 2 , s y s , 3 -Zf" l e n t i n t e r p o l a t i o n " 2 5F l i g h t o f e a g l e 2 5 t o p a g e 3 , s y s , 1R a v e n 3 1 —F l i g h t o f c h o u g h 3 kC hough 3 5 t o p a g e l+9 s y s . 1F l i g h t o f c h o u g h 4 1 - 2" l e n t i n t e r p o l a t i o n " 4 2 "F l i g h t o f c h o u g h 4 3

S e c t i o n A 1

N o n - b i r d - m a t e r i a l . p a g e 4 , - s y s . 4 , t o p a g e 6 , s y s . 4

S e c t i o n B^

C h ough p a g e 6 , s y s , 5 t o p a g e 7 , s y s . 2" l e n t i n t e r p o l a t i o n " 7 2F l i g h t o f e a g l e 7. 3 - 4 ;R a v e n 7 5 t o p a g e 8 , s y s . 3F l i g h t o f c h o u g h 8 4 - 5C hough 9 1 - 4F l i g h t o f c h o u g h 9 5 t o p a g e 10 , s y s . 2" l e n t i n t e r p o l a t i o n " 10 3F l i g h t o f c h o u g h 10 3 d- o CD s y s . 1

I S e c t i o n■

I N o n - b i r d m a t e r i a l p a g e 119 s y s . 2 , t o e n d ( p a g e 12)|

— ---

F i g u r e 3« 1 F o r ma l C h a r t , " L e C h o c a r d d e s A l p e s "

Summary

"L e C h o c a r d d e s A l p e s " p r e s e n t s t h r e e t y p e s o f

m u s i c a l m a t e r i a l s , e a c h w i t h c e r t a i n i d e n t i f i a b l e c h a r

a c t e r i s t i c s a n d p a r a m e t e r s . The t h r e e t y p e s , a n d t h e

m e t h o d s o f i n t e g r a t i n g th e m , a r e d i s c u s s e d b e l o w .

B i r d s o n g

P i t c h m a t e r i a l i n b i r d s o n g i n t h i s p i e c e i s n o t

b a s e d on a n y m o d a l o r t o n a l s c a l a r p a t t e r n s . I n t e r v a l s a n d

s o n o r i t i e s b e t t e r d e f i n e a n d i n t e r r e l a t e m a t e r i a l t h a n d o e s

a c t u a l p i t c h i n v e n t o r y .

The h o m o p h o n i c s o n o r i t i e s a r e i m p o r t a n t g e n e r a t i v e

s o u r c e s f o r o t h e r b i r d s o n g s o n o r i t i e s i n t h e p i e c e .

M e s s i a e n ' s m e t h o d o f t i m b r a l m a n i p u l a t i o n t o v a r y m a t e r i a l

i s e v i d e n c e d i n F i g u r e 3 » 3 a n ^ F i g u r e 3 - Th e d i f f e r e n t

h a r m o n i z a t i o n s u n d e r t h e same s o p r a n o l i n e p r o d u c e s u b t l e

c h a n g e d i n t i m b r e , a n i m p o r t a n t c o n c e p t t h r o u g h o u t t h e

C a t a l o g u e .

R hythm i s a n i m p o r t a n t d e f i n i n g c h a r a c t e r i s t i c o f

b i r d s o n g i n t h e p i e c e . B i r d s o n g i s p r e s e n t e d a s r h y t h m i c

a n d p e r c u s s i v e , w i t h b o t h b i r d s e x p l o i t i n g t h e / r h y t h m

t h r o u g h o u t . M e s s i a e n ' s o l d e r r h y t h m i c c o n c e p t s s u c h a s

n o n - r e t r o g r a d a b l e a n d a d d e d r h y t h m s a r e a l s o f o u n d i n t h e

b i r d s o n g .

N o n - b i r d M a t e r i a l

T he h o m o g e n e i t y o f t h e n o n - b i r d s e c t i o n s i s a p p a r e n t

n o t o n l y t h r o u g h t h e c o n s t a n c y o f p a r a m e t e r s s u c h a s t e # p o ,

d y n a m i c s , a n d r e g i s t e r , b u t a l s o i n t h e a r e a s o f p i t c h o r d e r

a n d r h y t h m . A l l ' n o n - b i r d m a t e r i a l i n r t h e p i e c e u s e s

1 2 - n o t e a g g r e g a t e s i n t h e a r r a n g e m e n t o f p i t c h e s . The

l o o s e l y o r d e r e d a g g r e g a t e s a r e m a n i p u l a t e d t o p r o d u c e

s o n o r i t i e s w h i c h s t r o n g l y r e l a t e t h i s m a t e r i a l t o b i r d s o n g

i n t h e p i e c e . T h u s , p r o g r a m m a t i c a l l y d i v e r s e s e c t i o n s

a r e s t r o n g l y r e l a t e d , a n d t h e s e i n t e r r e l a t i o n s h i p s a r e

c r u c i a l i n t h e s t u d y o f M e s s i a e n ' s s t y l e .

A l l n o n - b i r d m a t e r i a l g o e s t h r o u g h r h y t h m i c p e r

m u t a t i o n s . T he p r o c e s s o f " p e r s o n n a g e s r h y t h m i c " a s w e l l

a s t h e i n c o r p o r a t i o n o f t h e I n d i a n d e g i - t a l a s a r e a l l i n

d i c a t i v e o f M e s s i a e n ' s r h y t h n i c l a n g u a g e .

B i r d - r e l a t e d M a t e r i a l

L i k e t h e n o n - b i r d m a t e r i a l , p i t c h e s f o r b i r d -

r e l a t e d m a t e r i a l a r e d e r i v e d f r o m t h e 12- n o t e a g g r e g a t e .

R hy thm , t e x t u r e , a n d _ tem po a l l s e r v e t o d i f f e r e n t i a t e

t h i s m a t e r i a l f r o m t h e o t h e r t y p e s . L i n e s a r e v e r y l o n g

a n d t e x t u r e i s p o l y p h o n i c t h r o u g h o u t .

Form

F o rm r e s u l t s f r o m a n i n t e g r a t i o n o f t h e s e t h r e e

t y p e s o f m a t e r i a l s . F o r M e s s i a e n , t h i s s e g m e n t a t i o n

p r o c e s s d o e s n o t m ean h a p h a z a r d r e p e t i t i o n s , o r e x a c t

r e a p p e a r a n c e s p f m a t e r i a l , "but a n i n t e g r a t e d s t r u c t u r e

"based o n a n o r d e r l y r e t u r n of. a s u b s t a n t i a l n u m b e r o f

s u b s e c t i o n s . D i v e r s e m a t e r i a l s , s u c h a s b i r d s o n g a n d n o n

b i r d s e c t i o n s h a v e b e e n shown, t o b e l i n k e d b y s o n o r i t y

s e t s , t h u s s t r e n g t h e n i n g f o r m a l c o h e s i o n .

CHAPTER 4

"LA BOUSCARLE"

" L a B o u s c a r l e " , t h e n i n t h p i e c e o f t h e C a t a l o g u e ,

i s c o n t a i n e d i n B ook V. P r o g r a m m a t i c a l l y , t h e p i e c e d e a l s

w i t h b i r d s a n d r e l a t e d m a t e r i a l s a l o n g t h e C h a r e n t e r i v e r

i n F r a n c e . As o p p o s e d t o " L e C h o c a r d d e s A l p e s " , i t

f e a t u r e s t h e s o n g s o f f o u r t e e n d i f f e r e n t b i r d s J I n a d d i t i o n

t o b i r d s o n g , n o n - b i r d a n d b i r d - r e l a t e d m a t e r i a l s a r e a l s o

p r e s e n t i n t h e p i e c e . The c o n t i n u a l j u x t a p o s i t i o n a n d i n t e r

p o l a t i o n o f t h i s m a t e r i a l n e c e s s i t a t e s t h e i m p o s i t i o n o f

some t y p e o f l o g i c a l c o n t i n u i t y n o t b a s e d o n t r a d i t i o n a l

c o n s i d e r a t i o n s o f t h e m a t i c d e v e l o p m e n t , b u t o n s e g m e n t a t i o n

a n d r e t u r n . I n s p i t e o f i t s g r e a t e r l e n g t h , t w e n t y - o n e

p a g e s a s c o m p a r e d t o e l e v e n f o r " L e C h o c a r d d e s A l p e s " ,

" L a B o u s c a r l e " r e q u i r e s o n l y o n e m i n u t e l o n g e r t o p e r f o r m .

( 1 1 : 2 0 v s . 1 0 : 2 5 ) .

B i r d s o n g

Of t h e f o u r t e e n b i r d s d e p i c t e d , n i n e a p p e a r m o re

t h a n o n c e , w i t h t h e w a r b l e r a p p e a r i n g a t o t a l o f t e n t i m e s .

G e n e r a l c h a r a c t e r i s t i c s o f b i r d s o n g , a s e v i d e n c e d i n

1 . F o r a c o m p l e t e l i s t . o f t h e b i r d s p r e s e n t e d - in t h e p i e c e , r e f e r t o te m p o c h a r t . F i g u r e 4 . 1 0 , p . 6 6 .

5 4

55

" L a B o u s c a r l e " c a n b e c l a r i f i e d t h r o u g h a s t u d y o f t h e

p a r a m e t e r s a f f e c t i n g ' t h e m a t e r i a l . T h i s w i l l a i d i n d e t e r

m i n i n g t h e m u s i c a l s i g n i f i c a n c e o f t h e b i r d m a t e r i a l , a s

w e l l a s s u b s e q u e n t l y e l u c i d a t i n g M e s s i a e n * s v a r i a t i o n a l

p r o c e s s e s r e g a r d i n g b i r d s o n g .

P i t c h

E l e v e n o f t h e b i r d s p r e s e n t e d e x h i b i t p i t c h m a n i p

u l a t i o n n o t b a s e d o n any. o f t h e M odes o f L i m i t e d T r a n s

p o s i t i o n , o r t o n a l s c a l e s . T h i s i s a g e n e r a l c h a r a c t e r i s t i c

o f b i r d s o n g t h r o u g h o u t t h e .Catalo.gn.e.. . . A c t u a l p i t c h i n v e n

t o r y v a r i e s w i t h e a c h b i r d . " I n t h e f i r s t a p p e a r a n c e o f

t h e w a r b l e r , . p i t c h i n v e n t o r y r e l e a l s t h e u s e o f o n l y . e i g h t

p i t c h e s , w h i c h a r e n o t o r i e n t e d i n a n y t o n a l o r m o d a l

d i r e c t i o n . T h e p i t c h i n v e n t o r y f o r t h e m o o r h e n i s e v e n '

m o r e r e s t r i c t e d , w i t h o n l y s e v e n p i t c h e s u s e d . T h e c h a f

f i n c h . . a n d - t h e n i g h t i n g a l e , - on t h e o t h e r h a n d , m ake u s e o f

t h e e n t i r e c h r o m a t i c s c a l e . - T h i s d i v e r s i t y o f p i t c h ■

s e l e c t i o n f o r e a c h b i r d s o n g b e c o m e s a d e f i n i n g c h a r a c t e r

i s t i c f o r t h a t b i r d i n l a t e r a p p e a r a n c e s , b e c a u s e i n m o s t

c a s e s p i t d h i n v e n t o r y r e m a i n s t h e same f o r s u c c e s s i v e

a p p e a r a n c e s o f t h e b i r d .

The t h r e e b i r d s t h a t d e r i v e t h e i r , p i t c h m a t e r i a l

f r o m t o n a l o r m o d a l s c a l e s a r e t h e b l a c k b i r d , r o b i n , a n d

b l a c k c a p . T h e b l a c k b i r d , m a t e r i a l , shown i n F i g u r e 4.. 1,

g e s t s a n A m a j o r t o n a l f r a m e w o r k . A s e p a r a t i o n o f t h e h a n d s

56

U n p e u v i f (J^-138)

(joyeuvz et clair)\nt, bien timbre)

F igu re 4 .1 . "La B ouscar le" p . 4, system 2.

s h o w s t h e l e f t h a n d i s s t r o n g l y b a s e d i n A m a j o r , w h i l e

t h e r i g h t h a n d p l a y s n o t e s u s u a l l y r e s u l t i n g i n I C 4 .

A t e r t i a n chord (minor, minor ^ ) i s the u n d e r ly in g foun

d a t io n f o r the melodic m a t e r i a l .

F igu re 4. 2 shows m a t e r i a l a s s o c i a t e d w ith the

ro b in . P e n ta to n ic s c a l e s a re p r o j e c t e d h o r i z o n t a l l y i n

each hand. The r e s u l t i n g c o in c id en ces a re a l l l C I .

TJn p e u v i f 126)

VP (liquide, confiant)

Figure 4 .2 . "La Bouscar le" p. 6, system 2.

57

The b l a c k c a p i s p e r h a p s m o s t v i c a r i o u s l y r o o t e d i n

t o n a l i t y . T he s t r o n g f e a t u r e i s t h e ( 0 , 2 , 4 , 6 , 9 ) s o n o r i t y ,

a n E m a j o r , m i n o r , m a j o r J c h o r d b e l o w t h e m e l o d i c m a t e r i a l ,

s t r e n g t h e n i n g t h e t o n a l n o t e s ( c i r c l e d ) when t h e y r e t u r n .

S e e F i g u r e 4 * 5 '

Fauve t t e a t e t e no i reUn pcu v if («h- 1 3 2 )

2 : 1 U

imf (clair et doux)

F i g u r e 4- 5 . uL a B o u s c a r l e " p . 12 , s y s t e m 2.

A t t i m e s i n r e t u r n i n g m a t e r i a l , p i t c h e s r e t u r n

e x a c t l y , t h o u g h m o re o f t e n t h e r e a r e s l i g h t d e l e t i o n s o r

a d d i t i o n s t o t h e o r i g i n a l p i t c h i n v e n t o r y .

More i m p o r t a n t t h a n a c t u a l i n v e n t o r y i n t h e homo

m a t e r i a l a r e t h e s o n o r i t y r e l a t i o n s h i p s w h i c h e v o l v e w i t h i n

e a c h b i r d m a t e r i a l a n d b e t w e e n t h e m , F i g u r e 4 - 4 sh o w s t h e

s o n g o f t h e w a r b l e r , t h e m o s t p r e d o m i n a n t b i r d i n t h e p i e c e .

W a r b l e r s o n o r i t i e s i n c l u d e ( 0 , 1 , 2 , 6 ) , ( 0 , 1 , 6 , 7 ) s e t s i n

t h e f i r s t s e c t i o n , a n d ( 0 , 1, 5 ) , a n d ( 0 , 1, 5 , 7 ) s e t s i n t h e

s e c o n d .

58

TJn p e u v i f ( J ' z 138)

i7

JBff (brusque et violent)

F i g u r e 4 , 4 . " L a B o u s c a r l e " p . 1, s y s t e m 1.

F i g u r e 4 . 5 , on t h e f o l l o w i n g p a g e , s h o w s t h e ( 0 , 1 , 5 , 7 )

s o n o r i t y h e a r d i n t h e w a r b l e r m a t e r i a l a s i t i s p r e s e n t e d

l a t e r i n t h e s o n g o f t h e c h a f f i n c h , " a ” . T he ( 0 , 1 , 6 , 7 ) s e t

i s h e a r d a g a i n i n t h e s o n g s o f t h e t h r u s h , ’’b ” , a n d t h e

s a n d m a r t i n , " c 11. T he ( 0 , 1 , 5 ) s e t a p p e a r s a g a i n i n t h e

n i g h t i n g a l e m a t e r i a l , " d " . S e t s t r u c t u r e s a r e a l s o 'du

p l i c a t e d am ong t h e o t h e r b i r d s . T he n i g h t i n g a l e a n d t h e h o o p o e

s h a r e ( 0 , 1 , 2 , 6 , 7 ) s e t s . The m o o r h e n a n d t h e k i n g f i s h e r

b o t h h a v e ( 0 , 1, 6 ) s e t s .

T h u s we s e e t h a t w h i l e p i t c h m a t e r i a l v a r i e s w i t h

e a c h b i r d , r e p e t i t i o n s o f s e t s t r u c t u r e b i n d a n d u n i t e .

b i r d m a t e r i a l . T h i s i s an e x t r e m e l y i m p o r t a n t c o n c e p t

i n d e t e r m i n i n g t h e l o g i c a l c o h e s i v e n e s s o f t h e C a t a l o g u e .

2 1

a . c h a f f i n c h ( 0 , 1 , 5 , 7 ) b . t h r u s h ( 0 , 1 , 6 , 7 )

s-

c , s a n d m a r t i n ( 0 , 1 , 6 , 7 )

c?---

/

d . n i g h t i n g a l e ( 0 , 1 , 5 )

F i g u r e 4- 5- S e t s i m i l a r i t i e s i n B i r d s o n g , " L a B o u s c a r l e '

I n a d d i t i o n t o s e t d u p l i c a t i o n s a l r e a d y m e n t i o n e d ,

r e l a t i o n s h i p s b a s e d o n s u b s e t s a l s o e x i s t . T he c h a r t on t h e

f o l l o w i n g p a g e ( F i g u r e 4 - 6 ) s h o w s t h e i m p o r t a n t s o n o r i t y

g r o u p s o f e a c h h o m o p h o n i c b i r d s e c t i o n . S u b s e t s o f t h e

( 0 , 1, 2 , 6 , 7 ) s o n o r i t y o f t h e n i g h t i n g a l e o c c u r i n t h e w a r b l e r ,

( 0 , 1, 2 , 6 ) a n d ( 0 , 1, 6 , 7 ) , t h e s o n g t h r u s h , ( 0 , 1, 6 , 7 ) , t h e m o o r

h e n , ( 0 , 1, 6 ) , t h e s a n d m a r t i n , ( 0 , 1, 6 , 7 ) , a n d t h e k i n g f i s h e r .

P i t c h t h e n , s e r v e s a s a u n i f y i n g p a r a m e t e r t h r o u g h

s e t i n t e r r e l a t i o n s h i p s o f h o m o p h o n i c b i r d m a t e r i a l .

60

W arbler

( 0 , 1, 2 , 6 ) ( 0 , 1 ,6 ,7 ) (0, 1 ,5 ,7 ) (0 , 1 ,5)

Song Thrush.

(0, 1 ,6 ,7 ) ■(0, 1 ,3 ,7 ) ( 0 ,3 , 6) ( 0 , 4 , 6 )

Sand M artin

(0, 1 ,6 ,7 )

N ig h t in g a le

(0 ,1 ,.5)( 0 , 2 , 6 )(0 ,1 , 2, 6, 7) (0 , 1, 2 , 5 , 6, 8 )

K in g f ish e r

( 0 ,1 ,5 ,6 ) ( 0 ,1 ,3 ,4 ) ( 0 ,1 ,3 ,7 ) ( 0 ,1 ,5 )

Yellow W agtail

( 0 ,4 ,7 )

C haffinch

( 0 , 1, 5 , 6 ) ( 0 , 1, 4 , 6 ) ( 0 ,1 ,5 ,7 )

Moorhen

( 0 , 1, 6 )( 0 ,3 ,7 )

Hoopoe

(0,3 , 2 ,6 ,7 )

F ig u re 4- 6. S e t s t r u c t u r e s o f n in e b i r d s i n nL a-B ouscarle”

.Harmonic i n t e r v a l s i n th e po lyphonic s e c t io n s of

b o th th e to n a l ly o r ie n te d and n o n - to n a l ly o r i e n te d b i r d

song v a ry . However, s t ro n g u n i fy in g i n t e r v a l s a re IC1 and

IC4- IC6, th e t r i t o n e , i s a lso h ea rd f r e q u e n t ly .

B irdsong i s d e p ic te d i n a l l r e g i s t e r s o f th e p iano .

A c h a r t o f th e g e n e ra l r e g i s t r a l c h a r a c t e r i s t i c s o f b ird so n g ,

(F ig u re 4 .7 ) , shows t h a t most b ird so n g rem ains i n i t s own

p a r t i c u l a r r e g i s t e r . Only th e w arb le r and th e n ig h t in g a le

f l u c t u a t e between r e g i s t e r s . Most m a te r ia l i s p re se n te d i n

a h ig h t e s s i t u r a , as would be c h a r a c t e r i s t i c o f a c c u ra te

61

b ird so n g t r a n s c r i p t i o n . There a re however, n o ta b le

e x c e p tio n s , th e co rncrake and th e hoopoe. R e g i s t r a l

s i m i l a r i t i e s th u s u n i t e m a te r ia l , w hile wide r e g i s t r a l gaps

a re im p o r ta n t d i f f e r e n t i a l f a c t o r s .

B irdsong w ith f l u c t u a t i n g r e g i s t e r :

W arbler— medium to h igh N ig h t in g a le — low to. h igh

B irdsong w ith c o n s ta n t r e g i s t e r s :

B la ck b ird Robin WrenC haff inch Yellow W agtail B lackcap K in g f is h e r Sand M artin

High r e g i s t e r

Thrush Moorhen.

HoopoeCorncrake

Medium r e g i s t e r

Low r e g i s t e r

F ig u re -Zf«7» R e g is te r i n d i c a t i o n s f o r b ird so n g i n "La B ouscarle"

The dynamic range .of b ird so n g in "La B ouscarle"

i s from th e t r i p l e p iano o f th e ro b in and n ig h t in g a le , to

th e t r i p l e f o r t e of th e w a rb le r . The i n t e n s i t y w ith which

m a te r ia l i s h ea rd g e n e ra l ly r e f l e c t s i t s im portance as much

as i t s c h a ra c te r . The w arb le r m a te r i a l th e r e f o r e , th rough

dynamic l e v e l , a s s e r t s i t s im p o r ta n tce i n th e p ie c e as a

whole.

More o f te n th an n o t , b ird so n g f l u c t u a t e s i n dynamic

range, as i s seen i n F ig u re 4- 8? below. Most b ird so n g i s

p re s e n te d a t .a h igh o r medium h ig h dynamic l e v e l , w ith th e

ex cep tio n o f th e ro b in , whose dynamic l e v e l rem ains low

th roughou t.

B irdsong w ith f l u c t u a t i n g dynamic l e v e l :

Moorhen p - f 'B lac k b ird — -p-f C haff inch— p - f f N ig h t in g a le —- p p p - f f Sand M artin — pp-mf Yellow W agta il— pp-mf Thrush— m f - f f f B lackcap— m f-f f •

B irdsong w ith c o n s ta n t dynamic l e v e l :

W arbler- f f f C orncrake- f Wren- f

K in g f is h e r - mf'Hoopoe- mf

.. . . _%in-_pp-ppp.. .... .... .F i g u r e 4»8 . Dynamic l e v e l s o f b i r d s o n g i n "L a B o u s c a r l e "

The a l t e r n a t i o n o f ch o rd a l and c o n t ra p u n ta l te x

tu r e s i n "La B ouscarle" i s b a s ic to th e o rg a n iz a t io n o f th e

p ie c e . Although some b ird so n g v a r i e s i n i t s t e x t u r a l f a b r i c ,

most rem a in s homogenous. A ll t o n a l l y o r i e n te d b ird so n g i s

p re s e n te d c o n t r a p u n ta l ly . (See F ig u re s if. I* if. 2, and if>3)«

The t e x tu r e o f th e b lackcap and b la c k b ird d i f f e r s from th e

o th e r s i n t h a t th e r e i s a ch o rd a l p ed a l h ea rd th roughou t th e

m a t e r i a l . . (See F ig u re 4» 1 and F ig u re 4. 3)0 Polyphonic

m a te r i a l i s more l y r i c a l and f low ing , w h ile homophonic

m a te r i a l te n d s toward s h o r t , co n c ise g roup ings . The d e n s i ty

o f th e homophonic m a te r ia l ran g es from two to s i x v o ic es ,

w h ile th e po lyphonic m a te r i a l rem ains t h i n th roughou t,

g e n e ra l ly two v o ic e s . F ig u re "4» 9 shows th e t e x t u r a l makeup

o f th e b i r d m a te r ia l i n "La B o u sca r le " . S ince th e n ig h t

i n g a le e x h i b i t s b o th ty p e s o f t e x tu r e , i t i s n o t in c lu d e d

i n th e c h a r t .

B irdsong w ith po lyphonic t e x tu r e : a l l tw o-voice

B lack b ird Bo b in Corncrake WrenBlackcap Sand M artin

B irdsong w ith homophonic t e x tu r e : •

W arbler— fo u r v o ic e K in g f is h e r— fo u r v o ic e Thrush— two to s i x vo ice Moorhen— th r e e v o ic e C haff inch— fo u r v o ice Yellow W agta il— th r e e vo ice

F i g u r e 4 .9 . T e x t u r a l makeup o f b i r d s o n g i n " L a B o u s c a r l e "

Rhythm

Rhythm i s th e most d i f f i c u l t pa ram ete r to c a te

g o r iz e because o f i t s v a r i a t i o n w ith in a s in g l e b ird so n g .

The e n t i r e Catalogue i s w r i t te n in an a m e tr ic a l

framework. A s tudy o f th e b i r d m a te r ia l shows Messiaen

u se s a very sm all d u r a t io n a l complement, o r number o f

d i f f e r e n t d u ra t io n s . A study o f th e d u ra t io n complement can

f a c i l i t a t e perform ance of th e p ie c e . Because o f th e

a m e tr ic a l framework o f th e p ie c e , th e "basic d u r a t io n a l v a lu e

i s th e g u id e l in e by which a l l o th e r d u ra t io n s a re con

s id e re d . In "La B o u sca r le " , d u ra t io n a l v a lu e s range from

th e e ig h th n o te , which o ccu rs in f r e q u e n t ly , to th e one

hundred tw e n ty -e ig h th n o te , an im p o r ta n t v a lu e f o r the

corncrake , a l th o u g h h ea rd a t a slow tempo. The b a s ic

d u ra t io n o f th e p ie c e i s th e th i r ty - s e c o n d n o te , and

s l i g h t l y l e s s common, b u t s t i l l im p o r ta n t , i s th e s ix t e e n th

n o te .

The p ie c e i s u n i f i e d i n p a r t by c e r t a i n rhythm ic

id e a s which a c t as r e f e r e n t i a l g u id e l in e s i n th e p ie c e .

The most im p o r ta n t o f th e se rhythms i s th e heard i n

th e second h a l f o f th e w arb le r m a te r ia l . (See F ig u re 4*4,

p . 58). T h is rhythm appears in th e m a te r ia l o f e ig h t of

th e fo u r te e n b i r d s i n th e p ie c e . B esides th e w arb le r , th e

rhythm i s h ea rd i n th e songs o f the b la c k b ird , ro b in ,

( s l i g h t l y augm ented), wren, th ru sh , b lackcap , n ig h t in g a le ,

and yellow w a g ta i l . Rhythmic id e a s a lso dominate c e r t a i n

65

b ird so n g s . The th r e e rhythm ic c e l l s which dominate th e

i s th e im p o r ta n t rhythm fo r th e b ird so n g in th e p ie c e .

The second rhythm i s th e im p o r ta n t rhythm from "Le Chocard

des A lpes". Thus, i n t e r r e l a t i o n s h i p s e x i s t between p ie c e s

based on rhythm ic s i m i l a r i t i e s o f b i r d m a te r ia l . The i n t e r

p lay o f sound and s i l e n c e , o f s o n o r i t i e s s e p a ra te d by r e s t s ,

and o f long, l y r i c a l po lyphonic l i n e s a re a l l c h a r a c t e r i s t i c

o f b ird so n g m a te r ia l i n "La B o u sca r le " .

Tempo i n d i c a t i o n s fo r a l l m a te r ia l s i n th e Catalogue

a re very s p e c i f i c . For b ird so n g i n "La B o u sca r le " , tempi

range from J - 46 f o r th e hoopoe, th rough J - 160 fo r th e

wren, k in g f i s h e r , and c h a f f in c h . F igu re 4* 10 , (on fo llo w in g

page ) g iv e s tempo m arkings fo r a l l b ird song in th e p ie c e .

The f ig u re shows th e i n t e r r e l a t i o n s h i p s of tempo in th e

b ird so n g m a te r ia l on th e p ie c e . The 108 tempo of th e

w arb le r i s sha red by th e b lackcap and th e yellow w a g ta i l .

I t s J = 158 tempo i s heard i n th e k in g f i s h e r and b la c k b ird

s e c t io n s . The ^ * 160 tempo i s sh a red by th e moorhen,

c h a ff in c h , wren, and k in g f i s h e r . The ex trem ely slow tempi

o f th e hoopoe and co rncrake a re th e excep tion r a t h e r than

th e r u l e in b ird so n g . An exam ination of t h e i r appearances

i n the sco re shows th e corncrake fo llo w in g th e w arb le r th r e e

o u t o f th e fo u r tim es th e co rn crak e i s p re se n te d . The

hoopoe, in i t s only appearance , a ls o fo llo w s th e w arb le r .

th ru sh The f i r s t rhythm

66

B irdsong w ith f l u c tu a t in g tempi:

W arbler— J r 108, J - 138Moorhen— j - 126, J -1 6 0C haffinch—— J <= ^ ^ 1 60Blackcap— Jc ]32j Jc= 108 iK in g f is h e r— 1 26, 138, 1 60 ,N ig h t in g a le — J - 132, J s: 72, J ? 100, J t 66

B irdsong vd.th c o n s ta n t tem pi:

Wren— J ' 160 Thrush—— J ~ 11.1 ..Sand M artin— J - 144

f a s t

J ' 1 3 8 ^6 , I11— J -108

B la c k b ird — J - ,_Robin— J '1 2 6 , V mediumYellow Wagtail-

C o r n c r a k e - J '-52 T. slowHoopoe— J -ko J

F ig u re Zf. 10. Tempo c h a r t fo r b ird so n g i n "La B ouscarle"

M orphological s i m i l a r i t i e s o f tempo (and r e g i s t e r ) between

th e two b i r d s i s n o t c o in c id e n ta l , bu t i s based on form al,

a r c h i t e c to n i c c o n s id e r a t io n s o f p a ra m e tr ic d i f f e r e n t i a t i o n

between a d ja c e n t m a te r ia l .

As w ell a s i n t e r r e l a t i n g b ird song , tempo se rv e s

to s e p a ra te and i d e n t i f y b ird so n g . In "La B o u sca r le " ,

a d ja c e n t b i r d m a te r ia l w ith i d e n t i c a l tempi i s found inp

only one in s t a n c e i n th e e n t i r e p ie c e .

2. page 14, system 2, M essiaen, op. c i t .

67

Non-Bird M a te r ia l

P ro g ram m atica lly , non -b ird so n g m a te r ia l i n "La

B ouscarle" c o n s i s t s o f w ater " r e f l e c t i o n s " , ( V I 'e a n r e f l e t e

.Dee s a n ie s e t p e u p l i e r s " ) . The b lu e -g re e n f e a t h e r s o f th e

k i n g f i s h e r , ( " f l e c h e b le u e - v e r te du m a r t in -p e c h e r" ) ,a n d th e

r i v e r , ( " l a r i v i e r e " )„ Exact and in e x a c t r e c u r re n c e s o f t h i s

m a te r ia l a t c e r t a i n p o in t s a c t to u n ify th e e n t i r e p ie c e .

P i t c h

The f i r s t appearance o f n o n -b ird m a te r ia l i n "La

B ouscarle" d em o n stra te s M essiaen’ s tech n iq u e f o r m a n ip u la t in g

th e Modes o f L im ited T ra n s p o s i t io n to produce v a ry in g

s o n o r i t i e s . The f l u r r y o f chords i n F igu re 1 ? on th e f o l

lowing page c o n s i s t e n t i r e l y o f p i t c h m a te r ia l d e r iv ed

from th e t h i r d Mode o f L im ited T ra n s p o s i t io n . Each' v o ice

o f th e s o n o r i ty i s p r o je c te d h o r i z o n ta l ly and r e a l i z e s th e

s c a le i n t h a t d i r e c t i o n . The o r i g i n a l i n t e r v a l l i c r e l a -

. t i o n s h ip s govern th e subsequent s o n o r i t i e s , and i n t h i s

case M essiaen u se s t r i a d i c harm onies i n t e r s p e r s e d w ith

n o n - t r i a d s to produce a f e e l in g o f u n reso lv ed te n s io n .

(flcche bleue-verte du Martin-pecheur) T r e s v i f ( ^ r 2 0 0 ) .

J (brillant)

F ig u re 4 - 11 - "La B o u sca r le” p . 1, systems 3-4»

The d i s t r i b u t i o n of th e p i t c h m a te r i a l fo r the

" r e f l e c t i o n s " m a te r ia l d i f f e r s a t each appearance , bu t

p i t c h e s a re d e r iv e d from th e 12-note s e t . The s e t i s

a rran g ed in lo o s e ly connected 12-note a g g re g a te s . See

F ig u re 4.1 2 .

(I'eau refl'ete les saules et les peupliers)V i f

p p (Iiguide et fluide)

(sourdine)

F igure 4 .1 2 . "La B ouscarle" p. 2, system 3*

The " r iv e r " m a te r ia l i s n o t so p r e d i c t a b l e in i t s

use of modes. In th e n ex t example. F igu re 4.13* M essiaen

p r o j e c t s th e t h i r d Mode of L im ited T ra n s p o s i t io n in a

l i n e a r fa sh io n , t r a n s p o s i t i o n I I . At th e change in

r e g i s t e r , M essiaen d is c a rd s th e modes and s u b s t i t u t e s added

s ix t h c h o rd s .3

3- These s o n o r i t i e s , w ith a descend ing fo u r th i n th e soprano l i n e , r e c a l l th e love theme from th e T u ra n g a l i la Symphonie. (Johnson, 1973), p .130.

70

T r e s l e n t 60)

t'4 f*

F igu re 4. 13- "La B ouscarle" p .4, system Zf.

At th e t h i r d appearance o f th e m a te r ia l , th e use o f

th e mode f l u c t u a t e s . There i s no s t r i c t modal use u n t i l th e

beg inn ing o f th e th r e e s ta v ed music,shown below. The

m a te r ia l ta k e s on a to n a l c h a r a c te r i n t h a t th e re i s a V-I

chord movement i n E i n th e t h i r d s t a f f . The p i t c h m a te r ia l

fo r the top two s ta v e s comes from Mode I I I . See F igu re 4 ,1 4 .

a s g 7 : ~ : : L m

i§

F ig u r e 4 .1 4 - "La B o u s c a r l e ” p . 13, sy s tem 2.

71

Because th e Modes o f L im ited T ra n s p o s i t io n c o n ta in

i n t e r n a l t r a n s p o s i t i o n a l subsets* s e t s t r u c t u r e r e p e t i t i o n

r e s u l t s when th e modes a re p r o je c te d i n a l i n e a r fa sh io n ,

a s i n F ig u re 4*11« S o n o r i t i e s in c lu d e (0, 1, 3S 4? 5? 8 ) ,

( 0 ,1 ,2 , 4, 5, 8 ) , and (0 ,2 , 4, 5, 6 ,8 ) , fo llow ed by a r e p e t i t i o n

o f th e s e sounds, though a t d i f f e r e n t p i t c h l e v e l s . The

" r i v e r " m a te r i a l a lso e x p l o i t s th e t h i r d Mode i n such a way

t h a t r e s u l t i n g s e t s t r u c t u r e s a re i d e n t i c a l . The s o n o r i t i e s

o f t h i s m a te r i a l , (F ig u re 4. 13) a r e (0 , 1, 3 , 4 , 7 ) , ( 0 ,1 ,3 ,4 , 3, 8)

and ( 0 , 2 ,4,5 * 6 ,8 ) s e t s . The same b a s ic s t r u c t u r e s a re

h ea rd th ro u g h o u t th e " r i v e r " m a te r i a l .

M a te r ia l n o t d e r iv ed from th e Modes i s n o t so

p r e d i c t a b l e i n s e t s t r u c t u r e . S o n o r i t i e s f o r th e n o n -b ird

m a te r i a l i n F ig u re 4*12 a re (0, 1 ,2 , 6 ,8 ) , ( 0 ,3 ,4 , 6, 9 ),

(0, 1 ,4 ,6 ) , (0 ,1 , 2 ,5 ) , (0, 1 , 2 , 4 , 6 , 8 ) , and ( 0 ,1 ,3 ,3 ,7 ) * ' •

These have no c o u n te rp a r t i n th e o ther- m a te r i a l . I n t e r v a l l i c

r e l a t i o n s h i p s however, u n i t e i t w ith bo th b i r d and n o n -b ird

m a te r i a l th ro u g h o u t th e work. . The im p o r ta n t i n t e r v a l s ,

IC1 and IC6, a re h ea rd many t im es i n t h i s m a te r i a l .

The " t r e s modere" s o n o r i t i e s i n F ig u re 4*13, on

th e fo l lo w in g page, a re n o t d e r iv e d from any modal source .

The two h a lv e s have d i f f e r e n t p i t c h in v e n to ry , b u t exac t

i n t e r v a l l i c s e t s t r u c t u r e . The f i r s t s o n o r i ty o f each i s

(0, 1, 2 ,3 , 5, 6, 8 ) , and th e second i s (0, 1 ,2 ,3 , 4, 7,9)*

72

T r e s modere

F ig u re 15- uLa B o u sc a r le ” p. 21, system 4-

T ex ture fo r a l l n o n -b ird m a te r ia l i s homophonic and

r e l a t i v e l y th ic k , between fou r and s ix v o ic e s . Each of

th e th r e e ty p e s o f n o n -b ird m a te r ia l has i t s own r e g i s t e r '

and dynamic l e v e l , which rem ains c o n s ta n t a t subsequen t

appearances , th u s a c t in g as u n ify in g f a c t o r s .

Rhythm

F ig u re 4»16, on th e n ex t page, shows th e rhythm ic

scheme fo r th e ’’r e f l e c t i o n s " m a te r ia l on page two of th e

sco re . The m a te r i a l i s p re se n te d as a rhy thm ic canon, th e

bottom l i n e e n te r in g a t a d is ta n c e o f a s i x t e e n t h no te

and augmented by a s ix t e e n th n o te , from th e top l i n e . When

th e m a te r ia l r e t u r n s l a t e r , th e r e i s no canon ic t r e a tm e n t .

73

r„ j / / ,u / j u . u j ' j ' j j r J j -j

F ig u re 4.1 6 . Rhythmic canon, "La B ouscarle" p p .2-3.

The " r iv e r " m a te r ia l e x h i b i t s rhythm ic homogeneity

th roughou t. P h ra s in g i s smooth, l i n e s a re u n in te r r u p te d

by r e s t s . The rhythm J j ) which i s an augm entation of th e

^ 9 j s o im p o r ta n t i n th e b ird so n g m a te r ia l , i s heard a t each

appearance.

Tempo rem ains g e n e ra l ly c o n s ta n t w ith each of th e

th re e d i f f e r e n t n o n -b ird m a te r i a l s . I t v a r i e s only in th e

second appearance o f th e " r e f l e c t i o n s " m a te r ia l , where i t

( e n t e r s a f t e r 16th. r e s t )

no rhythm ic c o u n te rp a r t

d e c re a se s from 152, t o J = 120.

74

B ird -R e la te d M a te r ia l

The " f l i g h t " o f th e k in g f i s h e r i s th e only b i r d -

r e l a t e d m a te r ia l in "La B o u sca r le " . I t ap p ea rs four tim es

in th e course of th e p ie c e . A lthough fo rm a lly th e m a te r ia l

d i f f e r s a t each appearance w ith th e a d d i t io n o f new elem ents ,

th e same b a s ic p a ra m e tr ic m a n ip u la t io n s occur th roughou t.

P i t c h

F ig u re 4- 17 i l l u s t r a t e s th e f i r s t appearance of th e

f l i g h t m a te r ia l . The s o n o r i t i e s o f th e r i g h t hand a re

based on p e n ta to n ic s c a le s p r o je c te d h o r i z o n ta l ly fo r each

v o ic e . The s in g le n o te s between each s o n o r i ty form p e n ta

to n ic s c a le s of t h e i r own. Meanwhile, th e l e f t hand p la y s

th e n o te s in an A major t r i a d . At th e second appearance of

th e m a te r ia l however, p i t c h e s a re n o t d e r iv e d from any modal

sou rce .

E x t r e m e in c n t v i f ( J 1* =184)

I , U - ' 5r/pVp (ires rapide, scintillement d ’un bijou bleu et ver t )

5i §i

F i g u r e 4 .1 7 . "La B o u s c a r l e " p . 5, sy s tem 3-

75

The v e r t i c a l s e t s t r u c t u r e s r e s u l t i n g from th e

s c a l a r m otion i n F ig u re 4. 17 a re ( 0 , 1 , 5 ,8) , ( 0 ,1 ,4 , 7),

( 0 ,5 ,7 ) , and ( 0 , 1 , 5 , 7 ) . They se rv e to u n ify f l i g h t m a te r ia l

when i t r e a p p e a rs , bu t n o t to i n t e r r e l a t e i t w ith th e

o th e r ty p e s o f m a te r i a l s , b ird so n g and n o n -b ird m a te r i a l .

F ig u re 18 i s th e second appearance o f th e

m a te r ia l .

- 1 4 4)T res v i f

\ f (vo l nuptial du Martin -pecheur)in

F ig u re 4*18. ’’La B o u sca r le” p. 8, systems 4-5*

S o n o r i t i e s o f th e r i g h t hand c o n s i s t o f a l t e r n a t i n g major

and minor harm onies over an A1?, Elj, o s t i n a to . T h is o s t i n -

a to p a t t e r n r e l a t e s s t ro n g ly to th e one i n F ig u re 4. 17.

76

F a c to rs o f con tour and r e g i s t e r a re im p o r ta n t in

d e f in in g t h i s m a te r ia l . S o n o r i t i e s a re a r ran g ed in an a rch

form ,and a t th e second appearance , (F igu re 4 * IS) th e sonor

i t i e s o f th e a rch form a re p a l in d ro m ic , a f a v o r i t e device

o f M essiaen. P lay in g th e passage i n r e t r o g ra d e from the

f i r s t s o n o r i ty i n th e second measure would be th e same as

p la y in g i t forw ard to t h a t p o in t .

Rhythm

Rhythm i s homogenous th ro u g h o u t the f l i g h t m a te r ia l

and c o n s i s t s of th e t r i p l e g roup ings shown in F ig u re s 4. 17and 4*18, w ith some double g roup ings in t e r s p e r s e d . L ines a re

long and u n in te r r u p te d by r e s t s . Tempi a re very f a s t fo r

t h i s m a te r ia l , be ing J ~ 184, / - 144, and J = 1 2.

Form in "La B o u sc a r le "

The m usica l m a te r i a l s f e a tu r e d in ’'La B ouscarle"

have been d isc u sse d a t le n g th . T h e ir mode o f p r e s e n t

a t io n in th e p ie c e i l l u s t r a t e s M e ss ia e n 's segmented approach

to form. Because of th e l a r g e number of b i r d s invo lved , and

th e c o n s ta n t i n t r a - s e c t i o n a l j u x ta p o s i t io n o f n o n -b ird and

b i r d - r e l a t e d w ith b ird so n g m a te r i a l , formal s t r u c t u r e i s

based on an o rd e r ly r e tu r n o f a s u b s t a n t i a l group of

m a te r ia l s . The c h a r t on th e fo l lo w in g pages shows the l a rg e

s c a le form al s t r u c t u r e of "La B o u sca r le " , as w ell as sub

s e c t io n a l g roup ings (F ig u re 4 -1 9 ) .

77

In t ro d u c t io n

W arbler page 1, sys. 1Moorhen 1 2K in g f is h e r 1 3"Blue g reenF e a th e r s " 1 3 -4K in g f is h e r 2 • 1W arbler 2 2-3

I n te r lu d e

" R e f le c t io n s " 2, sys. 3? to page If, sy s .

S trophe IP a r t A.

R iv e r , B la c k b ird page if, sys . 2, to page 5,W arbler 3 2K in g f is h e r F l i g h t 5 3 -4R iver , Robin 5 3, to page 6$,

P a r t B.

W arbler p a g e -6, sys , 3Corncrake 6 4Thrush 6, 3, to page 7,Wren 7 2-3

S trophe I IP a r t A,

3, to page 8,34, to page 9?3? to page K

R iv er , B la c k b ird page 7, syz W arbler 8K in g f is h e r F l ig h t 8R iver , Robin 9

P a r t B.

W arbler page 10, sys . 2-3Corncrake 10 3 -4Thrush 10 4? to page 11C haffinch 11 3 -3W arbler 11 ifCorncrake 11 5, to page 12

sys . A

sys . 2

sys. 1

sys . 2sy s . 2

, sy s . 2

, sys . 3

, sy s . 1

F i g u r e 4«19- Form al C h a r t , "L a B o u s c a r l e "

78

Strophe I I I

P a r t A.

R iver , B lackcap page 12, sys» 1, to page 14,WarblerHoopoeWren

N ig h tin g a le

K in g f is h e r F l i g h t

" R e f le c t io n s ” Sand M artin Moorhen W arbler

141414

2-334-5

I n t e r p o l a t i o n 1

page .15, sys . 1-5

S trophe I I I ( c o n t . )

16, sys . 1, to page 17,

I n t e r p o l a t i o n 2

page .17? sy s . 3, to page 18,18, 4, to page 19,19 1-219 3-4

• S trophe I I I ( c o h t . )

P a r t B.

R iv er , Robin Corncrake Y ellow -W agtail

page 19, 20 20

Coda

sys . 3, to page 20, 4

K in g f is h e r F l i g h t page 21, K in g f is h e r 21"Blue g reen F e a th e rs " 21W arbler 21

sys. 1 —223-45

sys . 2

sys . 2

sys . 3 sys . 1

sys. 4

F ig u re 4 .19 . Continued

79

The in t r o d u c t io n i s so termed because a l though i t

p r e s e n t s im p o r ta n t m a te r ia l , e s p e c i a l l y th e song o f th e

w arb le r , most o f th e m a te r ia l h e re does n o t r e tu r n u n t i l

th e Coda. The exac t r e tu r n o f bo th th e " b lu e -g re e n f e a th e r s "

m a te r i a l and th e song of th e k in g f i s h e r , and a v a r i a t i o n

o f th e w arb le r m a te r ia l i n th e Coda . p roduces a sym m etrical

framework i n t o which th e rem ain ing m a te r i a l i s s e t .

The homogeneity o f th e n o n -b ird m a te r i a l i n the

i n t e r l u d e r e a d i l y s e p a ra te s i t from th e o th e r m a te r ia l .

The th r e e s t ro p h e s a re d e l in e a te d by a l o g i c a l

r e t u r n o f s u b - s e c t io n a l m a te r i a l s . A ll th r e e s t ro p h e s

b e g in .w i th th e " r i v e r " m a te r i a l i n t e r s p e r s e d w ith a p a r

t i c u l a r , b ird so n g . Though th e a c tu a l b i r d s may d i f f e r , th e

th r e e used i n t h i s r e s p e c t a l l su g g e s t to n a l im p l ic a t io n s .

P a r t "A" i n S tro p h es I and I I use th e same o rd e r in g of sub

s e c t io n a l g roup ings . Exact r e p e t i t i o n o f m a te r i a l i s

avoided th rough the. v a r i a t i o n a l p ro c e s s e s to be d isc u sse d *

on th e fo llo w in g pages. P a r t "B" o f th e f i r s t two s tro p h e s

a lso have .the same o rd e r in g , though th e r e i s a d d i t io n a l

m a te r ia l i n th e second s t ro p h e . S trophe I I I m a in ta in s a

g e n e ra l r e l a t i o n s h i p w ith th e f i r s t two s t ro p h e s through

r e tu r n o f p re v io u s ly heard m a te r i a l . E n t i r e l y new m a te r ia l

i s added h e re a ls o . T h is m a te r i a l in c lu d e s th e songs of th e' k :

hoopoe and yellow w a g ta i l . In a d d i t io n , t h e r e a re two

i n t e r p o l a t i o n s i n t h i s s e c t io n , so named because they

i n t e r r u p t th e l o g i c a l e s t a b l i s h e d sequence o f t h e . s t r o p h e s .

80

Large form al s e c t io n s a re s e p a ra te d by s i l e n c e ,

an im p o r ta n t dev ice in t h i s r e s p e c t fo r M essiaen, Each

i n t r a - s e c t i o n a l group has an i d e n t i f i a b l e com posite o f

p a ram e te rs which r e t u r n s a t v a r io u s p o in ts , th u s u n i t i n g

th e work l o g i c a l l y .

B irdsong V a r ia t io n

In o rd e r to m a in ta in i n t e r e s t i n a form al s t r u c t u r e

so r e p e t i t i v e , M essiaen o f te n v a r i e s m a te r ia l a t each

s u c c e s s iv e appearance , A s tudy o f th e m etam orphosis, o r

la c k o f i t , i n th e su c c e s s iv e appearances o f a b ird so n g

g iv e s us v a lu a b le i n s i g h t in to M e ss ia e n 's s t y l e , p a r t i c

u l a r l y as r e g a rd s v a r i a t i o n . P a ra m e tr ic c o h e s iv e n ess i s

ach ieved i n a v a r i e t y of ways, which range from exac t '

r e p e t i t i o n to broad , g e n e ra l r e l a t i o n s h i p s o f t e x tu r e and

con tou r.

Tempo, r e g i s t e r , dynamics, and t e x tu r e a re th e

s t r o n g e s t cohes ive f a c t o r s in r e c u r r in g b ird so n g . A ll

r e tu r n e x a c t ly when th e p a r t i c u l a r b i r d r e a p p e a rs , w ith th e

ex c ep tio n o f th e b la c k b ird , whose dynamic l e v e l d i f f e r s

s l i g h t l y th e second tim e i t i s h ea rd . V a r ia t io n th en , i s

ach ieved th rough p i t c h m an ip u la tio n , and th e a d d i t io n of

e n t i r e l y new m a te r i a l . Most r e c u r r in g m a te r ia l combines

bo th th e se f a c t o r s .

The w a rb le r m a te r ia l m a te r ia l , h ea rd te n t im es i n

th e p ie c e , i l l u s t r a t e s bo th th e s e methods. Of th e te n

appearances o f th e b ird so n g , on ly fou r employ v a r i a t i o n s

81

o f th e o r i g i n a l s ta te m e n t. The o th e r s ix a re a r e p e t i t i o n

o f one o f th e v a r i a n t s , o r th e o r i g i n a l . See Table

Table 4 ,1 , Recurrence, .and V a r ia t io n of. W arbler m a te r ia l

. ■ M a te r ia l Appearance Page

o r i g i n a l # 1 1

v a r i a t i o n o f o r i g i n a l ' # .2 2

v a r i a t i o n o f o r i g i n a l # 3 5

same as # 3 # 4 6

same as # 2 # 5 8

same as # 1 # 6 10v a r i a t i o n of o r i g i n a l # 7 11

same a s # 3 # 8 14

same as # 2, w ith e x te n s io n # 9 19

same as # 7 #10 21

P i t c h in v e n to ry fo r s u c c e s s iv e appearances vary , a s

do r e s u l t i n g s o n o r i t i e s . In F ig u re ' 4,20 , fo llo w in g , th e

IC6 r e l a t e s s t r o n g ly to th e co rresp o n d in g s e c t io n i n th e

o r i g i n a l s ta te m e n t , ( F ig u re 4°4)°

At o th e r t im es , b o th s o n o r i t i e s and p i t c h e s r e t u r n .

F ig u re 4-21 i l l u s t r a t e s th e t h i r d appearance o f th e w a rb le r .

The second s o n o r i ty has th e same p i t c h m a te r ia l as th e

o r i g i n a l i n th e r i g h t hand, on ly in v e r te d . The l e f t hand

o f th e t h i r d s o n o r i ty o f bo th have th e same s e t s t r u c t u r e .

82

Modere ( 1 0 8 ) Un pen v lf ( S '1 - 1 3 8 )

J t f (brusque et violent)

F igu re 4.2 0 . Second appearance o f th e w arb le r i n ”La B ouscarle" p . 2, system 2.

(0, 1 ,2 ,7 ) . The second s e c t io n s o f F ig u re s 4»4, and 4- 21

show p i t c h s i m i l a r i t i e s . The G# and C# i n th e r i g h t hand,

fo r in s t a n c e . In th e o r i g i n a l example, IC6 ap p ears i n th e

r i g h t hand, and IC5 i s heard on th e bottom. In th e t h i r d

appearance , F igu re 4 .21 , below, t h i s i s r e v e r s e d , w ith th e

IC5 heard in th e r i g h t hand and th e IC6 heard on th e bottom.

>Iodere ( d ' - 108)

J$f' {brusque et v iolent)

F i g u r e 4*21. T h i r d a p p e a r a n c e o f t h e w a r b l e r i n"La B o u s c a r l e " p . 5, sy s te m 2.

83

Also, e n t i r e l y new m a te r ia l i s heard i n th e second

appearance, which c o n t r a s t s i t w ith th e o r i g i n a l . Although

n o t shown i n F ig u re Zf. 20, th e s o n o r i t i e s o f th e e x te n s io n

a re ( 0 ,1 ,3 ,7 ) s e t s . T h is ( 0 ,1 ,3 ,7 ) sound i s hea rd in th e

o r i g i n a l s ta te m e n t . Thus, w hile i t i s d i f f e r e n t m a te r ia l ,

i t r e l a t e s to m a te r i a l a l re a d y hea rd . When t h i s e x te n s io n

re a p p e a rs on page 19 o f th e sc o re , p i t c h m a te r ia l d i f f e r s ,

bu t th e r e s u l t a n t s o n o r i t i e s do n o t .

The f i n a l s o n o r i ty of th e t h i r d s ta te m e n t , (F ig u re

4. 21) i s an (0, 1, 6, 7) s e t , and has th e same p i t c h and

i n t e r v a l s t r u c t u r e as th e t h i r d s o n o r i ty i n th e o r i g i n a l .

F ig u re 4*22, below, i s th e seven th appearance of

th e m a te r ia l . A com parison of o v e r a l l s e t s t r u c t u r e shows

no s i m i l a r i t i e s w ith p re v io u s examples. However, i f th e

hands a re s e p a ra te d , th e c h a r a c t e r i s t i c i n t e r v a l c l a s s e s ,

IC1 and IC6 a re p r e s e n t .

Mode reUn peu v if

JXf (brusque et violent)

F i g u r e 4 - 2 2 . "L a B o u s c a r l e ” p . 11, sys tem 4-

84

A s tudy o f o th e r r e c u r r in g b ird so n g w i l l r e v e a l

th e same g e n e ra l r e s u l t s . V a r ia t io n i s ach ieved th rough

th e rearrangem en t o f p i t c h m a te r i a l . R e g i s t r a l d i s p la c e

ment a l t e r s th e tim bre o f th e sound s l i g h t l y , bu t i n t e r n a l

r e l a t i o n s h i p s based on i n t e r v a l l i c s i m i l a r i t i e s , as w ell

as s e t r e p e t i t i o n , u n i t e th e m a te r ia l . The a d d i t io n of

e n t i r e l y new m a te r ia l n a t u r a l l y v a r i e s th e t o t a l p i c tu r e

o f th e b ird so n g .

Summary

MLa B ouscarle" i s an i n t e g r a t i o n of b ird so n g ,

n o n -b ird , and b i r d - r e l a t e d m a te r i a l s in to a l o g i c a l

cohesive whole. Through a s tudy o f th e p ie c e , th e fo l lo w in g

c o n c lu s io n s can be drawn fo r each type of m a te r ia l .

B irdsong

B irdsong i s th e prim ary type of m a te r ia l in th e

p ie c e . P i t c h usage i s a t t im es d e r iv e d from modal o r to n a l

s c a le s , though n o t o f te n . Through an exam ination o f th e

s o n o r i t i e s o f each b i r d , i t has been shown t h a t a p p a re n t ly

d i s s im i l a r m a te r i a l s a re u n i te d by i n t e r v a l l i c s e t s t r u c t u r e s

and s u b s e ts . T h is i s an im p o r ta n t concept in u n d e rs ta n d in g

M e ss ia e n 's s t y l e . F a c to rs o f tempo, r e g i s t e r , t e x tu r e ,

and dynamics a lso se rv e to i d e n t i f y b irdsong .

Rhythm i s a c r u c i a l u n i f y in g param ete r i n b ird so n g

in "La B o u sc a r le " . The f rh y th m , as has been p o in te d o u t ,

appears o f te n and i n t e r r e l a t e s o th e rw ise d iv e rs e m usical

m a te r ia l s .

Non-Bird and B ird -R e la te d -M a te r ia l .

These ty p e s o f m a te r i a l s r e l y much more on th e

Modes o f L im ited T ra n s p o s i t io n and th e 12 -n o te mode i n

th e g e n e ra t io n o f m a te r ia l . The m a n ip u la t io n o f th e se

modes i s im p o r ta n t i n a l l of M essiaen’ s m usic. N on-bird

m a te r i a l r e l i e s on th e 12-n o te ag g reg a te f r e q u e n t ly , e i t h e r

d iv id e d i n t o hexachords on s e p a ra te s ta v e s , o r p r o je c te d

h o r i z o n t a l l y .

The i n t e r r e l a t i o n s h i p o f .th e s e th r e e ty p e s of

m a te r i a l s i s ach ieved m ainly th rough i n t e r n a l i n t e r v a l l i c

s i m i l a r i t i e s . The im p o r ta n t i n t e r v a l s a re IC1, and IC6, and

a re p r e s e n te d and e x p lo i te d i n a l l ty p e s o f m a te r i a l s .

Form

Form i s - b a s e d on th e p r e s e n ta t i o n and ev en tu a l

r e c a l l o f m a te r i a l , - .usually w ith some type o f v a r i a t i o n .

T h is seg m en ta tio n i s ach ieved th rough th e ju x t a p o s i t i o n o f

sm all i n t r a - s e c t i o n a l groups th ro u g h o u t th e p ie c e , as w ell

as th e fo rm u la t io n , on a h ig h e r a r c h i t e c t o n i c l e v e l , o f

l a r g e s e c t io n s combining a number o f th e s e sm a l le r groups.

S e c t io n s a re n o t o rd e red i l l o g i c a l l y , b u t a re based on

c o n s id e r a t io n s o f tempo, r e g i s t e r , dynamics, t e x tu r e , and

p i t c h . I n t e r e s t and movement i n th e p ie c e depend on s t a r k

c o n t r a s t s o f a l l th e s e f a c t o r s .

CHAPTEE 5

SUMMABY AND CONCLUSIONS

In a work as m assive as th e C a ta logue , any con

c lu s io n s drawn would have to be based on an a n a ly s i s o f

c e r t a i n p o r t io n s o f th e work, and a p r o je c t io n o f th e

f in d in g s w i th in th e s e p o r t io n s on th e work as a whole.

From ,the p a ra m e tr ic a n a ly s i s co n ta in e d i n th e p rece d in g

c h a p te r s th e n , we may g a in i n s i g h t in to M e ss ia e n 's con

c e p t io n o f form, as w e ll as th e m usica l f a c t o r s a t work

i n th e d e p ic t io n o f b ird so n g , n o n -b ird , a n d - b i r d - r e l a t e d

m a te r i a l s .

B irdsong

Because i t i s th e s u b je c t o f th e programmatic

theme o f th e work, b ird so n g i s n a t u r a l l y th e most im p o r ta n t

m a te r ia l co n s id e re d , • A ll m usica l p a ram ete rs come in to p la y

i n i t s d e p ic t io n . C onclusions r e g a rd in g M essiaen*s b ird so n g

s t y l e can be p o s tu l a t e d from a s tu d y o f a l l th e s e f a c t o r s .

P i tc h

A lthough i t h as been shown t h a t to n a l and p e n ta -

to n ic s c a le s a re u sed to g e n e ra te b ird so n g o c c a s io n a l ly ,

as evidenced by th e b la c k b ird , b lackcap , and ro b in

86

. 8 7

m a te r i a l i n "La B o u scar le , most b ird so n g i s n o t d e r iv e d

t h i s way. A ctua l p i t c h in v e n to ry v a r i e s w ith each par^

t i c u l a r b ird so n g , b u t im p o r ta n t f a c t o r s o f s o n o r i ty and

i n t e r v a l l i c r e l a t i o n s h i p s e x i s t and u n i t e b o th th e v a r i a

t i o n s o f one p a r t i c u l a r b i r d , and th e songs o f d i f f e r e n t

b i r d s .

D e f in i t i v e s o n o r i t i e s a r e p re s e n te d e a r ly i n

b ird so n g and g e n e ra te subsequen t b ird so n g s o n o r i t i e s . The

f i r s t b i r d sound i n "Le Chocard", f o r example, th e

(0, 1, 2, 5, 6, 7) s e t , g e n e ra te s th e second, (0, 1, 2, 6, 7) .

Subset r e l a t i o n s h i p s co n tin u e to be g e n e ra te d th roughou t

th e m a te r ia l i n t h i s p ie c e . In "La B o u sca r le " , s e t s t r u c

t u r e r e l a t i o n s h i p s a r e n o t on ly g e n e ra te d by th e w arb le r ,

b u t by o th e r b ird so n g i n th e p ie c e a s w e ll . Exact r e p e

t i t i o n o f s e t s t r u c t u r e s a re an im p o r ta n t means o f u n ify in g

m a te r i a l i n th e C a ta logue . S e t s t r u c t u r e s a lso se rve to

u n i fy m a te r ia l between p ie c e . The two s o n o r i t i e s i n "Le

Chocard", ( 0 , 1 , 2 , 6, 7 ) and ( 0 , 1 , 2 , 6 , 7 ) , f in d c o u n te r p a r ts

i n "La B o u sca r le " . The hoopoe and th e n ig h t in g a le from

"La B ouscarle" each have th e ( 0 , 1 , 2 , 6 , 7 ) sound. A ll th e

s o n o r i t i e s o f th e w arb le r a re s u b s e ts o f t h i s chough

sound. S u b se ts a re a lso found i n th e c h a f f in c h , th ru sh ,

k in g f i s h e r , moorhen, and sandm abtin i n "La B o u sc a r le " .

O ther b r i e f examples o f s e t i n t e r r e l a t i o n s h i p s

between th e p ie c e s s tu d ie d a re shown on th e fo llo w in g

88

page, (F ig u re 5»-1 )• The example shows a s o n o r i ty

a s s o c ia te d w ith th e raven , h ea rd i n nLe Chocard", The

s e t i s ( 0 ,1 ,2 , 7 ) . That same s e t can "be h e a rd i n th e song

o f th e chough, "b" from th e same p ie c e , th e song th ru s h ,

"c" , from "Le L o r io t " , p ie c e number I I , and th e s w if t ,

ndn, from "Le Merle B leu", p ie c e number I I I .

B i rd s t h a t have been in c lu d e d i n th e two p ie c e s

s tu d ie d a ls o occu r i n o th e r p ie c e s o f th e C a ta logue .

M essiaen g e n e r a l ly i n t e r r e l a t e s th e s e th rough s e t s t r u c t u r e s ,

i n t e r v a l l i c r e l a t i o n s h i p s , and e x a c t r e p e t i t i o n . F ig u re 5»2

on th e fo l lo w in g page, shows th e song o f th e ra v en . The

s e t s t r u c t u r e i s ( 0 , 1 , 2 , 7 ) . The same b i r d i s h e a rd i n

"Le T raq u e t S ta p a z in " , p ie c e number 17, and a l th o u g h

p i t c h e s a re d i f f e r e n t , s o n o r i ty s t r u c t u r e i s i d e n t i c a l .

As w ith i t s homophonic s o n o r i t i e s , i n t e r v a l s se rv e

to u n i t e m a te r i a l between p ie c e s , even though p i t c h e s

may be d i f f e r e n t . F ig u re 5. 5, ;and F ig u re $ . A. show^the

song o f th e wren as i t was h ea rd i n CLa B o u sc a r le " ,

(p ie c e IX, Book V), and as i t ? s h ea rd i n "Le L o r io t " , ( p ie c e

I I , Book I ) . The IC1 t r i l l i s h ea rd i n b o th examples.

T h is , a long w ith o th e r p a ra m e tr ic f a c t o r s , s e rv e s to u n i t e

b ird so n g th ro u g h o u t th e work. See th e examples on th e

fo llo w in g pages .

89

a. raven , MLe Chocard" ( 0 ,1 ,2 ,7 ) . b, chough, nLe Chocard” (0, 1 ,2 ,7 ) .

# f

c. song th ru s h , "Le L o r i o t ” (0, 1 ,2 ,7 ) .

d. s w if t , "Le M erle Bleu" (0 , 1 ,2 ,7 )

F igure 1• S e t i n t e r r e l a t i o n s h i p s between d i f f e r e n t b i r d s i n th e C atalogue dy0i s e a u x .

sourd. #

raven , "Le Chocard"

JJ' (rapeux, rauque)

L— - _L_^$ 3

raven , "Le T raquet S tap az in "

F igu re 5.2 . S e t i n t e r r e l a t i o n s h i p s between th e same b i r di n d i f f e r e n t p ie c e s i n th e C atalogue d 'O isea u x .

90

T r o g lo d y te

16

F ig u re 5-3 . "La B o u sca r le " , p. 7, system s 3 -4 .

Troglodyte^ T i - e s v i f (#)= 168)

fl. .ft Jft Jft

•i - if— ■■ ■ " y " f.. ^ . —L

z .«L A JL ft

l ig P p ^- -

4

F i g u r e 5»4- "Le L o r i o t " , p . 3, sy s te m 2.

91F a c to r s o f r e g i s t e r , dynamics, and t e x tu r e ta k e

on added s ig n i f i c a n c e i n th e music of M essiaen and must

be viewed as im p o r ta n t cohesive an d /o r d i f f e r e n t i a l

p a ram e te rs .

B irdsong encompasses th e e n t i r e range o f th e piano

and i s h ea rd a t a l l dynamic l e v e l s . T ex ture i s p re se n te d

bo th hom ophonically and p o ly p h o n ic a l ly i n th e C a ta lo g u e .

The im p o r ta n t c o n s id e r a t io n here i s t h a t once a s e t o f

p a ram ete rs a re e s t a b l i s h e d fo r a b ird so n g , th o se p a ra

m ete rs rem ain i n t a c t th roughou t subsequent appearances

o f th e m a te r i a l . In F igu re and F ig u re 5* f a c t o r s

o f tempo, r e g i s t e r , and dynamics b ind m a te r ia l even though

they a re n o t c o n ta in e d i n th e same book.

Rhythm

Because o f th e a m e tr ic a l c h a ra c te r o f th e C a ta lo g u e ,

rhythm ic a s p e c t s o f b ird so n g a re very d iv e rs e . Each b i r d

song has an e s t a b l i s h e d rhythm ic c h a ra c te r which i d e n t i f i e s

i t . Rhythmic 1!c e l l s ” u n i t e m a te r ia l th rough e n t i r e p ie c e s .

The rhythm from "La B o u sca r le” , and th e J rhythm

in "Le Chocard" a re examples o f t h i s .

B irdsong i s d e p ic te d a t d iv e rs e tempi i n th e

C a ta lo g u e , and a c t s to s e p a ra te m a te r ia l as w e ll as u n i t e i t .

The sh a r in g o f tempo between b i r d s i s one o f M e ss ia e n 's

methods o f r e l a t i n g th e s e b i r d s to one an o th e r . In "La

B o u sca r le " , th e w arb le r tempo i s J = 108. T h is i s sha red by

92

two o th e r b i r d s i n th e p ie c e , th e b lackcap and th e ye llow

w a g ta i l , which o th e rw ise have com ple te ly d i f f e r e n t

c h a r a c te r s . Tempo u n i t e s m a te r i a l between books a l s o .

In F ig u re 2, th e rav e n s tempi a r e i d e n t i c a l . Tempo

i s th u s a s t ro n g cohesive p a ram ete r i n t h i s case ,

Non-Bird M a te r ia l

N on-b ird m a te r i a l i s h e a rd e x te n s iv e ly th roughou t

th e C a ta logue , though n o t i n every p ie c e . The main f e a t u r e s

o f t h i s m a te r i a l , as ev idenced by th e p ie c e s s tu d ie d , a re

as fo llo w s:

P i tc h

M essiaen r e l i e s h e a v i ly on th e 12-note mode and th e

Modes o f L im ited T ra n s p o s i t io n i n th e d e p ic t io n o f non

b i r d m a te r i a l . Use o f e i t h e r o f th e s e modes i s found

f re q u e n t ly i n th e two p ie c e s s tu d ie d . The 12-note mode

i s th e b a s i s f o r th e lo n g n o n -b ird s e c t io n s i n "Le Chocard” ,

and th e t h i r d Mode o f L im ited T ra n s p o s i t io n i s used to

d e p ic t th e " r iv e r* and " f e a th e r " m a te r ia l i n "La B o u sca r le " ,

S e t s t r u c t u r e s i n th e n o n -b ird s e c t io n s form

i n t e r r e l a t i o n s h i p s to b i r d m a te r i a l and a re im p o r ta n t i n

i n t e r r e l a t i n g th e two. The ( 0 ,1 ,5 ,7 ) and th e ( 0 ,1 ,6 ,7 ) a re

two im p o r ta n t s o n o r i t i e s i n t h i s r e s p e c t found i n "Le

Chocard",

93

P aram e te rs o f dynamics and r e g i s t e r a re homogenous

i n n o n -b ird m a te r i a l . Once t h e i r c h a r a c t e r i s t i c s a re

e s ta b l i s h e d , th ey rem ain r e l a t i v e l y c o n s ta n t and become

s tro n g i d e n t i f y i n g e lem ents , •.

Ehythm

' In th e n o n -b ird s e c t io n s o f "Le Chocard" and nLa

B o u sca r le " , p i t c h and rhythm a re c lo s e ly r e l a t e d . That i s ,

s e c t io n s in c o r p o r a t i n g th e tB ?no te mode .a re-very im portant?

i n t h e i r rhy thm ic t r e a tm e n t a l s o . The rhythm ic permu

t a t i o n s which abound i n "Le Ohocard” , 'and th e rhythm ic

canon p re s e n te d i n "La B ouscarle" are., two examples o f

M e ss ia e n 's rhythm ic language . The p ro g re s s iv e augm entation

o r d im in u tio n o f rhy thm ir v a lu e s , known as "personnages

rhythm ic" a re im p o r ta n t i n M e s s ia e n 's language and have been

p o in te d o u t i n s e c t io n s o f "Le Chocard", The use o f

rhythms o f th e In d ia n d e ^ i - t s t l a s a f f i rm s M e ss ia e n 's in t e n s e

i n t e r e s t i n E a s te rn rhythm s, and have been d isc u sse d i n

r e g a rd s to th e rhythm ic p e rm u ta t io n s i n th e n o n -b ird

s e c t io n s o f "Le Chocard",

B ird -R e la te d M a te r ia l

B i r d - r e l a t e d m a te r i a l i s u sed l e s s i n th e C atalogue

th an th e o th e r two ty p e s o f m a te r i a l . N o n e th e less , i t h a s

im p o r ta n t p a ra m e tr ic c h a r a c t e r i s t i c s which d e f in e i t s

u n iq u en ess i n th e t o t a l c o n te x t o f th e work.

P i t c h

P i t c h s e l e c t i o n f o r . t h i s m a te r ia l i s d e r iv e d from

th e 12- n o te mode, p e n ta to n ic s c a le s , and n o n - s c a la r sources*

The " f l i g h t ” s e c t io n s i n "La B ouscarle" a re th e on ly i n

s ta n c e s where p e n ta to n ic s c a le s a re used to d e p ic t m a te r ia l

o th e r th a n b ird so n g . I n t e r v a l s and s o n o r i t i e s v a ry

g r e a t l y i n t h i s m a te r i a l , as does t e x tu r e . M ess iaen ’ s . .

co n cep tio n o f pa lin d ro m ic s t r u c t u r e s i s f u r t h e r extended

i n b i r d - r e l a t e d m a te r i a l to in c lu d e p a lin d ro m ic p assag es

o f s o n o r i t i e s i n "La B o u sca r le " .

Rhythm

S ince b i r d - r e l a t e d m a te r i a l d e p ic t s th e " f l i g h t "

o f c e r t a i n " b ird s , - rhythm ten d s tow ard long , smooth

p h ra se s , u n in te r r u p te d by. r e s t s . Tempo i s an ex trem ely

im p o r ta n t co h es iv e param ete r i n t h i s - m a t e r i a l . Although

some b i r d - r e l a t e d m a te r ia l i s p r e s e n te d i n a slow tempo,

most o f i t i s h ea rd a t ex trem ely f a s t tem pi, an im p o r ta n t

u n i fy in g f a c t o r w i th in th e m a te r ia l i t s e l f , and a lso an

im p o r ta n t d i f f e r e n t i a l param ete r between o th e r ty p e s of

m a te r i a l .

M usical I n t e r r e l a t i o n s h i p s

M usical i n t e r r e l a t i o n s h i p s Of b ird so n g i n bo th a

s in g l e p ie c e and between p ie c e s have a l re a d y been d isc u sse d

under p i t c h a s p e c t s o f b ird so n g . M usical i n t e r r e l a t i o n s h i p s

95a lso e x i s t between b ird so n g and o th e r m a te r ia l i n a piece*

T his i s im p o r ta n t i n u n d e rs ta n d in g M essiaen’ s form al

concep tion o f a p ie c e w i th in a work* I n t e r n a l r e l a t i o n

sh ip s e x i s t between th e s e d i f f e r e n t ty p es o f m a te r i a l s

which form cohesive bonds between o th e rw ise d iv e r s e se c t io n s*

A ll p a ram e te rs se rv e to r e l a t e m a te r ia l , p i t c h and rhythm

be ing two o f th e most im p o r ta n t .

P i t c h •

P i t c h i s th e most im p o r ta n t cohesive p aram ete r

between b ird so n g and o th e r m a te r ia l* In C hapter I I I , s e t

s t r u c t u r e r e l a t i o n s h i p s were d isc u sse d between th e s e

m a te r i a l s . . (See C hap ter . 3, F igure . 3*6). A lthough p i t c h e s '

wera d e r iv e d f r o m 'd i f f e r e n t so u rc e s , ( 12-h o te ag g reg a te f o r

th e n o n -b ird v s . n o n - s c a la r . fo r th e b i rd s o n g ) , th e r e s u l t a n t

s o n o r i t i e s were c lo s e ly connected . Subset r e l a t i o n s h i p s

e x i s te d th ro u g h o u t th e m a te r i a l .

Another method o f i n t e g r a t i o n fo r M essiaen i s modal

c o n t in u i ty between n o n -b ird , and b ird so n g s e c t io n s . An

example o f t h i s can be found i n "Le Merle B leu", th e t h i r d

p ie c e i n th e C a ta lo g u e . . (See th e F igure on n e x t p ag e) .

The beg in n in g i s n o n -b ird m a te r ia l u s in g : 12 -no te aggrega tes*

The. song o f th e s w i f t s p a r t i a l l y con tinue t h i s mode, b u t

then i t d isc o n tin u es* The n o n -b ird m a te r ia l r e t u r n s , and

when th e s w if t fo l lo w s , i t com pletes th e 12- n o te ag g reg a te

PIANO

Martinets noirs(strident)Modere ( ^ = 116)

(les falaises)

(rude) >

Martinets noirs(tes falaises)

mf.

m -

Figure ”Le Merle Bleu” , p. 1, systems 1-2

voov

97

l e f t u n f in is h e d by th e n o n -b ird m a te r ia l . A lthough only

th e f i r s t s o n o r i ty o f th e b ird so n g i s a f f e c t e d , i t i s s t i l l

s i g n i f i c a n t as a means o f connec ting th e two m a te r i a l s .

b i r d s e c t io n s . In "La B ouscarle" fo r example, th e songs

of th e f i r s t th r e e b i r d s heard , th e w arb le r , moorhen, and

k in g f i s h e r , a l l co n ta in th e IC6 as a predom inant i n t e r v a l .

The p resen ce o f t h i s i n t e r v a l i n th e f i r s t fo u r s o n o r i t i e s

o f th e n o n -b ird m a te r ia l t h a t fo llow s p ro v id e s cohesion

between s e c t io n s . See F igu re 5* 6, below.

I n t e r v a l l i c s i m i l a r i t i e s a lso u n i t e b i r d and non-

V i f

( I ’eau r e f fete les saules et les

p p (liquide et f lu id e )

F ig u re 5 .6 . "La B ouscarle" p . 2, system 3.

O ther F a c to r s

Many f a c t o r s a re in v o lv ed in th e fo rm ation o f

cohesive bonds between b ird so n g and o th e r m a te r ia l .

F ig u re s 5 . ?A and 5 - 7B a re two o f th e many examples e x i s t i n g

i n th e C a ta lo g u e in which m a te r ia l o th e r than p i t c h

u n i f i e s m a te r i a l . The examples a re taken from "La

B o u scar le" , Book V.

TJ11 pen vif

tf -^’2nt, bien timbre) (joyeux, et clair)

Tres lent (J* r 6 0 )

F i g u r e 5*7- Rhythmic u n i t y i n c o n t r a s t i n g s e c t i o n s o f"L a B o u s c a r l e "

99

The b ird so n g m a te r i a l , "A” , and th e n o n -b ird m a te r ia l ,

"B", c o n t r a s t g r e a t l y i n a r e a s o f tempo, r e g i s t e r , and

t e x tu r e . U n ify ing f a c t o r s however, a re th e dynamic l e v e l ,

M essiaen*s music has been in th e a r e a o f form. "M essiaen* s

p a s s io n f o r c a te g o r iz in g i s r e f l e c t e d i n h i s e s s e n t i a l l y

s t a t i c forms. True development comes to him only w ith

g r e a t d i f f i c u l t y . . . . Form c o n s i s t s only o f r e p e t i t i o u s

j u x t a p o s i t i o n s o f m a te r ia l , and a c tu a l development ta k e s

a t e r r i b l y lo n g time to a r r i v e . M1

I t has been shown th rough an a n a ly s i s o f "Le Chocard”

and "La B ouscarle" t h a t form i n th e C atalogue i s any th ing

bu t s t a t i c and r e p e t i t i o u s . Form i n th e C atalogue i s

based on th e p ro c e s s o f segm en ta tion . These segments

c o n s i s t o f s e p a ra te sound u n i t s o f v a ry in g le n g th , each

w ith a r e c o g n iz a b le com posite o f p a ram e te rs , and p re s e n t

m usica l su b s tan ce of v a ry in g d eg rees of r e l a t i o n s h i p .

and rhythm. The common

n o n -b ird s e c t io n to become

^ I*rhythm i s augmented i n the

D u ra t io n a l r e l a t i o n s h i p s

remain i n t a c t . Both rhythms a re im p o r ta n t i n t h e i r

r e s p e c t iv e m a te r i a l .

Form

P erh ap s th e s t r o n g e s t c r i t i c i s m to da te of

P. G r i f f i t h s , M usical Times. "A Note on M essiaen*s Development" Sept. 1971,112: pp. 853-855-

Blocks o f sound, composed o f s p e c i f i c p a ra m e tr ic

c h a r a c t e r i s t i c s , r e tu r n th ro u g h o u t th e p ie c e , sometimes

l i t e r a l l y , though more o f te n w ith some v a r i a t i o n . Although

t r a d i t i o n a l c o n s id e r a t io n s o f th em a tic development a re

in c o m p a tib le w ith th e b a s ic n a tu r e o f b ird so n g , develop

ment of an id e a does occur th rough t im b ra l changes caused

by p i t c h rea rran g em en t, and rhy thm ic p e rm u ta tio n . This

segm enta tion p ro c e s s o ccu rs th ro u g h o u t th e .w o rk and i s th e

u n ify in g f a c t o r which g iv e s l o g ic and c o n t in u i ty to th e

e n t i r e work. S e c t io n a l i z a t io n i s n o t th e r e s u l t o f some

weakness i n M e ss ia e n 's form al p ro c e s s , b u t i s h i s own

approach to th e form al p ro c e s s a s r e g a rd s b ird so n g .

I t would be an i n j u s t i c e to th e composer to c r i t i c i z e

him f o r d is r e g a rd in g a form al scheme which he deems

i r r e l e v e n t f o r t h i s p a r t i c u l a r ty p e o f music. I t i s n o t a

t r a d i t i o n a l approach to form and cannot be viewed i n

t h a t manner.

T h is s tudy has been an a t te m p t to determ ine and

e x p la in th e m usica l s ig n i f i c a n c e o f b ird so n g i n th e C atalogue

d 'O lsea u x . th e v a r io u s i n t e r r e l a t i o n s h i p s which e x i s t i n

th e work, and form al p ro c e s se s a t work in th e com position .

M essiaen ’ s b ird so n g , w hile a t te m p tin g to d e p ic t a c c u ra te ly

th e song o f a p a r t i c u l a r b i r d , n e v e r th e le s s c o n ta in s th e

p e rso n a l s t y l e and te ch n iq u e o f M essiaen, and a re n o t

mere t r a n s c r i p t i o n s o f m a te r i a l s .

101

M essiaen has expanded th e m usical th o u g h t o f h i s

p re d e c e s s o r , Debussy» The c o l o r i s t i c r a t h e r th an f u n c t io n a l

concept o f harmony has le d M essiaen to e v a lu a te th e

im portance o f a l l p a ram ete rs i n th e t o t a l m u sica l p ro d u c t.

The d i v e r s i t y o f m a te r ia l s i n b ird so n g works

n e c e s s i t a t e d f o r M essiaen an e n t i r e l y d i f f e r e n t approach

to form. T h is s tudy has shown how th e form al s t r u c t u r e

i s d e r iv e d , and th e i n t e r r e l a t i o n s h i p s which e x i s t i n th e

m a te r i a l s p re s e n te d .

$

LIST OF REFERENCES

- Cooper, M. ed. The New Oxford H is to ry of Music, Vol. 10, New York: Oxford U n iv e r s i ty P re s s .

Delone, R. ; K liew er, V. ; R e isb e rg , H. ; Wennerstrom, M. ;Winold, A.; W i t t l i c h , G. A spects o f 20 th Century Music., G. W i t t l i c h , ed. New J e r s e y : P r e n t i c e -H a ll , 1975-

Drew, D. "M essiaen— A P r o v is io n a l Study", Score, 10: 59-73, Sep t. 1955-

Golea, A, R eco n tres avec O l i v i e r M essiaen, New York: J u l l i a r d . P r e s s , 196O-

G r i f f i t h s , P. "A Note on M e ss ia e n 's Development" M usical Times, 112: 853-855, Sept. 1971.

Helmholtz, H. On th e S e n sa tio n o f Tone as th e P h y s io lo g ic a l B a s is f o r th e Theory o f Music, 1877: 6 th ed. ifew I 'ork: p.' Smith, 1948.

Hold, T. "M e ss ia e n 's B ird s" , Music and L e t t e r s . 52: 118, Apr. 1971.

Johnson, R.S. M essiaen . B erke ley and Los A ngeles: U n iv e r s i ty o f C a l i f o r n i a P re s s , 1975-

Messiaen, 0. The B ru s s e ls C onference. P a r i s : Alphonse Leduc, 1958.

M essiaen, 0. C atalogue d 'O ise a u x , P a r i s : Alphonse Leduc, 1958.

102

1 0 3

M essiaen, 0. C atalogue d f0 is e a u x . Vega Recording,Is su e number vaIj- i i , Evonne L oriod , p i a n i s t .

Messiaen, 0. The Technique o f my M usical Language, t r a n s . by J . S a t t e r f i e l d , P a r i s : Alphonse Leduc, 1944.

Rostand, C. "Trends and T endencies i n ContemporaryFrench Music", co n ta in e d i n ; T w entie th Century Music: a Symposium. R. Myers, e d . , re v . ed. 1968, p . 130.

Salzman, E. T w en tie th -C en tu ry Music: An I n t r o d u c t io n .New J e r s e y : P r e n t i c e - H a l l , 1974.

Samuels, C. E n t r e t i e n s avec O l i v i e r M essiaen. P a r i s :P i e r r e Belfond, 1967.

V a lia s , L. The T h eo r ie s of Claude Debussy. London:Oxford U n iv e r s i ty P re s s , 1929-

V/ennerstrom, M. P a ra m e tr ic A n a ly s is o f ContemporaryM usical Form. In d ian a : U n iv e r s i ty of In d ia n a P re s s ,T9 ZT.

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