Understated charm : style and technique in the last works of Olivier Messiaen.

When Olivier Messiaen completed the vast opera Saint Francois d'Assise in 1983, he was mentally and physically exhausted, believing that this monumental work would be his final compositional statement. Coaxed at first by his wife, Yvonne Loriod, he began to write a series of miniatures -a rarity in his output. Then, in the last years of his life, Messiaen composed a final large orchestral cycle, Eclairs sur 1 'Au-Delä... . This thesis examines the seven works which Messiaen completed after Saint Francois and argues that, following the crisis provoked by the opera, his music underwent a discernible change in style. In addition, the thesis uses the works in question to examine the characteristics of Messiaen's music, with a particular emphasis on an often overlooked aspect of his technique: harmony. In the process, many other questions are addressed, such as the ways in which Messiaen utilizes birdsong within a larger structure. The thesis is in three parts. Part I begins with a brief historical survey before discussing Saint Francois d'Assise as the work which defines everything that follows. Part II examines the series of miniatures whose significance belies their (relatively) modest proportions. Not only do they provide an indication of Messiaen's artistic self-confidence, but they also contain important links with his final masterpiece, Eclairs sur 1'Au-Delä.... This sublime eleven movement work for large orchestra is the subject of Part III, and is the focus of the thesis. Each movement is analysed in turn, before the work is considered as an entity and its hidden structure and motivic cohesion is demonstrated

Messiaen’s Saint François

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Birdsong in the music of Olivier Messiaen

The intention of this investigation is to formulate a chronological survey of Messiaen's treatment of birdsong, taking into account the species involved and the composer's evolving methods of motivic manipulation instrumentation in corporation of intrinsic characteristics and structure. The approach taken in this study is to survey selected works in turn, developing appropriate tabular forms with regard to Messiaen's use of 'style oiseau', identified bird vocalisations and even the frequent appearances of music that includes familiar characteristics of bird style, although not so labelled in the score. Due to the repetitive nature of so many motivic fragments in birdsong, it has become necessary to develop new terminology and incorporate derivations from other research findings. The 'motivic classification' tables, for instance present the essential motivic features in some very complex birdsong. The study begins by establishing the importance of the unique musical procedures developed by Messiaen: these involve, for example questions of form, melody and rhythm. The problem of 'authenticity' - that is, the degree of accuracy with which Messiaen chooses to treat birdsong- is then examined. A chronological survey of Messiaen's use of birdsong in selected major works follows, demonstrating an evolution from the general term 'oiseau' to the precise attribution of particular material to particular birds. In later periods the composer explores new Instrumentation and accompanying harmonies (or chordal complexities) to create as closely as possible the unique timbres and other idiosyncrasies of birds' vocalisations; at the same time, Messiaen begins to introduce a much larger variety of species in to his music using birdsong from all over the world. The representations of birdsong are much more 'authentic', or at least more colourful, than in previous works and perhaps, with the accompanying portrayal of landscape in (for example) Catalogue, greater verisimilitude is created. The inclusion of so many exotic species in the scores of, for instance Sept Haikai and Chronochromie is a result of Messiaen's meticulous ornithological investigations and painstaking notations. More importantly, the monophonic bird style tends increasingly to be replaced by other textures such as two-voice homophony, homorhythm, hybrid forms and polyphony. The most pertinent works of this final period are evaluated clearly displaying the many features of each birdsong and call, and their part in the structure of the pieces. Conclusions are drawn concerning the technical means by which the composer realises t he distinguishing features of each birdsong. The thesis is sustained by a close study of three elements governing Messiaen's treatment of birdsong (rhythm, .melody and structure), especially considering the close relationship between them. There has not previously been a systematic attempt to analyse Messiaen's pieces in this way. This research provides a coherent structural overview of Messiaen's employment of birdsong, displaying recurring patterns found in the use of rhythm, melody and structure. Further, the recent publication of Messiaen's 'Trait de Rythme, de Couleur et d'Ornithologie' enables the research to be genuinely up-to-date, using the composer's personal comments on, and analyses of, birdsongs found frequently in his music

Olivier Messiaen's Catalogue d'oiseaux : a performer's perspective

This study explores Messiaen's Catalogue d'oiseaux (1956-58), a solo piano work which consists of thirteen movements, each of which is inspired by a bird found in France, together with other birdsongs from the same habitat. The complete performance of the Catalogue lasts approximately for 2V2 hours, though individual movements are often chosen to be performed on their own or in groups. It is one of Messiaen's most important works of the 1950s, exhibiting a mature style of birdsong writing which greatly influenced his later work. A key event in the 1950s was Messiaen's meeting (in 1952) with the ornithologist Jacques Delamain, from which he obtained a detailed knowledge of birdsong There are four chapters in this study, while the extensive musical examples can be referred to in Volume II. Messiaen's development of birdsong writing since the 1940s will be discussed in Chapter One, `Introduction'. This includes an explanation of his creative journey while composing the Catalogue, and selected pages of sketches are analysed to identify how the composer transcribed his birdsong writing to the final score. The second chapter is concerned with details of Messiaen's piano writing in the Catalogue, highlighting some of the technical difficulties and in particular the aspect of the fingerings used in the work. Chapter three is the main focus for this study. Five movements from the Catalogue are selected for a performance analysis, including an identification of the different musical and poetic structures, discussion of Messiaen's musical language and of other aspects which aim to assist in a performance of these works. The last chapter is a discussion of interpretative issues where a selection of seven recordings are compared and evaluated. The objective of this final chapter is mainly to explore how pianists interpret these programmatic works, and the different approachesth at can be employed. Since the principal aim of this study is to illuminate issues of performance, the main intention of the analysis is to reveal an understandable and discernable structure in these works and to identify important features of the composer's style of piano writing. Along with the discussion of the Catalogue, earlier works will be explored in order to investigate Messiaen's development of piano writing which in the Catalogue received a whole new dimension from his transcription of birdsongs

Catalogue d'oiseaux, O. Messiaen: un estudio de su universo interpretativo a través de II. Le Loriot y IV. Le Traquet Stapazin

[EN] The main objective pursued in this thesis is that of conducting an enquiry on Catalogue d¿oiseaux, observed through the eyes of the performer, using its second and fourth books as the focus of this study when addressing its aesthetic and pianistic approach. The need to gain a closer view of the piece from a performer's perspective arises from the paradox between the importance of this composition in Olivier Messiaen's catalogue of compositions and the real meaning the piano score has among pianists of today. Due to the evolution of the author's composition language, which is expressed in greater conceptual complexity, Catalogue d¿oiseaux generates a series of performance-related questions, distancing it from other "traditional" pianistic productions. This factor often leads to apriorism and axioms that generate excessively polarised views on the performance of the piece. In order to resolve this clash between antagonistic approaches, a methodology has been applied which is based on tracing the "notion of a piece" by studying the timing of the composition, conducting a formal analysis and considering the ornitophonical transcriptions. This theoretical framing acts as a vehicle to uncover the performative nature of Catalogue, where analysing the transcripts, understanding the importance of the time element and assimilating the writing of the two books are tools to relieve a more open musical creation, an aspect confirmed in the study as regards the traditional performance of the work. All of that shows a composition that breaks free from simplistic postulates, offering the pianist a universe of performing possibilities that go beyond any old debate regarding the performance of this extraordinary score of piano literature. The study concludes with a sound recording of the two books and the inclusion of the two pieces in a recital for the Young Performers Cycle of Seville's Maestranza Theatre. Furthermore, part of the research material has been used to write two articles for Melómano Magazine, which are included as annexes, and in some conferences-concerts about the pianism of Olivier Messiaen at different Spanish conservatoires and universities in 2017 on the occasion of the 25th anniversary of Olivier Messiaen¿s death.[ES] El propósito fundamental que se ha perseguido en esta tesis es el de realizar una indagación, observada desde el prisma del intérprete, de Catalogue d¿oiseaux, utilizando su segundo y cuarto cuaderno como objeto de estudio a la hora de abordar su enfoque estético y pianístico. La necesidad de aproximarse a la obra desde una óptica interpretativa surge de la paradoja existente entre la importancia que esta composición ocupa en el catálogo compositivo de Olivier Messiaen y el peso real que la partitura posee entre los pianistas actuales. Debido a la evolución del lenguaje compositivo del autor, que se plasma en una mayor complejidad conceptual, Catalogue d¿oiseaux genera una serie de interrogantes de orden interpretativo que la alejan del resto de la producción pianística "tradicional". Este factor se traduce, frecuentemente, en apriorismo y axiomas que generan visiones excesivamente polarizadas sobre la ejecución de la obra. Para solventar este atrincheramiento entre planteamientos antagónicos, se ha empleado una metodología basada en trazar una "idea de obra" a través del estudio de la ubicación temporal de la composición, el análisis formal y la apreciación de las transcripciones ornitofónicas. Este encuadre de índole teórico actúa de vehículo para desgranar la naturaleza interpretativa de Catalogue, donde acercarse a las transcripciones, entender la importancia del elemento temporal y asimilar la escritura de estos dos cuadernos sirven de herramientas para revelar una creación musical mucho más abierta, aspecto que se corrobora con el estudio la tradición interpretativa de la obra. Todo ello muestra una composición que escapa de postulados simplistas, ofreciendo al pianista un universo de posibilidades interpretativas que supera cualquier viejo debate en torno a la ejecución de esta partitura colosal de la literatura pianística. El estudio llevado a cabo cristaliza con la grabación sonora de ambos cuadernos, así como la inclusión de ambas piezas dentro de un recital para el ciclo de "Jóvenes Intérpretes" del Teatro de la Maestranza de Sevilla. Del mismo modo, parte del material de investigación ha servido para la confección de dos artículos para la revista Melómano que se incluyen como anexos, así como la impartición de una serie de conferencias-conciertos alrededor del pianismo de Olivier Messiaen en diversos conservatorios y universidades españolas el próximo año 2017 con motivo del 25º aniversario de la muerte de Olivier Messiaen.[CA] El propòsit fonamental que s'ha perseguit en aquesta tesi és el de realitzar una indagació, observada des del prisma de l'intèrpret, de Catalogue d¿oiseaux, utilitzant el seu segon i quart quadern com a objecte d'estudi a l'hora d'abordar el seu enfocament estètic i pianístic. La necessitat d'aproximar-se a l'obra des d'una òptica interpretativa sorgeix de la paradoxa existent entre la importància que aquesta composició ocupa en el catàleg compositiu d'Olivier Messiaen i el pes real que la partitura posseeix entre els pianistes actuals. A causa de l'evolució del llenguatge compositiu de l'autor, que es plasma en una major complexitat conceptual, Catalogue d¿oiseaux genera una sèrie d'interrogants d'ordre interpretatiu que l'allunyen de la resta de la producció pianística "tradicional". Aquest factor es tradueix, freqüentment, en apriorisme i axiomes que generen visions excessivament polaritzades sobre l'execució de l'obra. Per a solucionar aquest atrinxerament entre plantejaments antagònics, s'ha emprat una metodologia basada a traçar una "idea d'obra" a través de l'estudi de la ubicació temporal de la composició, l'anàlisi formal i l'apreciació de les transcripcions ornitofòniques. Aquest enquadrament d'índole teòric actua de vehicle per a desgranar la naturalesa interpretativa de Catalogue, on acostar-se a les transcripcions, entendre la importància de l'element temporal i assimilar l'escriptura d'aquests dos quaderns serveixen d'eines per a revelar una creació musical molt més oberta, aspecte que es corrobora amb l'estudi la tradició interpretativa de l'obra. Tot açò mostra una composició que escapa de postulats simplistes, oferint al pianista un univers de possibilitats interpretatives que supera qualsevol vell debat entorn de l'execució d'aquesta partitura colossal de la literatura pianística. L'estudi dut a terme cristal·litza amb l'enregistrament sonor de tots dos quaderns, així com la inclusió d'ambdues peces dins d'un recital per al cicle de "Joves Intèrprets" del Teatre de la Maestranza de Sevilla. De la mateixa manera, part del material de recerca ha servit per a la confecció de dos articles per a la revista Melómano que s'inclouen com a annexos, així com la impartició d'una sèrie de confèrencies-concerts al voltant del pianisme d'Olivier Messiaen en diversos conservatoris i universitats espanyoles el pròxim any 2017 en motiu del 25è aniversari de la mort d'Olivier Messiaen.Benítez Suárez, G. (2016). Catalogue d'oiseaux, O. Messiaen: un estudio de su universo interpretativo a través de II. Le Loriot y IV. Le Traquet Stapazin [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/68509TESI

Essential journalism and media writing: учебное пособие для студентов, обучающихся по специальности "Журналистика" - 031300.62; 031300.68

Учебное пособие "Essential Journalism and Media Writing" предназначено для обучения будущих журналистов работе со специальными оригинальными текстами, расширения их лексического запаса и применения изученных медийных техник и освоенного вокабулярия в практических ситуациях. Пособие состоит из 11 уроков, каждый из которых, в свою очередь, делится на три раздела: раздел 1 – General reading (общее чтение), второй раздел – "Vocabulary practice" (отработка профессиональной лексики). Воспроизведение полученных в процессе освоения разделов 1 и 2 навыков осуществляется в разделе 3 - "News writing and reporting practice" (Практика написания новостей и репортажей). Материал, послуживший основой составления данного пособия, взят из письменных источников, например из книги Кэрол Рич "Writing and reporting news: a coaching method", Билла Мэскалла "Key words in the media", работы Джозефа Доминика "The dynamics of mass communication" и других изданий, а также из электронных ресурсов для журналистов. В конце пособия представлен словарь ключевых слов, которыми должны владеть студенты специальности "журналистика" после освоения материала данного пособия, а также ключи (ответы) к упражнениям разделов пособия. Пособие предназначено для студентов продвинутого этапа обучения, однако может представлять интерес для всех тех, кто интересуется средствами массовой информации031300.62; 031300.68 ЖурналистикаАнглийский языкмагистратур

Essential Journalism and Media Writing: учебное пособие для студентов, обучающихся по специальности "Журналистика" 021400

Учебное пособие "Essential Journalism and Media Writing" предназначено для обучения будущих журналистов работе со специальными оригинальными текстами, расширения их лексического запаса и применения изученных медийных техник и освоенного вокабулярия в практических ситуациях. Пособие состоит из 11 уроков, каждый из которых, в свою очередь, делится на три раздела: раздел 1 - General reading (общее чтение), второй раздел - "Vocabulary practice" (отработка профессиональной лексики). Воспроизведение полученных в процессе освоения разделов 1 и 2 навыков осуществляется в разделе 3 - "News writing and reporting practice" (Практика написания новостей и репортажей). Материал, послуживший основой составления данного пособия, взят из письменных источников, например из книги Кэрол Рич "Writing and reporting news: a coaching method", Билла Мэскалла "Key words in the media", работы Джозефа Доминика "The dynamics of mass communication" и других изданий, а также из электронных ресурсов для журналистов. В конце пособия представлен словарь ключевых слов, которыми должны владеть студенты специальности "журналистика" после освоения материала данного пособия, а также ключи (ответы) к упражнениям разделов пособия. Пособие предназначено для студентов продвинутого этапа обучения, однако может представлять интерес для всех тех, кто интересуется средствами массовой информации031300.62; 031300.68 ЖурналистикаАнгийский языкмагистратур