Académique Documents
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Seminar
Syllabus
MUSC
1500B,
2016
Prof.
Mark
Steinbach
Oliver Messiaen (1908-1992) is one of the most influential and eclectic musicians of the
20th century, yet he remains a highly enigmatic figure. This seminar explores
Messiaens life, theoretical writings, and above all his music. Critical listening and
analysis will focus on Messiaens idiosyncratic harmonic and rhythmic language as well
as performance practice issues. We will investigate Messiaens use of color, plainsong,
modes of limited transposition, birdsong, serialism, added values, Greek modes, and
Indian ragas via representative works. We will also examine Messiaens formation and
his legacy as teacher/composer/performer. The final project is either a
performance/analysis or a theoretical/historical paper.
Prerequisite MUSC 0560. Class size limited to 16. Meets Wed. 3-5:20 in 109.
Required Book:
Peter Hill and Nigel Simeone, Messiaen (2005)
Primary Sources:
Olivier Messiaen: Jornalism 1935-1939, ed. Stephen Broad (2012)
Olivier Messiaen Lecture at Kyoto (1985)
Olivier Messiaen, Technique de mon langage musical (1944)
Olivier Messiaen, Trait de rythme, de couleur, et dornithologie (written 1949-1992) (19942002) English translation of vol. 1 (1998) https://shareok.org/handle/11244/5762
Claude Samuel, Conversations with Olivier Messiaen: Music and Color (1986)
Messiaen compositions (on library reserve)
Secondary Sources
Messiaen, Robert Sherlaw Johnson (1975)
The Messiaen Companion, ed. Peter Hill (2008)
Messiaen studies, Robert Sholl, ed. (2007)
Messiaens Musical Techniques: the Composers view and beyond, ed. Gareth Healey,
ed.(2013)
Olivier Messiaen: Music, Art and Literature, ed. Christopher Dingle and Nigel Simeone
(2007)
For the End of Time: The Story of the Messiaen Quartet, Rebecca Rischin (2003)
Oxford Music Online article on Messiaen:
Visions of Amen: The early Life and Music of Olivier Messiaen, Stephen Schloesser (2014)
Birdsong in the music of Olivier Messiaen, David Kraft (2013)
The Messiaen Class, in Finding the Key, Alexander Goehr (1998)
Zion Park, in The Rest is Noise, pp. 483-496, Alex Ross (2007)
RILM
Week 1, Jan. 27, Childhood and the Conservatoire: 1908-1929
Reading:
Ccile Sauvage, Lame en bourgeon. in Music, Art and Literature, pp. 191-245 (Messiaen
describes these poems, written by his mother while she was pregnant with Olivier, as
the only influence on his life. He makes other claims at other times.)
Hill and Simeone, pp. 1-24
Oxford Music Online-Groves Dictionary of Music article on Messiaen
Messiaen, Technique de mon langage musical: Harmony, Debussy, Added notes pp. 47-4
8; 58-61
Listening and analysis:
Debussy, Preludes (Bk. 1): Voiles, La Cathdrale englouitie,
Dupr:, Symphonie-Passion, op. 23 (1924), mvt. 1; Prelude in B Major (19
Dukas, Ariane et Barbe-bleue (1899-1906)
Messiaen, Huit Preludes for piano (1929) Diptyque (1930) Le Banquet cleste (1928), Les
offrandes oublies (1930)
Week 2, Feb. 3, Messiaens musical language: color, timbre, and performance
Reading:
Zion Park, in The Rest is Noise, pp. 483-496, Alex Ross (2007)
Technique: The charm of Impossibilities, Rhythms with added value, Modes of Limited
Transpositions, Plainchant forms pp. 7-8,13, 16-17, 31-33, 50-53, 58-66
Of sounds and colors, Samuel, pp. 61-67
Robert Sherlaw Johnson, Chapter 2 The Development of Messiaens Musical
Language
Supplementary reading: Messiaens Musical Language: an Introduction, Anthony
Pople, in Messiaen Companion, pp.15-50
Listening and analysis:
LAscension (1933 Orchestra) (1934 Organ)
Meet in Sayles Hall for live performance of Apparition de lEglise eternelle and movements
from LAscension. Screening and discussion of Paul Festas film Apparition of the
Eternal Church
Issues of Messiaen reception
(2 page paper due Week 3 comparing recorded performances of Messiaen, Gillian Weir,
Olivier Latry and Jon Gillock + your reception of Apparition de lEglise eternelle (1932)
and film)