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A Study of Influence, Structure, and...

Chan, Melody.

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A Study of Influence, Structure, and Performance in Messiaen's "Preludes" (1928-29).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	A Study of Influence, Structure, and Performance in Messiaen's "Preludes" (1928-29)./
作者:	Chan, Melody.
面頁冊數:	177 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-06(E), Section: A.
Contained By:	Dissertation Abstracts International77-06A(E).
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3746236
ISBN:	9781339394985

A Study of Influence, Structure, and Performance in Messiaen's "Preludes" (1928-29).
Chan, Melody.

A Study of Influence, Structure, and Performance in Messiaen's "Preludes" (1928-29). - 177 p.

Source: Dissertation Abstracts International, Volume: 77-06(E), Section: A.

Thesis (D.M.A.)--University of Toronto (Canada), 2015.

The Preludes (1928-1929) of Olivier Messiaen are central works of his early career which have surprisingly received much less attention and recognition than his other piano compositions. They serve as a guide towards understanding Messiaen's early compositional style, and detailed musical analysis of them can provide performers with an arsenal to perform the Preludes with authenticity as well as individual flare.

ISBN: 9781339394985Subjects--Topical Terms:

516178
Music.

A Study of Influence, Structure, and Performance in Messiaen's "Preludes" (1928-29).
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245 1 2 $a A Study of Influence, Structure, and Performance in Messiaen's "Preludes" (1928-29).
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500 $a Source: Dissertation Abstracts International, Volume: 77-06(E), Section: A.
500 $a Advisers: Ryan McClelland; James Parker.
502 $a Thesis (D.M.A.)--University of Toronto (Canada), 2015.
520 $a The Preludes (1928-1929) of Olivier Messiaen are central works of his early career which have surprisingly received much less attention and recognition than his other piano compositions. They serve as a guide towards understanding Messiaen's early compositional style, and detailed musical analysis of them can provide performers with an arsenal to perform the Preludes with authenticity as well as individual flare.
520 $a The introductory chapter provides some background information on Messiaen's early style and his treatise Technique de mon langage musical to give the reader a general orientation on which to draw during the detailed analytical chapters. Chapter 2 discusses Messiaen's analyses of a few of Debussy's respective Preludes, and this provides insight on how Messiaen analyzed music, and how he perceived and organized all of the various elements. Chapter 3 outlines common performance practices of Messiaen's music. Most of the material is drawn from interviews with Yvonne Loriod, Peter Hill, and a few other pupils who worked extensively with Messiaen.
520 $a Chapters 4, 5, and 6 contain a thorough analysis of Preludes 2, 6, and 8. These discussions include a detailed formal analysis, as well as an exploration of prominent aspects unique to each Prelude (regarding thematic treatment, formal structure and modal use). After each analysis, there is an examination of performance practice drawing upon recordings by various artists and evaluating choices in such matters as dynamics, tempi, phrasing, and voicing. All of this information offers performers a guideline upon which they can draw inspiration, and a basis for making interpretative decisions grounded in analysis.
520 $a The last chapter summarizes the topics discussed in the previous chapters, and it then provides a brief analysis of a short piece by Messiaen titled Prelude composed in 1964. Although this analysis is not extensive, it reveals some similarities to processes observed in his earlier set of Preludes, and yet again provides a framework whereby performers can base their own interpretations when approaching Messiaen's music.
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