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Musique coloree: Synesthetic corres...

Harris, Joseph Edward.

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Musique coloree: Synesthetic correspondence in the works of Olivier Messiaen (France).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Musique coloree: Synesthetic correspondence in the works of Olivier Messiaen (France)./
作者:	Harris, Joseph Edward.
面頁冊數:	168 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-04, Section: A, page: 1169.
Contained By:	Dissertation Abstracts International65-04A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3129298
ISBN:	0496765582

Musique coloree: Synesthetic correspondence in the works of Olivier Messiaen (France).
Harris, Joseph Edward.

Musique coloree: Synesthetic correspondence in the works of Olivier Messiaen (France). - 168 p.

Source: Dissertation Abstracts International, Volume: 65-04, Section: A, page: 1169.

Thesis (Ph.D.)--The University of Iowa, 2004.

French composer Olivier Messiaen (1908--1992) experienced a physiological condition known as synesthesia, wherein his senses of sight and sound intermingled, causing him to see colors whenever he heard music. Messiaen reported that his synesthesia was stimulated by chords, and described complex colorations of many of his "special chords" (accords speciaux) and "modes of limited transposition" (modes a transpositions limitees). The dissertation asserts that behind musique coloree there is a discrete code, that this code is quantifiable, and that the quantification of this code offers significant insight into the study of Messiaen's work.

ISBN: 0496765582Subjects--Topical Terms:

516178
Music.

Musique coloree: Synesthetic correspondence in the works of Olivier Messiaen (France).
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245 1 0 $a Musique coloree: Synesthetic correspondence in the works of Olivier Messiaen (France).
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500 $a Source: Dissertation Abstracts International, Volume: 65-04, Section: A, page: 1169.
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520 $a French composer Olivier Messiaen (1908--1992) experienced a physiological condition known as synesthesia, wherein his senses of sight and sound intermingled, causing him to see colors whenever he heard music. Messiaen reported that his synesthesia was stimulated by chords, and described complex colorations of many of his "special chords" (accords speciaux) and "modes of limited transposition" (modes a transpositions limitees). The dissertation asserts that behind musique coloree there is a discrete code, that this code is quantifiable, and that the quantification of this code offers significant insight into the study of Messiaen's work.
520 $a The principal goals of the dissertation are the quantification of the sound-color correspondences in musique coloree, the provision of a method to determine unknown harmonic colorations, and an illustration of how the study of Messiaen's sound-color correspondences may reveal otherwise unobtainable insight into the structure of Messiaen's music. The dissertation begins with an investigation of synesthesia; it then presents a method, based upon Messiaen's testimonies, for determining unknown harmonic colorations. Messiaen's coloristic harmonic resources are then examined. Finally, the dissertation presents taxonomic harmonic and coloristic analyses of "Apparition du Christ glorieux," the first movement of Messiaen's orchestral work Eclairs sur l'Au-Dela (1992), and explores the coloristic content of the work.
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