A Study On The Creation Techniques Of "Tulun Galera Symphony"

"Turangalila Symphony" plays a decisive and essential position in art works of Oliver Messiaen. Committed by the Koussevitzky Foundation, he had devoted abundant efforts in creation of the work from 1947. It took his two years and went through three stages for the final completion of the Symphony. The work was divided into ten movements, in which every movement had independent title. Therefore, performance effect could remind people of the visual arts and versatile texture form made auditors feel refreshing and unique. The Symphony demonstrates that there is the correlation between life and death. In addition, love and grief and wander are always together; desire and reality are eternal contradiction.According to complexity of the work, this article will analyzes from aspects of the theme settings, absorption of music materials, color chip movement, numerical control technique, and musical form structures. Finally, it will be extended to the aesthetic meaning and the core of thinking mode will be concluded, that is, diversified absorption and reconstruction. First of all, the number of themes were so huge. Messiaen combined different styles and subjects with thoughts of circulation, extension, collage and symbol thinking, which was different from theme setting model of traditional symphony. However, there was also connection among those themes. Eventually, characteristic was demonstrated in which Messiaen illustrated symbolic meaning in the course of subconscious way. Last but not the least, joyous themes, death themes and love theme ran through in several movements. Various themes had their symphonic center, including single center tone, tritone core, anaclisis dual core or multi-center, comparative dual core and fixation of pitch texture. With different forms, some themes embodied characteristics of common Core-note. To a certain extent, that had inherited the thought of modulation which uses sympathetic tone.Secondly, Messiaen’s musical language had always been influenced by different musical elements, which had reached extremely the degree of diversification especially in this symphony. In this article, the author explores through the sources by delicate analysis, including different regional music such as: Gamelan music, blues music, West African music, Indian music, India music style. That also involves works of different schools:Mussorgsky, Gershwin, Ravel, Debussy, Richard Strauss, Wagner, and Stravinsky. There is even a medieval contrapuntal music and sound from the nature, including bird songs and bells, in which they combines and reconstructs into a complete piece for the service of music content, In process of assimilation, Messiaen never imitated directly. But he impressed his own music language in that and then demonstrated them. The control of sequence chronaxy and integration of color area are the most significant techniques.From musical form structure perspective, Messiaen integrated various elements of genres in the framework of symphony, especially the concerto and piano concertos. Furthermore, flexibility use of different musical form structure also fully illuminates composers’ capacity in reconstruction of works. In the ultimate analysis, the work constituted an organic whole in diversified styles.