A study of Messiaen's solo piano works (Olivier Messiaen, France, Chinese text)

A distinguished and influential musician, Olivier Messiaen (1908--1992) composes at an important transitional period in which art music undergoes drastic changes. Messiaen admits that he treats such different themes as the Catholic faith, the Tristan and nature with similar musical languages and thus it is appropriate to focus on his musical techniques and their development. This dissertation studies Messiaen's solo piano works, drawing on his theoretical writings, prefaces to scores and recordings, interviews, speeches and other relevant written materials. It discusses the development of this repertory on the basis of four phases: (1) the initial phase; (2) the development phase; (3) the transitional phase; and (4) the integrated phase. Specific analytical approaches such as Schenkerian analysis, set theoretical approach and comparative analysis are employed to analyze his techniques, methods and styles in search of convincing findings.; Messiaen is unique in his publication of theoretical writings to discuss his own techniques and works. Traite de rythme, de couleur et d'ornithologie is the most authoritative and detailed publication on his compositional theories and aesthetic points of view but the ideas recorded in it remain little explored. Accordingly, this dissertation draws on the complete set of Messiaen's theoretical writings in its examination of Messiaen's solo piano works. It directs specific attention to his composition features, with emphasis on his compositional theory for meta- and integrative analyses of his solo piano works. While Messiaen's analyses of his own works remain synchronic in approach, this study approaches his solo piano works as texts from diachronic perspectives.; Messiaen is not affiliated with any musical school. Although his musical expressions are grounded in pre-existing musical language and tradition, he adopts new methods to reorganize them. The modes of limited transpositions, nonretrogradable rhythm and symmetrical permutation realize Messiaen's "charm of impossibilities." His novel approaches and the use of color chords, birdsongs, and super-serialism not only enrich his own music and theories but also trigger the development of new composition trends. Through the analysis of rhythm, melody, mode, and harmony in Messiaen's solo piano works, this dissertation argues that: (1) the initial phase is distinguished by its relatively mature use of the modes of limited transpositions; (2) the development phase employs original techniques of rhythm and develops a unique rhythmic style; (3) the transitional phase introduces new composition theories by adopting super-serialism approaches; and (4) the integrated phase focuses on birdsongs and seeks a breakthrough in melody and rhythm while maintaining the existing techniques, thus accomplishing technical integration on the basis of birdsongs.; An innovative composer all his life, Messiaen strives to merge divinity and humanity, nature and artificiality, freedom and rigor, rationality and irrationality, symmetry and asymmetry in his music. He cherishes different cultural traditions and closely studies both Eastern and Western cultures for inspirations. His music, theories, and teaching form a rich heritage that adds substantially to the development of twentieth-century music.