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dc.contributor.advisorFernandez, Nohemaen_US
dc.contributor.authorDukes, Leslie Dianne
dc.creatorDukes, Leslie Dianneen_US
dc.date.accessioned2013-05-09T09:10:34Z
dc.date.available2013-05-09T09:10:34Z
dc.date.issued1998en_US
dc.identifier.urihttp://hdl.handle.net/10150/288828
dc.description.abstractThis study includes discussion and clarification of the phenomenon of synesthesia and its significance in Messiaen's compositional technique. Messiaen described chords as "sound complexes," and maintained that complexes of sound, not the individual tone, produces color. The composer created sounds intended to evoke visual perceptions of specific colors. His color-music concept is discussed through examination of two pieces from his works for solo piano, Le baiser de l'Enfant-Jesus (from Vingt regards sur l'Enfant-Jesus, XV), and Le courlis cendre (from Catalogue d'oiseaux, XIII). This study demonstrates that within Messiaen's piano repertory there is internal consistency in his use of pitch, register, harmony, mode, rhythm, timbre, and texture to suggest light and color in music. Messiaen's extra-musical references to color may be literal or metaphorical. However subjective the composer's inspiration of sound/color/light may be for a work's inception, the compositional devices used are exacting, substantive, and phenomenological.
dc.language.isoen_USen_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.subjectMusic.en_US
dc.titleAn exploration of Olivier Messiaen's piano style and application of color in "Le baiser de l'Enfant-Jesus" and "Le courlis cendre"en_US
dc.typetexten_US
dc.typeDissertation-Reproduction (electronic)en_US
thesis.degree.grantorUniversity of Arizonaen_US
thesis.degree.leveldoctoralen_US
dc.identifier.proquest9831822en_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.disciplineMusic and Danceen_US
thesis.degree.nameD.M.A.en_US
dc.description.noteThis item was digitized from a paper original and/or a microfilm copy. If you need higher-resolution images for any content in this item, please contact us at repository@u.library.arizona.edu.
dc.identifier.bibrecord.b3863403xen_US
dc.description.admin-noteOriginal file replaced with corrected file April 2023.
refterms.dateFOA2018-08-29T03:56:44Z
html.description.abstractThis study includes discussion and clarification of the phenomenon of synesthesia and its significance in Messiaen's compositional technique. Messiaen described chords as "sound complexes," and maintained that complexes of sound, not the individual tone, produces color. The composer created sounds intended to evoke visual perceptions of specific colors. His color-music concept is discussed through examination of two pieces from his works for solo piano, Le baiser de l'Enfant-Jesus (from Vingt regards sur l'Enfant-Jesus, XV), and Le courlis cendre (from Catalogue d'oiseaux, XIII). This study demonstrates that within Messiaen's piano repertory there is internal consistency in his use of pitch, register, harmony, mode, rhythm, timbre, and texture to suggest light and color in music. Messiaen's extra-musical references to color may be literal or metaphorical. However subjective the composer's inspiration of sound/color/light may be for a work's inception, the compositional devices used are exacting, substantive, and phenomenological.


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