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V·M·I University Microfilms International a 8Eil & Howell Information Company 300 North Zeeb Road Olivier Messiaen's "Cinq rechants": The importance of rhythm as a structural element. Item Type text; Dissertation-Reproduction (electronic) Authors Wiest, Lori Jean. Publisher The University of Arizona. Rights Copyright © 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. Download date 24/09/2021 18:11:14 Link to Item http://hdl.handle.net/10150/185098 INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. T::.JS, some thesis and dissertation copies are. in typewriter face, while others may be from any . type of computer printer. The quali~ of this reproduction is dependent upon the quality of the copy submitted. 'Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed iIi one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. V·M·I UniverSity Microfilms International A 8eil & Howell Information Company 300 North Zeeb Road. Ann Arbor. MI 48106-1346 USA 313 761-4700 800.521-0600 -------------------_... _._.- "--"- . __ ..... - .. -~ .. Order Number 902817'0 Olivier Messiaen's "Cinq rechants": The importance of rhythm as a structural element Wiest, Lori Jean, A.Mus.D. The University of Arizona, 1990 U·M·I 300 N. Zeeb Rd Ann Arbor, MI 48106 --_. .. -_ ..__ .- .•.. _----_.. _. -_ ....... -_.. __._--- - . __. - OLIVIER MESSIAEN'S CINO RECHANTS· THE IMPORTANCE OF RHYTHM AS A STRUCTURAL ELEMENT by Lori Jean Wiest A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOcrOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1990 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE 2 As members of the Final Examination Committee, we certify that we have read the dissertation prepared by Lori Jean Wiest ~~~~~~~-------------------------- entitled OLIVIER MESSIAEN'S CINQ RECHANTS: --------~~~~~~~~~~~----~--------------------- THE IMPORTANCE OF RHYTHM AS A STRUCTURAL ELEMENT and recommend that it be accepted as fulfilling the dissertation requirement of Doctor of Musical Arts ~ Date Dr. Dr. Gary Wilson Date Dr. Timothy Kolosick Date~ Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation ~~ {_/z-yd Dissertation Director Oat ---------------------------------------_ .•.. _--....... -_. __ ... -... --_. __ ... _.- 3 TABLE OF CONTENTS LIST OF ll.LUSTRATIONS .••...•.......•................ .. 3 ABS1RACf .......•.....••.•.......•...................... 6 INTRODUCI'lON. • . • . • . .. 8 CHAPI'ER I. RHYTHMIC INFLUENCES AND INVENTIONS. .. 7 Medieval and Western Associations .................... 7 Greek Versification •.......... .. 8 Hindu Rhythms ................................. 10 Rhythms with Added Values ......................... 12 Augmented and Diminished Rhythms .................. 13 Non-retrogradable Rhythms and Symmetrical Permutations ........................ 14 Notation of Birdsongs ............................. 15 Rhythmic Notatj(\n ............................... 16 n. CINO RECHANTS . • . • . 19 Form and Texture ................................ 19 Text and Mythological Suggestion ..................... 21 Meter Adaptation ................................ 24 m. RHYTHMIC TECHNIQUES WITHIN CINQ RECHANTS .............. 26 Movement I .................................... 26 Movement II ................................... 28 Movement III ... 30 Movement IV ................................... 33 Movement V . • . 34 IV. CONCLUSIONS . 37 SELECI'ED BffiLIOGRAPHY ..........•......................... 40 STATEMENT BY THE AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED:C)b?n ILl ~1 -----------------------------~-----""---•. - .... -. , ".- .. --"'-"--"---"--..• 4 LIST OF ILLUSTRATIONS Figures Page 1. Ragavardhana ................................... 12 2. Retrograde of Ragavardhana ........................... 12 3. Added value-note (a), rest (b), and dot (c) ................. 12 4. Augmentation of rhythm by twice its value ................. 13 5. III First Couplet, measures 1-3 ........................... 14 6. Notational symbols ................................... 18 7. I Couplet. alto 1. measures 1-2............................ 26 8. I Third Rechant, sopranos and alto ....................... 27 9. II Couplet. alto 1, measures 1-4. .......................... 28 10. Table of Greek Meters ................................. 29 11. II Couplet. measures 5-12. 29 12. Ragavardhana. Candrakala and Lackskmi~a ................. 30 13. III Introduction. soprano 1. measures 16-18. ................ 31 14. III First Couplet. measures 1-3. ......................... 31 15. III Third Couplet, measures 1-12. ........................ 32 16. III First Couplet, measures 1-4 ........................... 33 17. IV Couplet. measures 1-2. ............................. 34 18. IV Rechant. sopranos. measures 2-3. ..................... 34 19. V Couplet •. alto 1. measure 1 ............................. 35 20. V Couplet. soprano 1. measures 5-8. ....................... 35 21. V Rechant, measures 3-5 and Simhavikrama ................. 36 22. V Rechant. alto 1. measures 6-10. Candrakala and Ragavardhana ... 36 ----------------------------~----..... --- .. -...... - ... , .. ~.--.........-.--- .... -- .. ~r; ... 5 ABSTRACT CinQ rechants, composed in December of 1948, represents the culmination of Olivier Messiaen's rhythmic exploration. These rhythmic influences, including Greek versification, tal as from ancient India, and medieval and Western associations with plainsong, canon, ostinato, and polymeter, drew Messiaen's attention to ways in which to alter rhythms. The techniques which Messiaen discovered enabled him to alter rhythmic patterns through added values, the addition or subtraction of a note, dot, or rest, and augmentation or diminution. An analysis of form, texture, text associations, and meter adaptation within CinQ rechants provides the framework for a study in the application of Messiaen's rhythmic discoveries and inventions. ------------------------------~~-----------... - .--...... ,-"--_ .. --,,._-_._-- 6 INTRODUCTION CinQ rechants represents Olivier Messiaen's explorations in rhythmic technique. Through his studies of the arsis and thesis of Gregorian chant. the placing of accents in works by composers such as Stravinsky and Debussy. Greek versification. and the rhythms from the provinces of ancient India. Messiaen's rhythmic investigations brought forth new rhythmic procedures. Messiaen's new procedures, developed from his studies of previous trends, and his application of these procedures. will be the main focus of this study. Messiaen's intellectual curiosity led him to explore other cultures. His interest in tiUas from India and his application of Greek versification to the French language is reflected in the rhythmic patterns of Cinq rechants. The complexity of changing meters and the relationship of the French language and the Hindu syllables to the rhythm affect the rhythmic language of Messiaen's compositions. This study will include a discussion of his influences. how he used those elements. and how he applied those techniques in Cinq rechants. ------------------------------~ . ----.~-.---.. '.-"--" 7 CHAPTER I RHYTHMIC INFLUENCES AND INVENTIONS Medieval and Western Associations When Olivier Messiaen was named to the post at Sainte Trinite in Paris in 1931, he became the youngest professional organist in France. His Christian faith and his duties as organist in the Catholic church led him to private studies
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