Date of Award
choral music, harmonic complexity, linear analysis, Olivier Messiaen, post-tonal music, set theory
In this study I examine three early works of Olivier Messiaen: the motet O sacrum convivium (1937), "La colombe" from the eight piano preludes (1928-9), and the closing passage of "La fiancée perdue" from the song cycle Trois méodies (1930). All three works exhibit varying degrees of tonal behavior in combination with a foreground focus on harmonic sonority. As such, I approach each of them with two contrasting analytic methods: modified Schenkerian linear-reductive analysis, informed by the interaction of diatonic and octatonic collections, and set-class analysis. The latter approach incorporates the harmonic complexity index (HCI) as an innovative harmonic measure calculated from the interval-class vector of each set-class. Informed by established and recent scholarly work, the introduction to the thesis provides a background for the application of these analytic techniques to this repertoire, while the thesis itself demonstrates that form is revealed powerfully through the combination of these two separate perspectives.
Beckman, Krista Lenore, "Sonority and Linear Structure in Three Early Works of Olivier Messiaen" (2016). Electronic Theses and Dissertations. 1207.
Recieved from ProQuest
Krista Lenore Beckman
Music, Performing arts