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Messiaen’s Musical Techniques: The Composer’s View and Beyond

Tags: #music #music theory #composition #analysis #classical music #birdsong

Authors: Gareth Healey

Overview

My book, Messiaen’s Musical Techniques: The Composer’s View and Beyond, explores the complexities of my musical language. I developed this language over a lifetime of experimentation and refinement, drawing inspiration from diverse sources such as birdsong, plainchant, Hindu rhythms, and the works of Debussy and Stravinsky. This book offers a systematic examination of my rhythmic and harmonic techniques, from their origins and development to their integration into larger-scale structures and their manifestation in specific works. Beyond a purely technical analysis, I shed light on the creative process behind my music, revealing the role of extra-musical influences, the impact of my musical forebears, and my evolving approach to form. I discuss my writings, particularly my treatises and analyses, as an invaluable guide for understanding my compositional methods. However, I also emphasize the importance of autonomous analysis, developing an instinct for what I might do at any given point, to fully comprehend the totality of my work. I intend this book to serve as a resource for musicians, scholars, and anyone interested in delving into the unique soundscape of my music. Through detailed analysis of my works, I hope to make my seemingly enigmatic and idiosyncratic style more accessible, revealing the underlying logic and consistency that drive my creative process.

Book Outline

2. The Theoretical and Analytical Writings of Messiaen

My earliest writings, such as The Technique of My Musical Language, were limited in scope and focused mainly on introducing core elements of my musical vocabulary. While many of these techniques remained essential throughout my career, later treatises, particularly the seven-volume Traité de rythme, de couleur, et d’ornithologie, allowed for a more in-depth exploration of my compositional process.

Key concept: Messiaen’s “charms”: “characteristics of melodic or rhythmic procedures that intrigued Messiaen. An example is why certain modes may only be transposed a finite number of times before duplication of pitch-content is produced.”

3. Theoretical and Written Sources

The foundation of my unique musical language lies partly in the wealth of theoretical and historical material I drew inspiration from. I extensively studied plainchant, drawing heavily on the work of theorists like Dom André Mocquereau, and incorporated elements from Greek metres, Hindu rhythms, and other sources into my compositions. This eclectic approach to source material significantly shaped my musical thinking.

Key concept: My preferred writers include Dom André Mocquereau, whose Le nombre musical grégorien served as the foundation for my understanding of plainchant, and W.J.W. Koster’s Traité de métrique greque, which illuminated the intricacies of Greek metres. Other sources, such as the works of Cuthbert Girdlestone and Alain Daniélou, broadened my knowledge of Mozart’s piano concertos and Hindu musical traditions, respectively.

4. Extra-Musical Influences

Sources beyond the realm of music have profoundly impacted my work. Birdsong, in particular, became not just an inspiration but an integral part of the musical fabric. I meticulously notated and incorporated birdsong into my compositions, and the resulting sounds are often inseparable from their natural origins. My love of literature, particularly the poetry of Rainer Maria Rilke and the macabre tales of Edgar Allan Poe, also informed the dramatic and symbolic elements of my music. I also drew connections between my religious beliefs and philosophical ideas, such as those of Henri Bergson, to explore the concept of time and eternity in my music.

Key concept: My concept of “coloured” birdsong: “A feature of [my] harmony had always been its function to ‘colour’ a melodic line, rather than to ‘harmonize’ it in the traditional sense…This conception of harmony led naturally to the colouration of birdsong to represent its timbre.”

5. The Influence of Debussy and Stravinsky

My own musical language was shaped significantly by the works of Claude Debussy and Igor Stravinsky. The influence of Debussy, particularly noticeable in my early compositions, never fully waned, and I often revisited his characteristic use of modes and tonality. However, it was Stravinsky’s rhythmic complexities that truly captivated me, particularly his groundbreaking work in The Rite of Spring. I sought to analyze and codify these intricate rhythms, which ultimately led to the development of my own technique of personnages rythmiques.

Key concept: Personnages rythmiques are “the great Stravinskian innovation.”

6. Rhythmic Evolution

Throughout my career, I continually explored and expanded my rhythmic techniques. I developed a range of rhythmic devices, including rhythmic pedals, rhythmic canons, non-retrogradable rhythms, chromatic durations, interversions, and rhythmic metamorphosis. Each technique has its unique characteristics and allowed me to manipulate time and create a sense of fluidity or stasis in my music. This constant evolution of rhythmic ideas is one of the hallmarks of my compositional approach.

Key concept: My “law of attack–duration relationship”: “With equal durations, a brief sound followed by a silence appears longer than a prolonged sound.”

7. Harmonic Evolution

The development of my harmonic language followed a similar trajectory of experimentation and refinement. Techniques such as the modes of limited transposition, chords of contracted resonance, chords of a dominant appoggiatura, closed/open fans, asymmetric augmentation, and turning chords all emerged and evolved over time. I constantly sought new and unique harmonic combinations, often integrating these techniques with my rhythmic procedures to create a highly personal musical language.

Key concept: Turning chords described as “colonnes d’air en résonances mobiles (comme le vent dans les arbres)” – columns of air with mobile resonance (like the wind in the trees).

8. Harmony: An Alternative Perspective

While my harmonic vocabulary can seem idiosyncratic, close examination reveals an underlying logic and consistency, which can be elucidated by applying elements of pitch-class set theory. The use of pitch-class set labels allows for the identification and categorization of my harmonies, providing a clearer understanding of how they relate to my techniques and to broader theoretical frameworks. Furthermore, this approach reveals the recurring use of certain sets, such as the 9-5 set, which functions as a superset of numerous smaller sets, demonstrating a hidden interconnectedness within my harmonic vocabulary.

Key concept: The 9-5 set is a “superset of a range of chords whose regularity rivals many of the ‘main’ techniques.”

9. Form

My approach to form, a relatively neglected area in the analysis of my music, also evolved throughout my career. While I initially relied on traditional structures, I gradually moved towards more innovative and flexible forms, often influenced by the technical processes I employed. My formal models include non-retrogradable, alternate, strophic, theme and variation, refrain and couplet, sectional, sonata, superposition, single technique/birdsong, and two elements. Each model represents a different approach to the organization of musical material and demonstrates my willingness to experiment with both traditional and unconventional structures.

Key concept: My formal designs are influenced by the “ancient proposition of strophe, antistrophe and epode.”

10. Implementation of Analytical Methodology

This book has developed a new approach to analyzing my music. By building upon the foundations laid in my writings and incorporating analytical tools from set theory, it is possible to gain a deeper understanding of the intricacies of my compositional process, even in works I haven’t discussed in detail. This method allows for the identification of specific techniques, regardless of their level of complexity or rhythmic/harmonic integration, and sheds light on the evolution and interaction of my ideas throughout my career. This approach emphasizes careful listening, a thorough understanding of my technical vocabulary, and a willingness to consider alternative analytical perspectives to decipher the intricacies of my musical language.

Key concept: The main difficulty in analyzing my harmonies is the “identification of [my] own chords”, as I rarely explicitly label individual chords in my scores. This requires a discerning ear and a deep familiarity with my technical vocabulary to decipher the complex web of harmonic structures.

11. Conclusion

This book has focused on understanding the inner workings of my musical techniques, and how they relate to broader compositional concepts, such as form and extra-musical influences. A deep understanding of my musical language allows for more comprehensive analysis of my works and reveals the complex interplay of my musical ideas throughout my career.

Key concept: N/A

Essential Questions

1. How can one move beyond reliance on Messiaen’s own writings to develop an independent understanding of his music?

Messiaen meticulously documented his compositional techniques in his writings, but these often only offer a limited number of analyses and explanations. This book encourages the reader to go beyond relying solely on these writings and develop an independent analytical approach based on understanding Messiaen’s unique fundamentals. This can be achieved by recognizing patterns in his work, identifying his recurrent musical elements, and understanding the underlying principles of his techniques. The goal is to develop an intuitive understanding of Messiaen’s compositional approach, allowing for a deeper comprehension of his music.

2. How did Messiaen’s musical language evolve over time, and what are the distinct trajectories of his rhythmic and harmonic techniques?

Messiaen’s compositional techniques evolved throughout his career, demonstrating both periods of rapid experimentation and relative stasis. The development of his rhythmic and harmonic vocabulary occurred at different rates, with some techniques, like non-retrogradable rhythms, undergoing significant expansion while others, such as rhythmic pedals, remained relatively static. This book explores the specific trajectories of these techniques, demonstrating their interaction and highlighting the shifts in Messiaen’s compositional thinking over time.

3. What were the key extra-musical influences on Messiaen’s music, and how did these manifest themselves in his compositions?

Beyond the realm of music, Messiaen drew inspiration from birdsong, literature, philosophy, and religion. His love of birds manifested itself in meticulous transcriptions and integrations of birdsong into his compositions. He drew upon the works of poets like Rilke and Poe to inform the dramatic and symbolic elements of his music, and explored the philosophical concepts of time and eternity, influenced by thinkers like Henri Bergson, through his musical language. This book examines the specific ways these extra-musical sources influenced Messiaen’s compositional thinking and shaped his unique musical aesthetic.

4. How did Messiaen approach musical form, and what were the key characteristics of his formal designs?

Messiaen’s approach to form often defied traditional structures, and he favored a more flexible and idiosyncratic approach, often dictated by the technical processes he employed or inspired by extra-musical imagery. This book proposes a taxonomy of Messiaen’s formal models, including non-retrogradable, alternate, strophic, and others, demonstrating the diversity and ingenuity of his structural thinking. His formal innovations often intertwined with his technical devices, leading to unique and sometimes challenging structures.

5. What is the most effective way to analyze Messiaen’s music, and what tools and approaches can be employed to achieve a comprehensive understanding of his compositional process?

This book advocates for a multi-faceted approach to analyzing Messiaen’s music. While a thorough understanding of his techniques and nomenclature is crucial, it’s equally important to develop an intuitive understanding of his compositional process. Employing tools like pitch-class set analysis can shed light on the underlying structure of his harmonies, and a familiarity with his evolving compositional thinking throughout his career is essential for comprehending the totality of his work. This book provides the tools and methodology to empower the reader to undertake independent and insightful analysis of Messiaen’s music.

Key Takeaways

1. Messiaen’s Harmonic Language: Underlying Logic and Interconnectedness

While Messiaen’s harmonic language can seem idiosyncratic, close examination reveals an underlying logic and interconnectedness. The 9-5 set, a recurring harmonic resource, functions as a superset for numerous other chords, demonstrating a hidden structure within his seemingly disparate harmonic vocabulary. This insight highlights the importance of recognizing recurring patterns and their underlying principles when analyzing complex systems.

Practical Application:

In AI, understanding the interconnectedness of seemingly disparate elements can be crucial for developing complex algorithms. Analyzing vast datasets and recognizing recurring patterns can lead to the discovery of underlying principles governing AI behavior, similar to how recognizing the role of the 9-5 set illuminates a hidden structure within Messiaen’s seemingly idiosyncratic harmonic vocabulary.

2. Beyond Categorization: Flexibility and Adaptability in Messiaen’s Techniques

Messiaen’s compositional techniques demonstrate adaptability and flexibility, defying rigid categorization. He often modifies and combines techniques in unexpected ways, blurring the boundaries between established categories. This adaptability reflects his commitment to sonic exploration and his willingness to manipulate established procedures to achieve his desired musical effect.

Practical Application:

Developing a flexible and adaptable approach to problem-solving is crucial in technology and AI. Just as Messiaen’s techniques adapt to various contexts, AI engineers should be able to adjust algorithms and models based on the specific requirements of different situations, moving beyond rigid adherence to established frameworks when necessary.

3. Artistic Integrity Over Theoretical Purity: Messiaen’s Use of Birdsong

Messiaen’s use of birdsong demonstrates his willingness to prioritize aesthetic and expressive goals over theoretical purity. While transcribing birdsong, he would often deviate from his own harmonic rules to “respect the bird’s song.” This prioritization of the natural integrity of the source material over strict adherence to self-imposed rules highlights the importance of aligning technical choices with broader artistic goals.

Practical Application:

In product design, understanding the user’s perspective is paramount. Similar to how Messiaen prioritized the natural integrity of birdsong over theoretical purity, product designers must consider the user’s needs and preferences, adapting features and functionalities to align with their expectations and enhance their overall experience.

4. The Power of Analysis: Messiaen as an Innovative Analyst

Messiaen was not only an innovative composer but also a discerning analyst. His meticulous study of Stravinsky’s The Rite of Spring led to his discovery of personnages rythmiques. This discovery highlights the importance of detailed analysis in uncovering new musical concepts and demonstrates the potential for insightful analysis to inspire further creative exploration.

Practical Application:

Developing new analytical methodologies can be crucial for understanding complex datasets in AI. Just as Messiaen’s analysis of The Rite of Spring led to his concept of personnages rythmiques, developing new tools and approaches can unlock deeper insights and lead to innovative breakthroughs in AI research.

Suggested Deep Dive

Chapter: Chapter 5: The Influence of Debussy and Stravinsky

This chapter provides a rich example of how external influences can inspire innovation. The analysis of Messiaen’s approach to Stravinsky’s rhythmic complexities in “The Rite of Spring,” which led to his development of “personnages rythmiques,” could provide valuable insights into how AI engineers might approach complex problems, drawing inspiration from unexpected sources to develop creative solutions.

Memorable Quotes

Chapter 2. 13

“Charms” are characteristics of melodic or rhythmic procedures that intrigued Messiaen. An example is why certain modes may only be transposed a finite number of times before duplication of pitch-content is produced.

Volume 1. 9

While numerous composers have published writings on music theory, on their own works, and on the compositions of fellow musicians, none rivals the scale and detail provided by Messiaen.

Birdsong and Messiaen’s Musical Language: La fauvette des jardins. 29

This work [La fauvette des jardins] employs the entire range of his harmonic resources and was regarded by the composer as among the greatest of his birdsong works (alongside ‘Le prêche aux oiseaux’ from Saint François d’Assise).

Birdsong and Messiaen’s Musical Language: La fauvette des jardins. 32

A feature of Messiaen’s harmony had always been its function to ‘colour’ a melodic line, rather than to ‘harmonize’ it in the traditional sense…This conception of harmony led naturally to the colouration of birdsong to represent its timbre.

Stravinsky: The Rite of Spring. 59

Personnages rythmiques are ‘the great Stravinskian innovation’.

Comparative Analysis

This book distinguishes itself from other Messiaen scholarship through its detailed exploration of the composer’s evolution of techniques and their application across various works. While many books, such as those by Robert Sherlaw Johnson, Paul Griffiths, and Peter Hill, have focused predominantly on Messiaen’s individual techniques or the extra-musical influences on his music, this work delves into the intricate ways these elements interact. Unlike Allen Forte’s analysis in “Messiaen’s Chords,” which applies pitch-class set theory to Messiaen’s harmonies without considering his unique aesthetics and technical idiosyncrasies, this book seeks to make sense of Messiaen’s harmonies within the framework of his own compositional logic. It also offers a detailed examination of Messiaen’s approach to form, a subject often neglected in existing scholarship, proposing a systematization of his formal models based on a thorough analysis of his writings and analyses. Lastly, this book develops an alternative analytical methodology that empowers the reader to independently understand and analyze Messiaen’s music, even in works not explicitly discussed by the composer.

Reflection

This book offers a comprehensive exploration of my musical techniques, aiming to demystify my complex and sometimes perplexing style. It delves into the intricate ways my rhythmic and harmonic ideas interact, the influence of my musical forebears and extra-musical passions, and my unique approach to form. While I acknowledge that my writings are an invaluable guide for understanding my music, I also encourage readers to develop an autonomous analytical approach. However, it’s crucial to acknowledge the subjective nature of musical analysis, particularly when considering extra-musical influences and interpreting the rationale behind my technical choices. My comments on certain composers, like Schoenberg, may be perceived as dismissive, but this reflects my personal aesthetic preferences and doesn’t necessarily detract from their significance within the broader musical landscape. Despite any criticisms of my analytical style, this book, through its meticulous exploration of my techniques and detailed analysis of my works, offers a pathway to a deeper and more nuanced understanding of my musical language. By illuminating the underlying logic and creative processes behind my music, I hope to make it more accessible and reveal the intricate beauty of its sound world.

Flashcards

What are chromatic durations?

A technique where the durations of notes are based on the intervals of the chromatic scale, increasing or decreasing by step.

What are rhythmic pedals?

Musical structures built on the repetition of a predetermined rhythmic pattern.

What are rhythmic canons?

Musical structures where two or more rhythmic pedals occur simultaneously, separated by a specific duration.

What is a non-retrogradable rhythm?

A rhythmic pattern that reads the same forwards and backward.

What are interversions?

A rhythmic technique where durations within a series are rearranged systematically.

What are harmonic pedals?

Musical structures built on the repetition of a specific harmonic pattern.

What are the modes of limited transposition?

A series of seven modes, each with a limited number of possible transpositions before the interval pattern repeats.

What are chords of contracted resonance?

Harmonies that consist of two closely-spaced chords, with one functioning as an appoggiatura to the other.

What are turning chords?

A harmonic technique where the uppermost note of the second chord in a series of three is altered to share the same pitch as the other chords.

What are chords of transposed inversions on the same bass note?

A harmonic technique where a dominant 9th chord, with the tonic replacing the third, is presented with a two-note appoggiatura, and its three inversions are transposed onto the same bass note.