Understanding the Organ Music of Olivier Messiaen: Optical Illusions Versus Aural Realities

In this thesis, I examine the organ music of Olivier Messiaen both from the viewpoint of a theorist and as an organist. I assert that not only his influences, but also his in-depth understandings of the mutations stops of the organ and what pitches are produced by using these stops inform Messiaen's music. Furthermore, the organ music requires more than mere visual inspection, but must be aurally experienced because of the registration requirements placed in the score by Messiaen. The utilization of mutations often does not produce concert pitch, but other pitches absent in the score. To demonstrate this I provide numerous musical examples throughout this document. Furthermore, I assert that Messiaen's deliberate use of mutation stops is a part of his musical and harmonic language often overlooked as colorful or mere tone painting.

Name thesis:degree_name

MM

Level thesis:degree_level

Immediate Access

Discipline thesis:degree_discipline

Music Theory

Year dc:date.available

2004

Author dc:creator

• Shinew, Krista

Contributors dc:contributor

• Robert Shankovich
• Ann Labounsky
• Judith Bowman

• Messiaen's organ music
• Messiaen's tonal language
• organ registration
• overtone series and organ registration
• registration in Messiaen
• registration in theory

Language dc:language

English

Repository record dc:identifier

https://dsc.duq.edu/etd/1187

OAI identifier oai:identifier

oai:dsc.duq.edu:etd-2203