A Theory of Harmony and Voice Leading for the Music of Olivier Messiaen

Neidhöfer, Christoph

doi:10.1525/mts.2005.27.1.1

Cited by 9 publications

(3 citation statements)

References 7 publications

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“…A similar notation appears in Dal Molin (2006Molin ( , 2007 and Goldman (2011, 107-112). Interval notation for pitch-class (as opposed to pitch) sets appears in Regener (1974) and, in other modal contexts, Neidhöfer (2005). Return to text 23.…”

Section: Catherine Losada University Of Cincinnatimentioning

confidence: 99%

Middleground Structure in the Cadenza to Boulez’s Éclat

Losada

2019

MTO

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Section: Catherine Losada University Of Cincinnatimentioning

confidence: 99%

Middleground Structure in the Cadenza to Boulez’s Éclat

Losada

2019

MTO

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“…Weitere Fragestellungen der Set Theory haben zur Untersuchung von ›pitch-class sets‹ mit speziellen Eigenschaften geführt, unter denen das siebentönige diatonische ›set‹ eine zentrale Stelle einnimmt. 14 Unter Anwendung der Set Theory haben verschiedene Autoren Akkordformationen in weiteren Tonsystemen untersucht, wie dem oktatonischen System (van den Toorn 1983, 1986, Santa 1999, dem pentatonischen und ganztönigen System (Santa 1999), den modalen Systemen von Olivier Messiaen (Bernard 1986, Cheong 2002, 2003, Neidhöfer 2005 und im ›double aggregate‹, in dem jeder Ton im chromatischen Total doppelt vertreten ist (Morris 2003).…”

Section: Set Theory Christoph Neidhöferunclassified

Set Theory

Neidhöfer¹

2005

ZGMTH

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“…2.3). Tivemos como critério de escolha da altura predominante a continuidade e a frequência de 62 Para maior aprofundamento nesta abordagem sobre condução de vozes, consultar Neidhöfer (2005). suas ocorrências, de modo que, mesmo havendo algumas interrupções dentro da sucessão de acordes, prevaleceu o maior número de vezes que a voz escolhida se manteve no trecho abordado.…”

Section: Pássarosunclassified

Análise musical e processos harmônicos em Concert à quatre, de Olivier Messiaen

Ogata¹

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This work develops a musical analysis of Concert à quatre (1990-1), a work for four soloists (flute, oboe, cello, piano) and large orchestra, by Olivier Messiaen, presenting the harmonic procedures and the main elements that characterize his compositional language. Seeks to identify and understand the use of concepts established by Messiaen, as well as investigate the processes that structure Concert à quatre harmony getting priority to an approach based on analysis of common voices. Highlighting Vingt Leçons d'Harmonie (1951) within the literature that relates studies on the bibliographic production of the composer, it associates this production with the main compositional elements of Concert à quatre and addresses references that refer to Messiaen's theoretical and musical studies. It uses sets segmentation and mapping common voices chord sequences as analytical tools. The analysis shows how the Modes of Limited Transposition and its subsets structure the work, being concurrent with the occurrence of brief tonicizations and forming harmonic reference centers, showing classes and recurring intervals. Furthermore, it emphasizes the use of the elements that are finishers constituent sections and transient portions, looking forward to consolidate the sound generated by each section.

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A Theory of Harmony and Voice Leading for the Music of Olivier Messiaen

Cited by 9 publications

References 7 publications

Middleground Structure in the Cadenza to Boulez’s Éclat

Middleground Structure in the Cadenza to Boulez’s Éclat

Set Theory

Análise musical e processos harmônicos em Concert à quatre, de Olivier Messiaen

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