apa research paper 1st draft (messiaen and boulez)
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Running head: REVIVAL OF AVANT-GARDE IN MESSIAEN AND BOULEZ 1
Revival of Avant-garde in Messiaen and Boulez
An Inspection into Serialism Influences in Messiaen and Boulez’s Piano Works
Adeline Ong Siau Shiun
Universiti Sains Malaysia
Author Note
This paper is prepared for VZM386, Performance and Instrumental Literature Study,
taught by Dr. Yoshioka Yumi.
REVIVAL OF AVANT-GARDE IN MESSIAEN AND BOULEZ 2
Abstract
Following World War II, a strong impact was seen on European musicians as new
experimental style started to sprung up especially the twelve tone method and serialism, a
metaphor for rebuilding a shattered world. In 1950s, Neoclassicism of Stravinsky and
Prokofiev was pushed from center of attention and an establishment of total organization of
music is provoked among young composers such as Stockhausen, Boulez and Nono, partly
due to Darmstadt influence in Germany where serial music is performed and analyzed.
French composer, Olivier Messiaen stimulated great influences where his works drew
inspirations from Hindu modes, bird sounds and Greek poetry, resulting in an exotic and
eclectic sound with polymodal and polyrhythmic writing. His most famous student, Pierre
Boulez drew on his method of rhythmic manipulation and pitch mode in Mode de valeurs et
d’intensites (first European work to be written in total organization) and composed the
Structures I in total control of musical elements, too. The paper discusses about the
application of serialism method in Messiaen’s Mode de valeurs et d’intensites and Boulez’s
Structures Ia through usage of pitches, duration of notes and articulation whereby the
comparison between them portrays similarities and differences between one another as
influence of Messiaen on his student’s early works is strong.
REVIVAL OF AVANT-GARDE IN MESSIAEN AND BOULEZ 3
An artistic renewal for new aesthetical ideas was seen among the young avant-garde
composers, looking towards a more conventional pathway to compose music including
rational thinking procedures and mathematical applications. What were followed often have
sparse and disconnected textures, angular melodic lines and short phrases. Those who adhere
to Schoenberg’s serial music feel that other aspect of musical elements should be controlled
instead of dealing with pitches only. Thus, the first European piano work to be written in
total organization (also called total serialism or integral serialism) is Mode de valeurs et
d’intensites for solo piano, composed by Olivier Messiaen in 1949, being part of Quatre
etudes de rythmes.
He spoke out against the affinity of second Viennese school composers to experiment
exclusively with pitch structures while adhering to traditional conceptions of rhythm and
form. At the same time he cited the possibility of using a series of timbres, a series of
intensities, and especially a series of durations. To describe the piece as ‘serial’ is not strictly
accurate, although it has many things in common with serial music (Johnson, R. S., 1975,
p.105).
Messiaen’s Mode de valeurs et d’intensites was rather modal and not based on
twelve-note tone row series, but all basic musical elements are predetermined before actual
notation of the piece take place. In this piece, three divisions of twelve-note pitches
(consisting of all notes of a chromatic scale) have been created with different note duration,
dynamics, intensities (modes of attack) associated to each note, thus resulting in 36 different
pitch of sounds, 24 rhythmic values, 7 dynamics and 12 mode of attacks. The first division
has basic duration of demisemiquaver, the second division with a basic duration of
semiquaver and the third division with quaver as basic duration unit. Each note of the
divisions has a multiply of 1 to 12 of the basic duration unit. As this piece is in three-part
REVIVAL OF AVANT-GARDE IN MESSIAEN AND BOULEZ 4
texture, some notes may sound at the same time as another part. Hence, notes of each series
are permutated at times in symmetrical order, which is different from classical serial
composition where following a specific tone row of a series is a must. For example, series of
note that follow the order of 1, 7, 2, 8, 3, 9, 4, 10, 5, 11, 6, 12. There is also no sectional form
as each pitch is played within the particular series. However, a similar pattern of descending
note occurred in each series. Its sparse sounding due to almost single-note texture and widely
scattered notes with jagged melodic outlines correlates this piece under pointillism style.
In addition, dynamics and modes of attack are freely assigned to each pitch. The 7
types of dynamics are ppp, pp, p, mf, f, ff and fff. Each pitch keeps the same duration,
dynamic and mode of attack throughout the piece but notes with same letter names have
different durations, dynamics and modes of attack in each division. As compared with a true
serial piece where order of notes are fixed according to the tone row while the parameters
(note durations, dynamics, modes of attack etc.) are free, the order of notes in Mode de
valeurs et d’intensites are freely ordered within the division whereas its parameters are set.
Boulez, struck by the possibilities for serialization of all parameters used in
Messiaen’s Mode de valeurs et d’intensites, evolved his own serial techniques in a different
direction with help of mathematical approach to eradicate traditional pulse and meter in
music. Perhaps the most prominent traditional musical element that was followed by Boulez
was the rhythmic feature as Messiaen acknowledged that rhythm is the most important part of
music. Thus, he composed Structures I in 1952, which consists of three movements.
He proclaimed that serialism is the only pathway for future music development and
those who has not experienced the necessity for the dodecaphonic language is useless. For
his whole work is irrelevant to the needs of his epoch (Simms, B. R., 1996, pg.320).
REVIVAL OF AVANT-GARDE IN MESSIAEN AND BOULEZ 3
Thereupon, this total serialization technique results in a highly complex and organized
composition, Structures 1a (1952) for two pianos, constructed by using two 12X12 matrices
of numbers. A collective organization of pitch, duration, dynamics and modes of attack were
predetermined in integral serialism technique. In this piece, pitches of notes were derived
from first division of Messiaen’s pitch mode:
Eb D A Ab G F# E C# C Bb F B
1 2 3 4 5 6 7 8 9 10 11 12
Construction of Structures 1a is based upon the twelve transpositions of the series where
numbers are assigned to each pitch and written up in two number matrices, the prime form
(‘O’ matrix) and inversion form (‘I’ matrix). As it was written for two pianos, piano I plays
the twelve P forms and twelve RI forms while piano II plays the twelve I forms and twelve R
forms, resulting in forty eight versions of tone series. Boulez then relates those tone rows to
serialization of all other parameters such as all note durations, dynamics, modes of attack and
tempi.
1 2 3 4 5 6 7 8 9 10
11 12
2 8 4 5 6 11 1 9 12 3 7 103 4 1 2 8 9 1
05 6 7 12 11
4 5 2 8 9 12 3 6 11 1 10 75 6 8 9 12 10 4 11 7 2 3 16 11 9 1
210 3 5 7 1 8 4 2
7 1 10 3 4 5 11
2 8 12
6 9
8 9 5 6 11 7 2 12 10 4 1 39 12 6 1
17 1 8 10 3 5 2 4
10
3 7 1 2 8 12
4 5 11
9 6
11
7 12 10
3 4 6 1 2 9 5 8
12
10 11 7 1 2 9 3 4 6 8 5
5
Piano I
P forms
REVIVAL OF AVANT-GARDE IN MESSIAEN AND BOULEZ 6
‘O’ matrix
All the twelve transpositions of the series and derived forms (inversions, retrogrades, inverted
retrogrades) were used once.
1 7 3 10
12 9 2 11 6 4 8 5
7 11 10 12
9 8 1 6 5 3 2 4
3 10 1 7 11 6 4 12 9 2 5 810
12 7 11
6 5 3 9 8 1 4 2
12
9 11 6 5 4 10
8 2 7 3 1
9 8 6 5 4 3 12
2 1 11
10 7
2 1 4 3 10 12 8 7 11 5 9 611
6 12 9 8 2 7 5 4 10
1 3
6 5 9 8 2 1 11
4 3 12
7 10
4 3 2 1 7 11 5 10 12 8 6 98 2 5 4 3 10 9 1 7 6 12 115 4 8 2 1 7 6 3 10 9 11 12
‘I’ matrix
Likewise, drew on his tutor’s rhythmic manipulation in Mode de valeurs et
d’intensites, Boulez used similar concept of basic duration in Messiaen’s first division, where
he established an arithmetical scales of durations from demisemiquaver to dotted crotchet.
The series corresponds to the twelve-note tone row and any row of duration values can be
chosen in the matrices to provide rhythmic organization of the piece. Hence, the duration
series also have forty-eight possibilities just like the pitch series.
Duration series used by Boulez is the same as Messiaen1 2 3 4 5 6 7 8 9 10 11 12
Piano II RI forms
Piano II
I forms
Piano I RI forms
REVIVAL OF AVANT-GARDE IN MESSIAEN AND BOULEZ 3
Besides, Boulez also created a wider dynamic range as compared with Messiaen’s
seven types of dynamics, which are pppp, ppp, pp, p, quasi p, mp, mf, quasi f, ff, fff and ffff.
The dynamics are then formulated with number successions following diagonal shape (as
shown in blue rectangle) of both ‘O’ and ‘I’ matrices instead of tone-row system. As number
4, 8, and 10 do not appear in the diagonals of ‘O’ matrix, p, quasi f, and ff do not occur
throughout piano I where else numbers 4 and 10 do not appear in diagonals of ‘I’ matrix.
The twelve different modes of attack are just the same in Messiaen’s Mode de valeurs et
d’intensites, except that it is also formulated following the diagonal shape (opposites of the
shape used for dynamics, red rectangle) of both matrices.
Again, in Structures 1a, three different tempos are used, which are Très modéré (A),
Modéré, Presque vif (B) and Lent (C) to mark different sections. The speed in this piece also
portrayed symmetrical form as shown:
A B C B A C B A B C A
Contrariwise, Mode de valeurs et d’intensites maintains Modéré throughout and is a
continuation of pitches following the three divisions with no sectional form, which is so
typical of Messiaen’s composition style. It also did not state a specific time signature, unlike
Boulez in Structures 1a where there is frequent change of time signature of almost every
measure to assist (or to control) in playing, which is so diverse with Messiaen.
Compared with Boulez’s vast usage of tone row series in the matrices, Messiaen only
composed Mode de valeurs et d’intensites with three divisions of notes and yet he managed
to create wide tone colours through varied rhythmic elements. The absence of time signature
7
REVIVAL OF AVANT-GARDE IN MESSIAEN AND BOULEZ 8
in Mode de valeurs et d’intensites also convey a sense of timelessness. In contrast with
Boulez’s integral serialism technique on Structures, Messiaen preserved some freedom on his
usage of pitches from each division series instead of following the pitches totally like the
Viennese serialists. His pitch usage was more towards a twelve-tone mode. Mathematical
approach was used in composition just like Boulez. The difference is that Messiaen used
pitches derived from permutations of numbers as each note from the divisions is also
assigned with a number. For example:
Bar 24-28: 1-12-2-11-3-10-4-9-5-8-6-7 (1st division)
Bar 29-39: 1-2-3-12-11-10-5-4-6-9-8-7 (2nd division)
Bar 39-49: 1-11-3-9-5-7-8-4-10-2-12-6 (2nd division)
Bar 53-57: 6-7-12-1-5-8-11-2-4-9-10-3 (1st division)
Bar 61-80: 1-7-2-8-3-9-4-10-5-11-6-12 (3rd division)
Bar 81-86: 8-1-12-7-2-11-6-3-10-5-4-9 (1st division)
Bar 86-96: 9-4-5-10-3-6-11-2-7-12-1-8 (2nd division)
Bar 103-107: 1-2-3-4-5-6-7-8-9-10-12-11 (1st division)
As discussed, Messiaen’s music suggests pointillism texture and evokes percussive
sonorities. His aim in rhythmic usage is to split regular pulse from its conventional division
into smaller rhythmic values. According to Johnson, R. S. (1975), his interest in rhythm
dates back to his student days where his tutors, Marcel Dupre and Maurice Emmanuel
stimulated his interest in ancient Greek rhythms. A particular feature of these rhythms is
their ‘ametrical’ character, which later also becomes a basic character of Messiaen’s rhythm.
The notion of a beat becomes replaced by a shortest note-value from which a rhythmic
pattern can be built up (pg32). His elimination of metrical unity and the common alternation
REVIVAL OF AVANT-GARDE IN MESSIAEN AND BOULEZ 3
of strong beats and weak beats are replaced by an unmeasured meter which based largely on
intuitive feeling.
In brief, both Messiaen’s Mode de valeurs et d’intensites and Boulez’s Structures 1a
indeed portrays close resemblance in using serial technique in composition. Although
Boulez’s integral serialism is much more intense where not only all successions of notes were
predetermined but also the duration and other parameters such as dynamics, modes of attacks
or even the overall form, serialism which appears between pitches and duration are not
dependent on each other (not completely integrated) as the notes do not directly determine its
durations. The duration values are determined through the matrices. On the other hand,
Messian’s approach was more from a external perspective where the duration value is already
assigned together with the pitch in each divisions. Generally speaking, numerical data has
joined itself with musical reality, forming a basis for modern composition as mathematical
descriptions were used to explain musical elements in Western music nowadays. Fixed rules
had been obeyed and followed in search of a more rational approach of composition style.
9
REVIVAL OF AVANT-GARDE IN MESSIAEN AND BOULEZ 10
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