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Messiaen as the "Rhythmician" : = Study and Performance Guides of Olivier Messiaen's Quatre Etudes De Rythme.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Messiaen as the "Rhythmician" :/
Reminder of title:	Study and Performance Guides of Olivier Messiaen's Quatre Etudes De Rythme.
Author:	Zhang, Yi.
Description:	1 online resource (60 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 84-06, Section: A.
Contained By:	Dissertations Abstracts International84-06A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29399503click for full text (PQDT)
ISBN:	9798363501241

Messiaen as the "Rhythmician" : = Study and Performance Guides of Olivier Messiaen's Quatre Etudes De Rythme.
Zhang, Yi.

Messiaen as the "Rhythmician" :Study and Performance Guides of Olivier Messiaen's Quatre Etudes De Rythme. - 1 online resource (60 pages)

Source: Dissertations Abstracts International, Volume: 84-06, Section: A.

Thesis (D.M.A.)--University of Kansas, 2022.

Includes bibliographical references

The Concert Etude began as a genre in the Romantic Era, most notably in the works of Frederic Chopin and Franz Liszt. In post-tonal piano repertoire, the etudes of Claude Debussy and Gyorgy Ligeti continued the tradition, and theirs have become among the most performed etudes from this era. While Debussy's etude explores harmonic color, Ligeti's frequently uses challenging metric and rhythmic elements. Olivier Messiaen, who is known for his Turangalila-Symphonie, Quatuor pour la fin du temps, Vingt Regards sur l'enfant-Jesus, and Catalogue d'oiseaux, wrote the Quatre Etudes de rythme in 1949-1950. The Quatre Etudes de rythme is a unique set of rhythmic etudes. These virtuoso pieces reveal Messiaen's unique rhythmic languages and many of his audacious compositional innovations. More specifically, the Quatre Etudes de rythme marks the first use of the serial technique by the composer.The four etudes are on the list of required pieces in important contemporary piano competitions and contemporary piano program auditions, such as the Concours International de Piano d'Orleans and RCM's contemporary piano programs, however, they are rarely performed in concert. There are only a few recordings of these pieces, notably by pianists Yvonne Loriod and Paul Jacobs in addition to Messiaen himself. The well-known Messiaen pianist Pierre-Laurent Aimard only recorded Ile de feu I and II (Etudes No. 1 and 4). In this research, I will talk about both musical and technical challenges in each of these four etudes, and provide performance suggestions based on my experience in the process of learning, practicing, and performing these pieces.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798363501241Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Messiaen, OlivierIndex Terms--Genre/Form:

542853
Electronic books.

Messiaen as the "Rhythmician" : = Study and Performance Guides of Olivier Messiaen's Quatre Etudes De Rythme.
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520 $a The Concert Etude began as a genre in the Romantic Era, most notably in the works of Frederic Chopin and Franz Liszt. In post-tonal piano repertoire, the etudes of Claude Debussy and Gyorgy Ligeti continued the tradition, and theirs have become among the most performed etudes from this era. While Debussy's etude explores harmonic color, Ligeti's frequently uses challenging metric and rhythmic elements. Olivier Messiaen, who is known for his Turangalila-Symphonie, Quatuor pour la fin du temps, Vingt Regards sur l'enfant-Jesus, and Catalogue d'oiseaux, wrote the Quatre Etudes de rythme in 1949-1950. The Quatre Etudes de rythme is a unique set of rhythmic etudes. These virtuoso pieces reveal Messiaen's unique rhythmic languages and many of his audacious compositional innovations. More specifically, the Quatre Etudes de rythme marks the first use of the serial technique by the composer.The four etudes are on the list of required pieces in important contemporary piano competitions and contemporary piano program auditions, such as the Concours International de Piano d'Orleans and RCM's contemporary piano programs, however, they are rarely performed in concert. There are only a few recordings of these pieces, notably by pianists Yvonne Loriod and Paul Jacobs in addition to Messiaen himself. The well-known Messiaen pianist Pierre-Laurent Aimard only recorded Ile de feu I and II (Etudes No. 1 and 4). In this research, I will talk about both musical and technical challenges in each of these four etudes, and provide performance suggestions based on my experience in the process of learning, practicing, and performing these pieces.
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