· Musical features: such as (but not limited to) harmony, melody, rhythm, instrumentaion
· Structural features: such as (but not limited to) form, phrases, motifs, texture
· Contextual features: such as (but not limited to) style, time, culture, geography, history
This piece was written by Oliver Messiaen for a quartet, the four instruments it was written for were piano, violin, cello and clarinet.
The piece opens with a violin and the cello clarinet playing a melody in unison. At sixteen seconds a clarinet makes itself known joining the cello and violin playing a new melody. Around nineteen seconds the piece experiences a decrescendo and sounds much softer and quieter. The piece returns to its original volume with the clarinet sounding most prominently. At twenty-eight seconds all three instruments repeat the original opening melody. Then the violin and clarinet go on to briefly explore a descending scale. At thirty four seconds the piece breaks out of unison and all of the instruments play separate parts, cello playing a bass line while the clarinet and violin play melodies over the top. At fifty seconds the piece moves back to its original structure with the violin and cello playing in unison while the clarinet explores the scale over the top through flourished arpeggios and scales. This goes on until one minute twenty where the instruments revert back to playing in unison again.
Messiaen can be closely lined to Arnold Schoenburg and his atonal works.
1. Olivier Messiaen (December 10, 1908 – April 27, 1992)
2. THe famous French composers who were his techers were, Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré.
3. He composed this piece whilest in a German consentration camp in 1940.
4. It was scored for the violin, piano, celo and clarinet.
5. One of the main influences for his rhythmic writting was taken from greek and hindun music. He based a lot on modes of limited transposition, which Messiaen created himself.
6. the exotic influences on his writting came from Gamalan music and also Japanese music.
7. The sounds from nature that he used in his works were bird songs. the man would amble out into the forest for a spot of bird watching and notate the songs of birds.
8. He used symetry in his music were palandromic rhythms where he would put one part one way then another bit reversed.
9. Rather than using tonal or modal scales in his music Messiaen would used his own creation of scales and modes "modes of limited transposition" this was where he Based it on the chromatic scale of twelve notes, these modes are made up of several symmetrical groups, the last note of each group being the first note of the next. This gives the piece its slightly dissonant and atonal quality.
· Musical features: such as (but not limited to) harmony, melody, rhythm, instrumentaion
· Structural features: such as (but not limited to) form, phrases, motifs, texture
· Contextual features: such as (but not limited to) style, time, culture, geography, history
This piece was written by Oliver Messiaen for a quartet, the four instruments it was written for were piano, violin, cello and clarinet.
The piece opens with a violin and the cello clarinet playing a melody in unison. At sixteen seconds a clarinet makes itself known joining the cello and violin playing a new melody. Around nineteen seconds the piece experiences a decrescendo and sounds much softer and quieter. The piece returns to its original volume with the clarinet sounding most prominently. At twenty-eight seconds all three instruments repeat the original opening melody. Then the violin and clarinet go on to briefly explore a descending scale. At thirty four seconds the piece breaks out of unison and all of the instruments play separate parts, cello playing a bass line while the clarinet and violin play melodies over the top. At fifty seconds the piece moves back to its original structure with the violin and cello playing in unison while the clarinet explores the scale over the top through flourished arpeggios and scales. This goes on until one minute twenty where the instruments revert back to playing in unison again.
Messiaen can be closely lined to Arnold Schoenburg and his atonal works.
1. Olivier Messiaen (December 10, 1908 – April 27, 1992)
2. THe famous French composers who were his techers were, Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré.
3. He composed this piece whilest in a German consentration camp in 1940.
4. It was scored for the violin, piano, celo and clarinet.
5. One of the main influences for his rhythmic writting was taken from greek and hindun music. He based a lot on modes of limited transposition, which Messiaen created himself.
6. the exotic influences on his writting came from Gamalan music and also Japanese music.
7. The sounds from nature that he used in his works were bird songs. the man would amble out into the forest for a spot of bird watching and notate the songs of birds.
8. He used symetry in his music were palandromic rhythms where he would put one part one way then another bit reversed.
9. Rather than using tonal or modal scales in his music Messiaen would used his own creation of scales and modes "modes of limited transposition" this was where he Based it on the chromatic scale of twelve notes, these modes are made up of several symmetrical groups, the last note of each group being the first note of the next. This gives the piece its slightly dissonant and atonal quality.