Doctoral Recital: 2008-11-03 - Lerie Grace Dellosa, organ
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- Bach: Allein Gott in der Hoh' sei Ehr', BWV 662 (1747) 0:06:25
- Bach: Allein Gott in der Hoh' sei Ehr', BWV 664 (1747) 0:05:05
- Messiaen: Les Corps Glorieux (1939) - IV. Combat de la mort et de la vie 0:15:05
- Couperin: Messe pour le Paroisses (1690) - VI. Plein Jeu 0:01:19
- Couperin: Messe pour le Paroisses (1690) - VII. Petite fugue sur le Chromhorne 0:01:15
- Couperin: Messe pour le Paroisses (1690) - VIII. Duo sur les Tierces 0:02:04
- Couperin: Messe pour le Paroisses (1690) - IX. Dialogue 0:03:10
- Couperin: Messe pour le Paroisses (1690) - X. Trio a 2 dessus de Chromhorne et le basses de Tierce 0:02:51
- Couperin: Messe pour le Paroisses (1690) - XI. Tierce en Taille 0:03:46
- Couperin: Messe pour le Paroisses (1690) - XII. Dialogue sur la Voix humaine 0:03:05
- Couperin: Messe pour le Paroisses (1690) - XIII. Dialogue en trio du Cornet et la Tierce 0:03:01
- Couperin: Messe pour le Paroisses (1690) - XIV. Dialogue sur le Grands jeux 0:02:31
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Messiaen’s Musical Language: Technique and Theological Symbolism in Les Corps Glorieux, “Combat De La Mort Et De La Vie” (Thesis or Dissertation)
One of the most important ways to understand Olivier Messiaen’s musical language is through the lens of the theological ideas that many of his works convey. He considers expressing his Christian faith to be the primary purpose in his music. Through his idiosyncratic technique, Messiaen gives power and life to his religious music that he combines with his interest in literature, musical analysis, poetic imagery and symbolism, his love for theatre, and his compositional and organ abilities. The abundant studies of Messiaen’s works deal with the intricacies of his musical language, yet most of these studies barely discuss his theological ideas. Nevertheless, technical analysis of his music poses immense challenges, especially in the domains of melody and harmony. Although my approach is unconventional and do not follow any existing system, I base my technical and theological analyses mainly from Messiaen's technique, his commentaries and his references to the Scriptures. The “Combat de la mort et de la vie” is the heart of Les Corps glorieux in both technical and theological aspects. It is an intricate musical artwork where Messiaen demonstrates his melodic and harmonic developments using his idiosyncratic language, and through symbolism portrays the most complex of all drama according to Christian theology—the story of Jesus Christ's Passion and Resurrection. My research can relate directly to a more informed and convincing performance of the work, and can contribute a different perspective to the study, understanding, and appreciation of Messiaen's theologically inspired works.
Dissertation: https…
College of Music Program Book 2008-2009: Student Performances, Volume 1 (Book)
Student performances program book from the 2008-2009 school year at the University of North Texas College of Music.
Doctoral Recital: 2008-11-03 - Lerie Grace Dellosa, organ, audio recording, November 3, 2008; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc52507/: accessed June 6, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; crediting UNT Music Library.