Einfall und Untergrund

In this study, the author examines the interference of compositional patterns on patterns of perception, i.e., the interactions of such patterns that may already be reflected in the musical score. She thus understands analysis not as decoding, but as a discussion of the structural possibilities offered by the score in relation to the possibilities of perception, and as an attempt to reveal both the calculated and the spontaneous in the compositional process.
In the analytical literature on Messiaen, birds are generally regarded as symbols of freedom, based on Messiaen's own statements, including in a compositional sense. Accordingly, the Chants d'oiseaux from the Livre d'orgue largely fell through the cracks of a structure-oriented analysis, because the birdsongs in the context of the Livre seem to stand in the shadow of rhythmically and formally constructed pieces such as Reprises par interversion and the two Pièce en trio. But it is precisely in the Chants d'oiseaux that surprisingly complex patterns of compositional design emerge.
The author approaches the Chants d'oiseaux on the basis of fundamental questions: the self-organizing elements of the modes, the implicit crossing of boundaries between modes to achieve chromatic totality, and the idea of integration with regard to a vocabulary determined prior to composition. This is done through a discussion of Messiaen's modal examples in the technique of my musical language, through an analysis of Les Mages from La Nativité du Seigneur in the form of a Platonic dialogue, and through an examination of Messiaen's concept of a "communicable language," the so-called langage communicable.

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