Releasing Messiaen's birds from their musical cages: A Study of Olivier Messiaen's birdsong transcription process and the timbral transformations that

对梅西安音乐美学的许多研究探讨了神学和社会政治问题（Boswell-Kurc, 2001; Dellosa, 2015），有时结合分析性见解（Burger, 2009）或音乐“叙事”。令人惊讶的是，这些讨论并没有在鸟类鸣叫的研究中得到匹配。过去对鸟鸣的研究要么是从分析的角度（Cheong, 2008），要么是从表演者的角度（Loo Fung Chiat, 2005）。很少将这些方法综合起来，也没有评估每一种方法对另一种方法的影响。我的研究通过综合鸟鸣研究和音乐理论，通过对表演和解释的考虑，与现有的研究交叉。正如Cook（1999）所推测的那样，Wallace Berry（1989）等学者的现有工作“与其说是跨学科的实践，不如说是将绩效纳入现有的理论知识框架的尝试。”虽然分析应用到表演中是相关的，但我的基本目标是通过扩展表演中的美学和音色选择来逆转Berry的方法，以减少符号的分析应用，回到启发它的“自然”歌曲。此外，梅西安的双重转录过程为我和表演者提供了一个有效的机会来探索梅西安为什么以及如何做出他的作曲选择，考虑到他们在音乐以外的方面对技术和风格之间关系的影响，以及试图通过音乐捕捉“自然”的东西（舒尔茨，2008）。正是通过这一点，对技术和美学解释的理解可以结合起来，为创造一个完全的音乐表演创造大量的新可能性（Street, 1976）。

Much research into Messiaen's musical aesthetics explores theological and socio-political issues (Boswell-Kurc, 2001; Dellosa, 2015), sometimes combining with analytical insights (Burger, 2009) or musical 'narrative'. These discussions have surprisingly not been matched in studies of birdsong. Past research on birdsong comes from either an analytical (Cheong, 2008) or a performer's perspective (Loo Fung Chiat, 2005). Very rarely are these approaches synthesised, nor is the impact of each upon the other assessed. My research intersects existing studies through the synthesis of birdsong studies and the music-theoretic, through considerations of performance and interpretation. As Cook (1999) surmises, existing work by scholars such as Wallace Berry (1989) are "not so much a cross-disciplinary exercise as an attempt to incorporate performance within the existing intellectual framework of theory." Whilst analytical applications to performance are relevant here, my fundamental aim is to reverse Berry's approach by expanding aesthetic and timbral choices in performance to reduce the analytical applications of notation back towards the 'natural' songs that inspired it. Furthermore, Messiaen's dual transcription process provides an effective opportunity for myself and performers to explore why as well as how Messiaen made his compositional choices, considering their impact on the relationship between technique and style in terms of the extra-musical and the attempt to capture something 'natural' through music (Schultz, 2008). It is through this that an understanding of technical and aesthetic interpretations can be combined to produce a plethora of new possibilities for creating a wholly musical performance (Street, 1976).