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

许多对梅西安音乐美学的研究探讨了神学和社会政治问题（Boswell-Kurc，2001; Dellosa，2015），有时结合分析见解（Burger，2009）或音乐“叙事”。令人惊讶的是，这些讨论在鸟鸣的研究中并不匹配。过去对鸟鸣的研究要么来自分析（Cheong，2008），要么来自表演者的角度（Loo Fung Chiat，2005）。这些方法很少被综合起来，也没有评估每一种方法对另一种方法的影响。我的研究通过鸟鸣研究和音乐理论的综合，通过对表演和解释的考虑，与现有的研究交叉。正如库克（Cook，1999）推测的那样，华莱士·贝里（Wallace Berry，1989）等学者的现有工作“与其说是一项跨学科的工作，不如说是试图将绩效纳入现有的理论知识框架。“虽然分析应用于表演在这里是相关的，我的根本目标是扭转贝里的方法，通过扩大审美和音色的选择，以减少对符号的分析应用回到'自然'的歌曲，启发它。此外，梅西安的双重转录过程提供了一个有效的机会，为我和表演者探索为什么以及如何梅西安作出他的作曲选择，考虑到他们对技术和风格之间的关系的影响，在音乐之外，并试图通过音乐捕捉一些“自然”的东西（舒尔茨，2008年）。正是通过这种方式，对技术和美学解释的理解可以结合起来，产生大量新的可能性，创造一个完整的音乐表演（街，1976年）。

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).