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Magistrsko delo obravnava vprašanje avtentičnosti rabe zvokov ptic v glasbi francoskega skladatelja Olivierja Messiaena. Raziskovanje je potekalo postopoma od preučevanja narave ptičjega oglašanja z vidika ornitologije, prek rabe ptičjega petja v zahodnoevropski glasbi do 20. stoletja in sistematične analize opusa ter nekaterih ključnih del skladatelja do končnega sklepa, da ptičje petje v glasbi Messiaena ne predstavlja avtentičnega posnemanja realnosti, temveč prej domišljijsko transmutacijo, ki je za skladatelja predstavljala izhod iz togih okvirov glavnih tokov tedanje zahodnoevropske glasbe in hkrati pomemben melodični vir. The master's thesis deals with the question of authenticity of the use of bird sounds in the music of the French composer Olivier Messiaen. The research proceeded gradually from the study of the nature of birdsong from the point of view of ornithology, through the use of birdsong in Western European music up to the 20th century and a systematic analysis of the composer's oeuvre and some key works of the composer to the final conclusion that birdsong in Messiaen's music does not represent an authentic imitation of reality, but rather an imaginative transmutation, which for the composer represented a way out of rigid frameworks of the main currents of Western European music at the time and simultaneously an important melodic source. |
