Neumes and Greek Rhythms: The Breakthrough in Messiaen's Birdsong

Birdsong had appeared in consecutive works of the 1940s by Olivier Messiaen, but does not return until "Messe de la Pentecôte" (1949-1950). Messiaen's "Traité de rythme, de couleur et d'ornithologie," a voluminous treatise composed of theoretical and analytical writings, is indispensible to any study of his birdsong. Even though he did not say so, "Traité V" is obviously about his mature birdsong from "Réveil des oiseaux" to his later works; music composed before "Réveil" is seldom touched upon. "Traité V" sets in sharp relief the key importance of neumes, Greek rhythms, inexact doubling, and color-chord harmonization in Messiean's mature birdsong. The sheer number of neumes and Greek rhythms in "Traité V's" birdsong is in stark contrast to the fact that only a few neumes and virtually no Greek rhythms come up in his commentaries on early birdsong.