Title: オリヴィエ・メシアン (Olivier Messiaen)
Section: 関連文献

Baggech, Melody Ann (1998). An English Translation of Olivier Messiaen's "Traite de Rythme, de Couleur, et d'Ornithologie". Norman: The University of Oklahoma.Barker, Thomas (2012). "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla Symphonie." International Review of the Aesthetics and Sociology of Music 43/1:53–70.Benitez, Vincent P. (2001). "Pitch Organization and Dramatic Design in Saint François d’Assise of Olivier Messiaen." PhD diss., Bloomington: Indiana University.Benitez, Vincent P. (2002). “Simultaneous Contrast and Additive Designs in Olivier Messiaen’s Opera Saint François d’Assise.” Music Theory Online 8.2 (August 2002). http://mto.societymusictheory.org/Benitez, Vincent P. (2004). "Aspects of Harmony in Messiaen's Later Music: An Examination of the Chords of Transposed Inversions on the Same Bass Note." Journal of Musicological Research 23, no. 2: 187–226.Benitez, Vincent P. (2004). "Narrating Saint Francis's Spiritual Journey: Referential Pitch Structures and Symbolic Images in Olivier Messiaen's Saint François d'Assise." In Poznan Studies on Opera, edited by Maciej Jablonski, 363–411.Benitez, Vincent P. (2008). “Messiaen as Improviser.” Dutch Journal of Music Theory 13, no. 2 (May 2008): 129–44.Benitez, Vincent P. (2009). “Reconsidering Messiaen as Serialist.” Music Analysis 28, nos. 2–3 (2009): 267–99 (published April 21, 2011).Benitez, Vincent P. (2010). "Messiaen and Aquinas." In Messiaen the Theologian, edited by Andrew Shenton, 101–26. Aldershot: Ashgate.Boivin, Jean (1993). "La Classe de Messiaen: Historique, reconstitution, impact". Ph.D. diss. Montreal: Ecole Polytechnique, Montreal.Boswell-Kurc, Lilise (2001). "Olivier Messiaen's Religious War-Time Works and Their Controversial Reception in France (1941–1946) ". Ph.D. diss. New York: New York University.Bruhn, Siglind (2007). Messiaen's Contemplations of Covenant and Incarnation: Musical Symbols of Faith in the Two Great Piano Cycles of the 1940s. Hillsdale, NY: Pendragon Press. ISBN 978-1-57647-129-6 Cheong Wai-Ling (2003). "Messiaen's Chord Tables: Ordering the Disordered". Tempo 57, no. 226 (October): 2–10.Cheong Wai-Ling (2008). "Neumes and Greek Rhythms: The Breakthrough in Messiaen's Birdsong". Acta Musicologica 80, no. 1:1–32.Dingle, Christopher (2013). Messiaen's Final Works. Farnham, UK: Ashgate. ISBN 9780754606338.Fallon, Robert Joseph (2005). "Messiaen's Mimesis: The Language and Culture of The Bird Styles". Ph.D. diss. Berkeley: University of California, Berkeley.Fallon, Robert (2008). "Birds, Beasts, and Bombs in Messiaen's Cold War Mass". The Journal of Musicology 26, no. 2 (Spring): 175–204.Festa, Paul (2008). Oh My God: Messiaen in the Ear of the Unbeliever. San Francisco: Bar Nothing Books Goléa, Antoine (1960). Rencontres avec Olivier Messiaen. Paris: Julliard Hardink, Jason M. (2007). "Messiaen and Plainchant". D.M.A. diss. Houston: Rice University.Harris, Joseph Edward (2004). "Musique coloree: Synesthetic Correspondence in the Works of Olivier Messiaen". Ph.D. diss. Ames: The University of Iowa.Hill, Matthew Richard (1995). "Messiaen's Regard du silence as an Expression of Catholic Faith". D.M.A. diss. Madison: The University of Wisconsin, Madison.Laycock, Gary Eng Yeow (2010). "Re-evaluating Olivier Messiaen's Musical Language from 1917 to 1935". Ph.D. diss. Bloomington: Indiana University, 2010.Luchese, Diane (1998). "Olivier Messiaen's Slow Music: Glimpses of Eternity in Time". Ph.D. diss. Evanston: Northwestern UniversityMcGinnis, Margaret Elizabeth (2003). "Playing the Fields: Messiaen, Music, and the Extramusical". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill.Nelson, David Lowell (1992). "An Analysis of Olivier Messiaen's Chant Paraphrases". 2 vols. Ph.D. diss. Evanston: Northwestern UniversityNgim, Alan Gerald (1997). "Olivier Messiaen as a Pianist: A Study of Tempo and Rhythm Based on His Recordings of Visions de l'amen". D.M.A. diss. Coral Gables: University of Miami.Peterson, Larry Wayne (1973). "Messiaen and Rhythm: Theory and Practice". Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel HillPuspita, Amelia (2008). "The Influence of Balinese Gamelan on the Music of Olivier Messiaen". D.M.A. diss. Cincinnati: University of CincinnatiReverdy, Michèle (1988). L'Œuvre pour orchestre d'Olivier Messiaen. Paris: Alphonse Leduc. ISBN 2-85689-038-5 Schultz, Rob (2008). "Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen". Music Theory Spectrum 30, no. 1 (Spring): 89–137.Shenton, Andrew David James (1998). "The Unspoken Word: Olivier Messiaen's 'langage communicable'". Ph.D. diss. Cambridge: Harvard University.Sholl, Robert (2008). Messiaen Studies. Cambridge & New York: Cambridge University Press. ISBN 978-0-521-83981-5 Simeone, Nigel (2004). "'Chez Messiaen, tout est priére': Messiaen's Appointment at the Trinité". The Musical Times 145, no. 1889 (Winter): 36–53.Simeone, Nigel (2008). "Messiaen, Koussevitzky and the USA". The Musical Times 149, no. 1905 (Winter): 25–44.Waumsley, Stuart (1975). The Organ Music of Olivier Messiaen (New ed.). Paris: Alphonse Leduc. OCLC 2911308; LCCN 77-457244 Welsh Ibanez, Deborah (2005). Color, Timbre, and Resonance: Developments in Olivier Messiaen's Use of Percussion Between 1956–1965. D.M.A. diss. Coral Gables: University of MiamiZheng, Zhong (2004). A Study of Messiaen's Solo Piano Works. Ph.D. diss. Hong Kong: The Chinese University of Hong Kong.