Учебное пособие 1802
.pdfSeries «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 3 (14), 2016
Well, two Years ago, when we were expanding, we rented offices in other locations and we all got spread out.
Yeah, I remember. I used to see Neil’s team every day, but we email now.
Absolutely. My department moves and I only see you folks at meetings.
I think we’re onto something here. We’ve pinpointed the underlying cause of low morale. Let’s define it as due to a lack of face-to-face contact. (Murmurs of agreement.) So, let’s state it as a challenge. How can we improve morale, without spending a fortune?
Exactly. [2*]
This discourse system evolutions through chaotizing fluctuations (the expression of different opinions, discussion) to the functional attractor. The result of the discussion is formulated in the final statement (We've pinpointed the underlying cause of low morale [2*]). Communicative goal has been achieved as a result of cooperative interaction after working out a common position.
Other speech means implementing
the tactic of consent are exclamation:
It's a deal! Good news! We can accept this offer! [3*];
imperative
Let's shake hands on it [3*];
formulas of opinion expression:
I think this is fair to both sides. Good, I think we have an agreement [3*].
Request tactic can be used as part of a brainstorming session, and independently to get information or motivating the partner to express his opinion (Give it to me straight. What's really happening? What exactly are you trying to tell me? Let's leave aside the details for a second and focus on the real issue. What is your point? [2*]).
The tactic of offer can be expressed by such grammatical means
as imperatives
I know this is important to you so let me just double-check with the factory [4*];
infinitive constructions
I'll be happy to check directly with production if that would put your mind at ease
[4*];
interrogative-affirmative sentences
Why do not I talk to the shipping department and confirm that everything's going smoothly? [4*]);
Future tense (I'm going to speak personally with the supervisor to see what the hold-up is [4*]).
The tactic of offer reflects cooperative intentions of speakers and helps to establish positive relations with the interlocutor, as follows in the example.
Bill, I know how important it is for you to get this order to the stores before the weekend, so let me do this: I’ll call Mario at Viva to double-check that the rest of the shipment’s arriving today.
I appreciate your going the extra mile on this.
No problem. I’ll get back to you as soon as I’ve spoken to Mario. [2*]
The strategy of solution search functions in the conditions of multiple-vector movement of meanings of all participants of communication [11], like in the following example:
94
Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 3 (14), 2016
Thank you to everyone for your time. I’ll try to keep it short and get straight to what’s been on my mind. To start with, I’m sure you’ve all seen the latest sales reports, and can see that these figures are a serious red flag for Pylon. To make matters worse, we’ve also been hit with this 20% reduction in sales staff… The sales team has been stretched for some time and now with 20% fewer people, I think they’re ready to tear their hair out.
Well, we’re all in the same boat, aren’t we?
Point taken. But what I want to say is that I still see an opportunity here. What would you say to increased sales, more satisfied customers and more time available for the sales team to focus on high value-add sales from custom orders?
Wow. Can you throw in an end to world poverty and war?Easy does it, Roland.
Let me explain. I see us increasing sales and creating happy customers through a new site that can handle our “nuts and bolts” customers, leaving time for our sales team to dedicate themselves to working on special orders.
Still sounds too good to be true.
Yeah, I know. But what I think we can do is allow customers to order our basic off-the- shelf items on the web. Then sales staff can focus on customers with particular needs.
Whoa there, we can’t afford to spend money on another website.
Hear me out. In fact, I can show you that it will cost about $5,000 to do a basic revamp of the existing site. And our staff will do most of the work.
$5,000? You’ve gotta be kidding!
I kid you not. I’ve done my research. [2*]
Primary state of the system is marked by the metaphor (serious red flag). The search of final solution is not finished and the system of meanings has not reached the level of order, but it is obvious how multifaceted and various is the self-organisation of propositions in this discourse: staff was reduced (sales team has been stretched), emploYees are dissatisfied (they're ready to tear their hair out), an increase of custom orders (focus on high value-add sales from custom orders), it is impossible to help everybody (end to world poverty and war), the creation of a new site is a doubtful initiative (sounds too good to be true, you've gotta be kidding), absence of funds (we can not afford to spend money), an inexpensive innovation ($ 5,000 to do a basic revamp). Fluctuations are created mainly by tactic of expressing opinion, in this case with the help of intensifier what (what I want to say is that ... I see an opportunity here).
Tactic of refusal (disagreement) is expressed by metaphor (end to poverty and war), a set expression (too good to be true), denial (we can not afford to spend money, I kid you not), irony (You've gotta be kidding, end to world poverty and war). In this example the strategy of goal setting is intermediary. The final evolution of meanings system and finding a suitable solution is beyond the limits of this excerpt. Thus, the solution search strategy reflects not only the result but also the process of reaching compromise.
The analyzed discursive strategies reflect such current trends of English business discourse, as the need for harmonization of the communicative space, adequate and effective execution of the speech intentions, the need to maintain the positive nature of interaction. Discursive strategies and tactics play an organizing role in the evolution of the system of meanings of the English business discourse. They indicate the direction of development of the system of meanings and help identify the dominant meaning, leading to the goal of business communication.
As it turned out, goal setting strategy is implemented by tactics of request, demand, order, offer, assertion, while solution search strategy - by tactics of brainstorming, getting support, opinion expression, request, specification, agreement, offer. The range of speech means, corre-
95
Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 3 (14), 2016
sponding to specific tactics, is quite wide. This is due to the need to vary the degree of pragmatic impact, formality / informality of communication, the degree of categoricalness.
The choice the persuasive speech means is not spontaneous, it is subject to the laws of selfregulation of pragmatic and semantic space of discourse. It is naturally preconditioned by interaction of all the elements of discourse, verbal and non-verbal components of the communication, at that, discursive strategies are "vectors" of evolution of pragma-semantic system of discourse. Strengthening the impact of the speech is one of the essential levers of speech interaction. It takes place due to the mutual reinforcement of the functional potential of the individual speech means. Direction towards one attractor causes them to strive to achieve the goal of communication and thus increases the impact of the speaker's words. Thus, a conscious desire to find the most optimal combination of speech means serves as an important tool for the professional activity of a businessman.
Bibliographic list
1.Radyuk A.V. Funkcional'no-pragmaticheskie svojstva kooperativnyh rechevyh strategij i taktik v anglijskom delovom diskurse: avtoref. … kand. filol. nauk / A.V. Radyuk. – M., 2013. – 25 s.
2.Fomina Z.Ye. Innovacii v sfere russkogo kommunikativnogo povedenija kak social'no obuslovlennye refleksii novoj rossijskoj dejstvitel'nosti / Z.Ye. Fomina // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija. – 2011. – Vyp. 1 (15). – S. 166-179.
3.Maljuga E.N. Vzaimovlijanie delovoj kommunikacii i mezhkul'turnogo delovogo diskursa / E.N. Maljuga // Izvestija Rossijskogo gosudarstvennogo pedagogicheskogo universiteta im. A.I. Gercena. – 2008. – № 84. – S. 147-155.
4.Ponomarenko E.V. Osnovanija funkcional'noj lingvosinergetiki: speckurs po special'nosti 10.02.04 – Germanskie jazyki / E.V. Ponomarenko. – Moskva, 2015. – 316 s.
5.Bazylev V.N. Novaja metafora jazyka (semiotiko-sinergeticheskij aspekt): Dis. … d-ra filol. nauk / V.N. Bazylev. – M., 1999. – 419 s.
6.German, I.A. Lingvosinergetika / I.A. German. – Barnaul: Alt. akad. ekonomiki i prava, 2000. – 166 s.
7.Ponomarenko E.V. Funkcional'naja sistemnost' diskursa i predposylki razvitija lingvosinergetiki / E.V. Ponomarenko // Vestnik Rossijskogo universiteta druzhby narodov. Serija: Lingvistika. – 2006. – № 2. – S. 22-27.
8.Moskal’chuk G.G. Struktura teksta kak sinergeticheskij process / G.G. Moskal’chuk. – M.: URSS, 2010. – 294 s.
9.Fomina Z.Ye. SovremennYe processy globalizacii v sfere jazyka, kul'tury i obrazovanija
vkontekste vzgljadov nemeckih myslitelej i teorii V.I. Vernadskogo o vzaimodejstvii kul'tur i civilizacij/ Z.Ye. Fomina// Nauchnyj Vestnik Voronezh. gos. arh.-stroit. un-ta. Serija: SovremennYe lingvisticheskie i metodiko-didakticheskie issledovanija. – 2006. – vyp. 6. S.141-153.
10.Ponomarenko E.V. Lingvosinergetika i problemy ritoriki delovogo obshhenija / E.V. Ponomarenko // Lingvostranovedenie: metody analiza, tehnologija obuchenija Shestoj mezhvuzovskij seminar po lingvostranovedeniju. Sbornik nauchnyh statej v 2-h chastjah. Otvetstvennyj redaktor: L.G. Vedenina. – 2009. – S. 40-49.
11.Ponomarenko E.V., Radyuk A.V. Smyslovoj sinergizm kak osnova aktualizacii kommunikativnyh strategij i taktik anglijskogo delovogo diskursa / E.V. Ponomarenko, A.V. Radyuk // Nauchnyj vestnik Voronezhskogo gosudarstvennogo arhitekturno-stroitel'nogo universiteta. Serija: SovremennYe lingvisticheskie i metodiko-didakticheskie issledovanija. – 2013. – Vyp. 2 (20). – S. 34-42.
96
Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 3 (14), 2016
Analyzed sources
1*. Transcript of a Press Briefing by Christine Lagarde, Managing Director, International Monetary Fund, at the Conclusion of the Group of 20 Finance Ministers and Central Bank Governors Meeting. The International Monetary Fund, URL: http://www.imf.org/external/index.htm (vremja obrashhenija – 20.08.16).
2*. Business English Pod, URL: www.businessenglishpod.com (vremja obrashhenija – 15.07.16).
3*. Allison J. The Business. Intermediate / J. Allison, P. Emmerson, E. de Chazal. – Oxford: Macmillan Publishers, 2008. – 155 p.
4*. Nauton J. ProFile 3. Upper-Intermediate / J. Nauton. – Oxford, New York: Oxford University Press, 2009. – 168 p.
97
Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 3 (14), 2016
UDC 81’42
Institute of Foreign Languages and Media of Moscow City Teacher Training University postgraduate of Romance Philology department,
Natalia Borisovna Kasyanova e-mail: kassianata@yandex.ru
Institute of Philology, Foreign Languages and Media Communications of Irkutsk State University,
post-graduate student of the Translation and Translatology Department
Nadezhda Leonidovna Shevchenko
e-mail: nadezhdashevchenko86@gmail.com
N.B. Kasyanova, N.L. Shevchenko
THE COMPOSER O. MESSIAEN AS A DISCOURSE PERSONALITY (AS
EXEMPLIFIED IN PIANO CYCLE “VINGT REGARDS SUR L’ENFANT-JÉSUS”)
The music discourse of the composer O. Messiaen and its connection to his philosophicworldview are analyzed in this article. With the help of discourse analysis methods, the connection between the French composer’s discourse with the processes taking place in contemporary society of that time is shown. The necessity of O. Messiaen’s usage of the metatext potential to comment on his innovative approach to music is proved. The existence of metatext and music sheet synergism is established and the mechanisms of its formation within the piano cycle “Vingt regards sur l'enfant Jésus” are traced. The genres of academic music discourse are distinguished, the usage of these genres by O. Messiaen is analyzed. As exemplified in the piano cycle “Vingt
regards sur l'enfant-Jésus”, extramusical metatext language means, used by the author in the introduction and in the comments, are distinguished and compared. The conclusion is drawn that with the help of these means the composer realizes his encyclopedic domination and achieves communicative leadership in the professional discourse community of musicians.
Key words: discourse, professional discourse community, academic music discourse, discourse personality, academic music discourse genres, paratext, metatext language means, encyclopedic domination, communicative leadership.
The goal of the work is to study O. Messiaen’s discourse in the context of the processes, taking place in contemporary society of that time, to give reasons, why the French composer used metatext to comment his innovative approach to music, to distinguish the author’s extramusical metatext language means and the genres of academic music discourse. Basic material includes the introduction and the comments to the piano cycle “Vingt regards sur l'enfant-Jésus”. The methods of discourse and musicological analysis of the author’s comments to “Vingt regards sur l'enfant-Jésus” were used, taking into consideration O. Messiaen’s pragmatic usage of different language means.
___________________________________
© Kasyanova N.B., Shevchenko N.L., 2016
98
Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 3 (14), 2016
Discourse personality is understood as interactive, aiming to transmit a certain type of information, attempting to express a particular philosophic-worldview in a message to a concrete addressee. According to S.N. Plotnikova, “the discourse personality is a linguistic personality, who creates a certain type of discourse in the form of persistent or finished, fragment or complete, oral or written message” [1, p. 39]. Such a personality reveals himself in the process of communication in the discourse community, using communicative tactics and strategies (certain word usage, grammar constructions, categories); the individual characteristics of the personality are reflected in the discourse through linguistic means. Multiple discourse personalities constitute a discourse community.
J.Swales distinguishes the following characteristics of a discourse community:
Agreed set of common public goals;
Mechanisms of communication among members;
Participatory mechanisms to provide information and feedback;
One or more genres in the communicative furtherance;
Some specific lexis;
Threshold level of expertise [2, р. 24–27].
For the professional discourse community of musicians the last three characteristics are the most important. Music language is a sophisticated system and requires specific knowledge to write, perform and correctly interpret musical works. A specific feature of a composer music discourse is the description of auditory impressions, feelings, and patterns, as reflected in terminology, which is in the form of comments, seen in the music sheet of a specific work (appassionato – with passion, capriccioso – capriciously, doloroso – sorrowfully, possibile – possible).
It is difficult to distinguish specific genres among the three aforementioned characteristics, as they are connected with music discourse functioning as a whole, and according to E.V. Aleshinskaya include the following steps:
the creation of music product – finished music product – finished music product spread – appreciation/evaluation of music product [3, p. 9].
We propose that in academic music discourse the step of music product creation includes such genres as: the discussion of a music product conception, the creation of music sheets, practicing, and studio recording. The step of the finished music product has the genres of concerts, as well as audio and video recordings. Concerts and audio/video recordings can also be referred to the step of finished music product spread, which includes press releases, concert posters, interviews, and articles. The last step of appreciation/evaluation of music product seems to be the most significant in the academic music discourse, because the communicative success of a work depends on it. This step includes interviews, reviews, analytical reviews, textbook chapters, encyclopedia pages, as well as listeners’ responses. If the work of music is a novelty, the composer can include different prospective tactics of music verbalization in his discourse in order to increase the level of communicative competence of an addressee.
Based on V.I. Karasik’s notion of discourse as “the phenomenon of intermediate order between speech, communication, and linguistic behavior on one side, and fixed text as the communication ‘takeaway’ on the other side” [4, p. 192], we will study the discourse of O. Messiaen (1908-1992), the XX century composer, which reflects his philosophic-worldview and contains his creed in the creation of a body of innovative music.
Being a dedicated Christian, the French composer championed the truths of catholic faith in his compositions: “On ne saurait détacher Messiaen du catholicisme romain. Il en est devenu l`une des figures de proue artistiques” [5, p. 11]. A researcher of the composer’s creative work,
99
Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 3 (14), 2016
F. Olivier, distinguishes the following well-known influences on the work and discourse of
O.Messiaen:
1.The extent of religious ignorance in society. The level of people’s knowledge in this area was next to zero [5, p. 12-13].
2.Secular perception of religious music [5., p. 14].
3.The impoverishment of music language at services [5, p. 16-17].
Moreover, the audience, even the educated class, lacked appreciation for innovative music [5, p. 16, 42-43]. Professionals and critics could not understand it either [5, p. 56, 70-71, 74].
The Église de la Sainte-Trinité congregation in Paris, where O. Messiaen was a conventional organist and thus every Sunday plaYed his improvisations, was angry about his unusual rhythms resembling traditional Gregorian carols [6, p. 13-14]. The performance of “Three small liturgies of the Divine Presence” on April 21, 1945 engendered such a skirmish, that the police had to intervene [5, p. 16]. F. Olivier writes about the ongoing conflict (“le décalage”, “l`incomprehension”) from 1930-1980 between O. Messiaen and the musical connoisseurs in France, giving an example of such a striking personality as the composer Francis Poulenc, who blamed Messiaen for his desire to pander to the taste of the public [5, p.56]. The author quotes
Messiaen’s wife, Yvonne Loriod’s, who mentioned the negative response of the French press to his innovative works: “La presse française n`était pas tendre avec lui. Dans plusieurs journaux, certains musicologues ou critiques ne lui faisaient pas de cadeaux” [5, p. 70-71].
Among foreign critics, O. Messiaen’s artwork was ambiguously critiqued. In Italy the
French author was first portraYed as a conservative religious musician, but later as a radical composer championing freedom. In Spain he puzzled the musical world for being both Catholic and modern, a rare or impossible combination for the philosophy of the day. However, it was in Spain where O. Messiaen was called a “great master”. The situation was drastically different in the USA, where a group of conductors, impressed with his works, began performing his compositions in 1936. One may find proof of the composer’s positive reception in the country with the dedication of Mount Messiaen in Utah (The composer wrote his orchestral monumental work
“Des canyons aux étoiles” after visiting that canyon.); the French author had many students in
United States; he performed with different orchestras and premiered across the country [7, p. 278-279]
However, O. Messiaen, who did not know foreign languages and spent most of the time in France, who devoted his life not only to music creation, but also its performance by playing the organ during the liturgies and teaching in conservatories, met lack of understanding of his creative works in his own country, and this plaYed a crucial role. Under these conditions O. Messiaen, who reformed liturgical music, having enriched it with unusual colors, but who also created innovative secular works, had to use extramusical resources to establish communicative contact with his addressee. Thus the composer’s discourse is characterized by the unity of methods used both in musical and extramusical parts. These methods “shape entirety” despite their external diversity, because “in Messiaen everything is one” [8].
As a member of an academic discourse community, using the genre of the professional discourse, Olivier Messiaen used the following genres in extramusical parts: the discussion of a music product conception, music sheets (the step of music product creation), concert performances, audio/video recordings (the step of a finished music product), interviews, and articles (the step of a music product spread). The French author, taking into consideration the complex perception of his innovative music language, uses the resources of metatext at the step of appreciation/evaluation of music product. These are paratext genres (a program book, an introduction, a table of contents, comments, remarks in printed notes), epitext (interviews, films about the composer’s creative work with his participation), peritext (program titles, which reflect the main
100
Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 3 (14), 2016
idea of the composition, explanatory subtitles). The choice of music composition verbalization depended on the author’s strategy, oriented to broaden the textuality of the work.
It is worth mentioning that at the step of music product perception/evaluation the composer is joined by performers, listeners, and music critics. The latter play an important role, being the mediators between the music world and the listeners, and accomplish several tasks which help to better and deeper understand his musical work.
The piano cycle by O. Messiaen “Vingt regards sur l'enfant-Jésus” gives abundant material for linguistic discourse analysis. Here, besides the program title, which explains the key idea of the work, the composer includes a huge introduction. The genre of introduction is “an architectonic structured prospective paratext unit, which is secondary by nature and metatext features, is characterized by openness towards the reader, and has pragmatic-communicative orientation to inform the reader about the offered work in advance” [9, p. 11]. To make this orientation work, the French composer uses different means in the introduction:
1) Peritext – each of the twenty parts has a specific name and explanation:
“I. Regard de l`Etoile. Choc le la grâce… l`étoile luit naïvement, surmontée d`une croix…” (“I. Star’s Look. The shock of the grace of God ... the naive light of the star, topped with a cross…”) [1*, p. 6].
“VII. Regard de la Croix. La Croix lui dit: tu seras prêtre dans mes bras…” («VII. Cross glance. Cross announced it thou shalt be a priest in my hands ...") [1*, p. 46].
Peritext is an important source of information about the religious universe, as understood by O. Messiaen. “The integrant position of the title is always oriented to incorporate the work into historical and cultural context, and supposes that the reader has a good level of background knowledge (or is able to shape it). Without it, the text perception will be poor, superficial, and the author’s idea and goal will be interpreted incorrectly” [10, p. 15].
2) Emphasizing (quotation) the main themes of the work to schematically explain to the performer the idea of every statement in the composition:
“Thème de Dieu. Thème de l`Etoile et de la Croix. Thème d`accords” [1*, p. I] ("The theme of God. Theme of the Star and Cross. Theme of the Chord. ").
3) Many nominative sentences which create strict frames for understanding the idea of the illustrative part of the work, and are stylistically similar to the visual images (photos, pictures) are outlined:
“Descente en gerbe, montée en spirale; terrible commerce humano-divin <…> Innocence et tendresse <…> Foisonnement des espaces et durées” [1*, p. II] ("As the wedge - move down, like a spiral - the upward movement; terrible human and divine bond <...> Innocence and tenderness <...> The abundance of spaces and durations. ").
Using this language means the author is transcendentally present, adding “Vingt regards” one more distant ‘eYe’. Such depersonalization creates in the addressee the impression of a statement of unchangeable facts, the permanence of the work content.
4) The insertion of the subject markers:
101
Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 3 (14), 2016
“the aim of which is to imitate verbal communication” [11, p. 146] by directly addressing the reader with personal pronouns. O. Messiaen represents himself with the pronouns Je, me, moi, thus bringing in the author’s individual features. In some cases, the composer directly explains what he wants expressed:
“J`ai repris la même idée <...> en ajoutant seize nouveaux regards. <…> J`ai voulu exprimer la pureté en musique. <...> J`ai cherché ici un langage d`amour mystique” [1*, p. I-IV] ("I used the same idea <...> adding sixteen new looks. <...> I would like to express in music the idea of purity. <...> I have tried here to speak the language of mystical love ").
In other cases, the author expresses emotions or tells about the source of inspiration to explain the image of the music:
«J`ai toujours été très frappé par ce fait que Dieu est heureux <…> Joie qui est pour moi un transport, une ivresse». «Une gravure m`a inspiré». «Cette image m`a influancé» [1*, p. I-IV] ("I have always been struck by the idea that God is happy <...> The joy for me - it's a rush, thrill." "This image inspired me").
5) Direct address to a performer:
“Remarquez le divertissement” [1*, p. II] ("Pay attention to the divertissement.")
6) The lexis of the subject area religion, foi appeal to the addressee’s cultural background:
“A chaque communion, l`Enfant-Jésus dort avec nous près de la porte” [1*, p. III] ("Each communion Child Jesus rests next to us at the door").
O. Messiaen refers the addressee to the Scripture chapters:
“Après l`Annonciation, Marie adore Jésus en Elle”, “Le Verbe assume une certaine nature humaine” [1*, p. III] ("After the Annunciation of the Virgin Mary worship Jesus, who is in her", "Word becomes human nature.").
Quotations from the New Testament are used:
“Celui-ci est mon Fils bien-aimé en qui j`ai pris toutes mes complaisances” [1*, p. I].
("This is my beloved Son, in whom I am well pleased.")
The composer addresses the works of Catholic preachers and develops their ideas, adds sixteen new “looks”:
“Dom Columba Marmion (“Le Christ dans ses Mystères” et après lui Mauice Toesca (“Les douze Regards”) ont parlé des regards de bergers, des anges, de la Vierge, du Père celeste. J`ai repris la même idée en la traîtant de façon un peu différente et en ajoutant seize nouveaux regards” [1*, p. I]. ("House of Columbus Marmion (" Christ in His Mysteries "), then Maurice Toeska (" Twelve views ") described the views of the shepherds, the angels, the Virgin Mary, the heavenly Father. I used the same idea, but in a slightly different way and added sixteen new views. ")
102
Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 3 (14), 2016
7) The introduction of semantically incompatible lexis:
“choc de la grace, les oiseaux du silence, l`ombre lumineuse” [1*, p. I-IV]. ("Shock by the grace of God, silence, birds, glowing shade.")
The “compatibility of words is one of the main components of language communicative aspects” [12]. The functions of compatibility, according to M.V. Vlavatskaya, include “the creation of occasional and expressive word usages” [12].
8) The mixture of two language unit types – terminological and imaginative [13, p. 139]. Imaginative language means are the units which can cause sensual and emotional associations and conceptualization [14, p. 50]:
“Polymodalité, canon rythmique” and “en confettis, en pierreries légères” [1*, p. III].
("Polymodality, rhythmic canon" and "like confetti, light jewels.")
9) The usage of textual comments in the sheet music as the means of joining together verbal and note parts of the composition. For instance, in the beginning of the first part the quotation from the New Testament is repeated:
“Celui-ci est mon Fils bien-aimé en qui j`ai pris toutes mes complaisances”. ("This is my beloved Son, in whom I am well pleased.")
The traditional remarks are added to it:
“Extrêmement lent, mystérieux, avec amour” [1*, p. 1]. ("Very slowly, mysteriously, with love.")
The same is in other parts.
10) Many professional words which characterize rhythmical and tonal peculiarities of Messiaen’s music language:
“canons rythmiques, polymodalités” [1*, p. I], ("Polymodality, rhythmic canon").
“La voix supérieure traite le sujet… la basse fortissimo répète un fragment du sujet” [1*, p. II]. ("Upper voice develops a theme ... the bass repeats the theme for-
tissimo fragment".)
Among the professional words, used by O. Messiaen in the introduction and in the music sheet, the following instructions about the composer’s techniques are distinguished [8].
a)asymmetrical overgrowth (“agrandissement asymétrique”), “non-reversible rhythms” (“rythmes non-rétrogradables”), progressive acceleration and retardence (“valeurs progressivement accélérées ou ralenties”) [1*, p. I-IV].
b)juxtaposition of the lowest and highest registers of a musical instrument (stylistic quali-
ty):
“extrême aigu et extrême grave ensemble” [1*, p. II].
c)designation of textures:
103