Universal Neumes: Chant Theory in Messiaen’s Aesthetics

Abstract Gregorian chant exerted a pivotal influence on Olivier Messiaen’s spiritual and musical universe. Scholars have noted his theological preference for this repertoire and its central role in his organ playing, and have observed how some of Messiaen’s melodies contain obvious traces from chants. Recent analytical work has ventured further and shown how plainchant in fact served as a melodic and formal matrix behind the composer’s musical language. This article raises the additional claim that Messiaen’s employment of plainchant rested upon an idiosyncratic and questionable – but largely coherent – theory of neumes as a more or less universal feature in music. A quasi-archaeological reconstruction proves necessary to reconstruct this conception from the composer’s fragmentary and enigmatic statements. The article investigates Messiaen’s readings of Vincent d’Indy and Dom André Mocquereau, including ideas from Hugo Riemann, showing that rhythm is a most central element in their similar connections between chant and freedom of expressivity in contemporary music. All in all, chant theory is highlighted as a vital element in analyses of Messiaen’s own music, as well as a theoretical framework that explains many of the composer’s seemingly eclectic connections between different repertoires.