A Study Of Maurice Ohana's Musical Language

This project begins with an analysis of the Spanish-French composer Maurice Ohana's (1913-1992) works in different periods, making an in-depth study of his creative theory and musical language. With this as a starting point, the project attempts to demonstrate the creative activities of the French musician in the second half of the 20th century, who was the contemporary of Messiaen and Boulez, but had very distinctive personal features.The main idea of this project is to focus on studying the musical language of the composer's works in each period, abstract and summarize the different techniques used in different periods, and finally delineate the boundary of the periods. The purpose is to conduct a comprehensive research and interpretation of Ohana's musical language, and define Ohana's remarkable contribution to the French music in the 20th century, especially the second half of the century.This paper consists of 5 chapters. The first chapter begins with Sigma collection, discussing and interpreting the original cultural elements, mysterious styles and symbols of witchcraft in the Pan-Basque country, as well as certain non-musical considerations on musical materials derived from the fascination with pagan legends. The paper particularly tries to interpret the implications of the enigmatic images appearing in the music, in order to understand deeply the origin of Ohana's creative inspiration.The second chapter clearly defines 1944-1959 as the first period of Ohana's creation. The paper discusses Ohana's creative technique from the aspects of rhythm vocabulary and sound-mass, emphasizing that his unique creative activity was rooted in Iberia musical tradition and ignored the Serialism prevailing at the time.The third chapter makes an in-depth analysis and study of Ohana's transformational works created in 1960-1964. The paper focuses on technical analysis and discussion from the aspects of the symmetry of structural presentation, the revival of early vocal composition technique and the new forms of Polyphony. It points out that Ohana did not merely develop new techniques and sound texture, but the most important is that his works tried to keep a distance from Iberia culture and turn to describe the more ancient world of incantations and religious ceremonies.The fourth chapter mainly discusses the rhythmic sound-texture and sound-mass Ohana gradually developed and perfected, as well as the vision demonstrated with religious symbols and orchestration. It points out that the Signs Ohana composed in 1965 represents the elective fusion of his creative style in the next 30 years of maturity.The fifth chapter is the conclusion. It summarizes Ohana's creative process and defines the inner features of his musical style reflected by his creative technique.This paper takes into special consideration the cultural continuation of Ohana's works:the integration of Spanish folk music, the fascination with original cultural elements, mysterious style of witchcraft, symbols and pagan legends, which results in the power and energy that drives Ohana's music forward. His works were different from the so-called mainstream music of his time:he did not follow Serialism, nor mix with the unique Darmstadt creative intention and aesthetic ideas.