| Sumario: | Taking its cue from several highly suggestive remarks found in his interviews and two major theoretical treatises, this article investigates melodic contour structure in Olivier Messiaen's mature birdsong. Following some key refinements to Robert Morris's (1993) Contour-Reduction Algorithm and prime contour classification system, the algorithm is applied to various passages from Messiaen's Réveil des Oiseaux and birdsong transcriptions in Tome V of his Traité de Rythme, de Couleur, et d'OrnithoIogie, thereby revealing the existence of numerous nonretrogradable patterns, varying in both nature and degree of exactitude, at a deeper level of structure. The article then discusses the specific features that these patterns exhibit, and explores some of the major issues involved in carrying out an analysis of this kind. Finally, evidence is offered in support of the assertion that these contour symmetries represent a concrete manifestation of Messiaen's self-admitted tendency to unintentionally insert his own compositional voice and artistic sensibilities into his birdsong transcriptions.
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