The translation into English of Olivier Messiaen’s The Technique of My Musical Language has been prompted by several factors. M. Messiaen’s growth in the past decade as an international figure in mid-Twentieth-Century music has demanded attention from various artistic quarters. As a contemporary musician of stature, M. Messiaen should find a ready audience for his comments on any aspect of the current musical scene, particularly on those aspects which most affect his own production.
Tolerance and appreciation of any given music are always enhanced by a microcosmic approach to an understanding of the technical procedures involved. In this relatively brief book, the composer has laid out for properly equipped readers a clear outline of certain principles of construction he has employed in composition. Made aware of these principles, the listener brings to the music a more meaningful receptiveness.
The cataloguing and explanation of methods of building tonal structures may strike a creative response in a student or mature composer. The book is one of the growing number of works on contemporary theory and practice which will contribute to the history of music in our century.
The translation into English of Olivier Messiaen’s The Technique of My Musical Language has been prompted by several factors. M. Messiaen’s growth in the past decade as an international figure in mid-Twentieth-Century music has demanded attention from various artistic quarters. As a contemporary musician of stature, M. Messiaen should find a ready audience for his comments on any aspect of the current musical scene, particularly on those aspects which most affect his own production.
Tolerance and appreciation of any given music are always enhanced by a microcosmic approach to an understanding of the technical procedures involved. In this relatively brief book, the composer has laid out for properly equipped readers a clear outline of certain principles of construction he has employed in composition. Made aware of these principles, the listener brings to the music a more meaningful receptiveness.
The cataloguing and explanation of methods of building tonal structures may strike a creative response in a student or mature composer. The book is one of the growing number of works on contemporary theory and practice which will contribute to the history of music in our century.