Messiaen’s Gagaku
Keywords:
Olivier Messiaen, Music avant-garde, Non-western influence, Traditional Japanese music, Religion, Musical aestheticsAbstract
The tension between nostalgia and innovation is uniquely manifested in Olivier Messiaen’s Gagaku, the fourth movement of his 1962 composition Sept Haikai. Messiaen’s religiosity represented a form of nostalgia to the intellectual French Avant-Garde. The concept of écriture plays an important role in the past/future dialectic of this transformation, causing structure and style to differ based on the principle of non-imitation and asserting itself as the shaping element that makes Gagaku a piece of distinctly French music.
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