Messiaen’s Gagaku
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...
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| Tipo de documento: | artigo |
| Estado: | Versão publicada |
| Data de publicação: | 2012 |
| País: | Brasil |
| Recursos: | Universidade Federal de Minas Gerais (UFMG) |
| Repositório: | Per Musi |
| Idioma: | português |
| OAI Identifier: | oai:periodicos.ufmg.br:article/40107 |
| Acesso em linha: | https://periodicos.ufmg.br/index.php/permusi/article/view/40107 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Olivier Messiaen Music avant-garde Non-western influence Traditional Japanese music Religion Musical aesthetics Vanguarda musical Influência não-ocidental Música japonesa tradicional Religião Estética musical Música de vanguardia Influencia no occidental Música tradicional japonesa Religión |
| Resumo: | 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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