Olivier Messiaen

This paper will examine Arnold Schönberg’s influence on modern jazz through the teachings of one of its most respected theorists and pedagogues Dennis Sandole, mentor to John Coltrane, James Moody, Art Farmer, Randy Brecker, Jim Hall, Rufus Harley, Pat Martino, and many other important jazz artists.

Through the analysis of musical examples, this paper proposes that important conceptual links exist between some of Schönberg’s key compositional concepts and Sandole’s pedagogical literature and practice which would go on to influence John Coltrane and many other jazz practitioners for decades to follow helping to solidify Schönbergian ideas and concepts within the syntax of modern jazz. Schönberg’s utilisation of various segmentation schemes such as trichords, tetrachords and hexachords, use of interval cycles particularly that of interval cycle 4 or major thirds, and the compositional practice of stating the complete chromatic collection within a relatively short musical space have provided jazz practitioners such as Sandole and Coltrane with a new conceptual framework for employing the total chromatic harmonically and melodically in modern jazz practice.

This article deals with the philosophical idea of worldmaking pursued through techné, meaning the fusion of the technical means of artistic creation, theorizing, and analysis, but specifically occurring in a feedback loop involving introspection and computation (cybernetic phenomenology). The discussion ranges over a wide variety of topics, including (1) the history of music theory from Ancient Greece to the present (including a rebuttal to Daniel Chua’s (2001) account of music history); (2) emergent properties in music arising from self-organization (explored through the Ancient Chinese abstract strategy board game go); (3) the ontology of musical qualities (properties) and categories (including their relation to visual, tactile, and olfactory qualities and categories). 
Various repertoires, artists, and philosophies are referenced. The essay analyzes aspects of Ligeti’s Violin Concerto, Carter’s String Quartet No. 5, and Lachenmann’s Kinderspiel.  Connections to the author’s own previous analytical and theoretical work are also discussed in relation to his interactive algorithmic audio-visual works (such as Fluxations and FluxNOISations). The techné of these is discussed in terms of logistics as well as aesthetic influences, including Wagner, Liszt, Stravinsky, Schoenberg, Crawford, Babbitt, Carter, Xenakis, Parker, Reich, Ligeti, Truax, Oliveros, Kandinsky, Miro, Pollock, Pollock, Hofmann, Rothko, Louis, Frankenthaler, Moholy-Nagy, Newman, Richter, and Brakhage.  The essay touches on philosophical ideas of Bergson, Whitehead, Deleuze, Harman, and Bogost, and more fully engages the philosophies of Nelson Goodman and Hannah Arendt in connection with artistic creation as relating to the theorizing and analysis of artistic works.     

Contact the author at jmailman@alumni.uchicago.edu
Download the article through JSTOR: http://www.jstor.org/stable/10.7757/persnewmusi.54.1.0005
or http://tinyurl.com/zdvkllr

This short work will look at some possibilities for using Arnold Schoenberg’s symmetrical set from his Serenade Op. 24 Mvmt. 5 as pitch material in Jazz/Fusion improvisation.

I will examine some harmonic and melodic uses of the set’s two hexachords using an accepted Jazz Chord/Scale Relationship pedagogical methodology. My approach will look at these pitch groups as unordered sets or collections only, although their use as ordered sets is of course certainly possible. As many Jazz and Fusion Improvisers are familiar with Nicholas Slonimsky’s Thesaurus of Scales and Melodic Patterns , I will reference this text in relation to the sets and subsets present in this survey for ease in cross referencing.

A partir de un estudio detenido de algunos de los postulados de las teorías cuánticas y de sus relaciones con el campo electroacústico (Rocha Iturbide, 1999), el autor de este artículo establece un campo comparativo más arriesgado que involucra al campo filosófico de la estética, específicamente el que se relaciona con la música contemporánea de mediados del siglo XX. Se intenta definir una estética cuántica que nos daría como posibilidad el surgimiento de distintos estilos válidos (Zohar 1990), pero haciendo énfasis en los que más se acercan - de manera consciente u inconsciente - a estos principios cuánticos. El resultado de esta investigación le ha permitido al autor establecer una nueva manera para percibir y analizar la música contemporánea, la electroacústica y el paisaje sonoro, así como para crear obras sonoras nuevas dentro de estos distintos ámbitos.

Renowned French composer, Olivier Messiaen, famously stated, “I think jazz is a ‘robber’ whose ‘innovations’ are, in reality, borrowings from earlier symphonic music.” However, upon closer examination, his compositions appear to be full of elements idiomatic to jazz. Since jazz was an overwhelming inspiration for French composers from Debussy to Poulenc, why would Messiaen reject its influence? The author takes an in-depth look at Messiaen’s scores and compares them to the works of jazz improvisers and composers such as Louis Armstrong and Duke Ellington. Possible explanations for Messiaen’s stated disapproval of the genre are explored.

This comprehensive volume offers a wide-ranging perspective on the stories that art music has told since the start of the 20th century. Contributors challenge the broadly held opinion that the loss of tonality in some music after 1900 also meant the loss of narrative in that music. To the contrary, the editors and essayists in this book demonstrate how experiments in approaching narrative in other media, such as fiction and cinema, suggested fresh possibilities for musical narrative, which composers were quick to exploit. The new conceptions of time, narrative voice, plot, and character that accompanied these experiments also had a significant impact on contemporary music. The repertoire explored in the collection ranges across a wide variety of genres and includes composers from Charles Ives and the Pet Shop Boys to Thomas Adès and Dmitri Shostakovich.

[Table of contents etc: http://www.iupress.indiana.edu/product_info.php?cPath=1037_5718_5753&products_id=806644 ]
[Sample chapter: http://www.academia.edu/749803/Agency_Determinism_Focal_Time_Frames_and_Narrative_in_Processive_Minimalist_Music ]

The first bar of the L’Ascension by Oliver Messiaen was taken by
Terényi as “an ostinato bass”, a modal and a harmonical support that has the
variations of the Chaconne to develop onto them. The play has the mirror
symmetries and palindromic structures as a background: from the palindrome
modal scale to the palindrome of the meters and to the retrograde inversion of the
design between the last three parts and the first three parts. Each variation
describes a dramaturgical action that is graphically revealed and gives a space for
many improvisatory variants. The score, together with other plays of E. Terényi were
included in exhibitions and were received with a special interest by the public.

L'article  esquisse une rythmologie philosophique dont il énonce les règles "arythmétiques". Je propose le mot-valise “arythmétique” pour désigner le système deleuzien de la répétition complexe. Premièrement, ce terme rappelle la fusion proprement pythagoricienne entre arithmos et rhuthmos : comme dit Deleuze, « le nombre nombrant est rythmique ». Deuxièmement, ce mot-valise suggère l’idée paradoxale suivant laquelle l’arythmie est la source du rythme : « le rythme est l’Inégal ou l’Incommensurable ».

_Dance, spell and prayer. The “expressive renewal” of French music in the 1930s_

This is a study of rhetorics linked to the renewal of musical language in 1930s Paris. The verbal rhetoric: manifestos and composers’ writings; the musical rhetoric: the different strategies used by “non conformist” composers (in particular, Jolivet and Messaien) to renew their musical language without loosing its expressive power.

An analysis of the life of Olivier Messiaen, in particular reference to his composition, the Quatuor pour la fin du Temps (Quartet for the end of Time), reveals that his aesthetics of music is conceptual to his unshakable devotion to the Catholic faith. Through his theologically aesthetic paradigm, the Divine is asserted as the centripetal source and purpose of his musical language. His theological paradigm is evidently wrought through his aesthetics of sound-color, resonance, rhythm, modes of limited transposition, and of his ornithology. In an effort to expound on these facets, Messiaen’s theologically aesthetic paradigm will be explored by a contextual analysis of his life, the context of the Quatuor pour la fin du Temps, and the implications drawn subsequently.

This study seeks to determine the extent to which selected works by Olivier Messiaen (1908-1992), Pierre Boulez (1925-2016), and Tristan Murail (b. 1947) support or contradict the notion of “rupture” in the Parisian musical establishment during the twentieth century. Aesthetic and political considerations of the historical narrative frame comparative analyses of Murail’s Territoires de l’oubli (1977) to the ethos of Messiaen’s Sept haïkaï (1962) and Couleurs de la cité celeste (1963), and to the technique of Boulez’s Structures II for two pianos (1956-61). It is concluded that Messiaen’s influence on Murail was largely one of ethos and not technique. It is determined that Boulez and Murail share similarities in their approaches to form and the manipulation of piano sonority and resonance. It is thus considered that their aesthetic divide is of little substance to the content of their music.

This was an experimental paper from 2002.  It is an interpretation of a piece of organ music by the French composer Olivier Messiaen.  The main argument is that Messiaen's piece is a model of a certain kind of theology.  The incorporation of elements that are non-Christian (birdsong, rhythms from Hindu music) into a 'Christian' artifact reveals how porous and blurred the edges of a tradition are, at least when something truly beautiful is being fashioned.

This short paper will demonstrate how derived sets created from trichordal combinations and some common transformational techniques when applied to Schoenberg's Op. 24 Movement 5 Tanzscene set creates all six all-combinatorial hexachords and two symmetrical hexachords related by the retrograde inversion function that also form the complete aggregate at interval class (ic) 6 or a tritone interval.

Introduction to the collection of essays entitled "Messiaen the Theologian." Includes a rationale for the collection and brief description of each essay. For Olivier Messiaen, music was a way of expressing his faith. He considered it his good fortune to have been born a Catholic and declared that “the illumination of the theological truths of the Catholic faith is the first aspect of my work, the noblest and no doubt the most useful.” Messiaen is one of the most widely performed and recorded composers of the twentieth-century and his popularity is increasing, but the theological component of his music has so far been neglected and continues to provide a serious impediment for some of his audience. Messiaen the Theologian makes a significant contribution by providing cultural and historical context to Messiaen’s theology. An array of international Messiaen scholars cover a wide variety of topics including Messiaen's personal spirituality, the context of Catholicism in France in the twentieth century, and comparisons of Messiaen with other artists such as Dante, TS Eliot, and Maritain.

Introducing Messiaen the Theologian
Andrew Shenton

Part One Messiaen the theologian
1 Religious literature in Messiaen’s personal library
Yves Balmer
2 Messiaen as preacher and evangelist in the context of European modernism
Peter Bannister
3 Messiaen’s ‘saintly naïveté’
Sander van Maas

Part Two Messiaen’s relationship with theologians
4 Olivier Messiaen and Cardinal Jean-Marie Lustiger: two views of the liturgical reform according to the Second Vatican Council
Karin Heller
5 Messiaen’s relationship to Jacques Maritain’s musical circle and neo-Thomism
Douglas Shadle
6 Messiaen and Aquinas
Vincent P. Benitez

Part Three Messiaen, poets and theological themes
7 Dante as guide to Messiaen’s Gothic spirituality
Robert Fallon
8 Five quartets: the search for the still point of the turning world in the war works of T. S. Eliot and Olivier Messiaen
Andrew Shenton

The subject of time has been one of the primary topics in natural philosophy for more than 2,500 years, and continues to be one of the most difficult to define and comprehend. Olivier Messiaen dedicated the first chapter of Tome I of his “Traité de Rythme, de Couleur et d’Ornithologie” exclusively to a consideration of various aspects of time. This essay is an examination of what he wrote in that chapter. It considers how his philosophy of time relates to his music, and pays special attention to those comments that have an explicit reference to rhythm or to his own music. It seeks to answer some of the fundamental questions posed by the
Traité in general and this chapter in particular.

In volume III of his posthumously published Traité de rythme, de couleur, et d’ornithologie, Messiaen confessed that his turn to dodecaphony in Livre d’orgue had been a gesture of concession.  In contrast to this sophisticated organ cycle, which is manifestly experimental in style, Catalogue d’oiseaux, the next keyboard work, is supposed to be about birdsong and nature rather than reflecting the avant-garde aesthetics of the time.  That it shares with Livre d’orgue the same use of a wealth of 12-note writing thus comes as something of a surprise, and it prompts us to ask if birdsongs are used at least in part as pretexts for 12-note self-indulgence.  In Catalogue d’oiseaux block-chord series or, alternatively, note series that complete the 12-note space are fabricated with recourse to a myriad of permutations (‘interversions’ in Messiaen’s terminology) generated by one specific symmetrical permutation scheme.  They are stationed at strategic points of this gigantic birdsong cycle and Messiaen often encourages us to relate them to such divergent imagery as ragged rock formations, fog, birds in flight or flowing streams.
A block-chord series that is notable for its pursuit of 12-note completion fills ‘chaos de blocs écroulés du clapier Saint Christophe’ in Catalogue d’oiseaux I.  There are altogether 54 contiguous 12-note segments, the pitch sequences of which are strictly dictated by interversions derivable from an overriding permutation scheme.  Towards the end of Catalogue d’oiseaux XIII, which comes last in the piano cycle, a slow and extended series of block chords takes shape to depict  ‘la nuit et le brouillard se répandent peu à peu’.  As in the previous case, the block chords are tied up with Messiaen’s obsession for 12-note completion, the realization of which is left to the interversions.  Elsewhere in the piano cycle we also come across interversions that spin out lines rather than chords to go along with the imagery of birds in flight and flowing water.
The sheer extent of the 12-tone writing to which this symmetrical permutation scheme can be fitted like a glove leaves us with hardly any doubt as to its validity even though it is not documented in any existing sources.  While Messiaen takes great care to delineate the symmetrical permutation scheme of Chronochromie, he chooses to remain reticent about the scheme of Catalogue d’oiseaux and also about his use of interversions as a resource of 12-note writings in this piano cycle.  Surely his choice to disclose the symmetrical permutation of 32 chromatic durations rather than that of 12 chromatic notes reflects a careful weighing up of how the disclosed details might be received by interested parties.  A discussion of the symmetrical permutation scheme that governs the reshuffling of 12 pitch-classes in Catalogue d’oiseaux, which for many epitomizes Messiaen’s gestural escape in the heyday of serialism, would probably fail to secure the memorable impact effected by his explication of the more sophisticated reshuffling of such abstraction as time in Chronochromie.

Tese de doutorado, publicada originalmente pela Educ (PUCSP), 1998 (esgotado). Leitura do conceito de diferença de Gilles Deleuze e sua pertinência à escuta musical.  O livro traz analises de obras de Messiaen, Brian Ferneyhough; uma discussão sobre a noção de objeto em Pierre Schaeffer e o necessário ultrapassamento da fenomenologia da escuta; e uma abordagem histórica contrapondo a repetição conceitual da música serial e a diferenciação material presente no minimalismo.

Messiaen’s piano cycle Catalogue d’Ossiaux is an exploration of the world of birds in which each piece represents a bird and its environment. One of the most interesting explorations is found in the second piece of book 5 L’Alouette Calandrelle as it displays Messiaen’s writing ability at “its most astringent and economical.”

The purpose of this essay is to explore which are the compositional elements that Messiaen uses in this piece, which conceptualization supports them and how these elements come together in an antidiscursive
manner that suggests an element of contemplation with results that are expressive, meaningful, and particularly adequate to carry out Messiaen’s theological and aesthetic thought in his music. Taking into consideration Kantian philosophical notions of “The thing in itself” and “Phenomena” the essay will be divided in two sections that are presented -for the sake of clarity in exposition- in two diverging strands. This divergence is an attempt to express two aspects of perception in Messiaen’s work, understanding that the totality of his music gravitates between two large poles of tension: the humanistic (the work of art, the musical artifact, the compositional elements, and the auditory phenomena) and the philosophical-mystical (the meaning of the music, the interpretation of nature, and the faith in noumenal reality). Visualizing these poles and considering them in their interaction is essential for an integral comprehension of this music, and for an understanding of the implications of this tension that is resolved, in the broader level of aesthetics, in a third moment that totalizes the musical experience.

The “Quatuor pour la fin du Temps” [ Quartet for the end of Time] by Olivier Messiaen and “Four Quartets” by T. S. Eliot are two significant works of art that were both published in their final form during the Second World War. The authors worked without any identifiable personal knowledge of the other although it is likely that later in their lives they were familiar with each other's work. It is all the more extraordinary then that a French Catholic musician and an Anglican American/English poet would deal with some strikingly similar subject matter, especially since neither were writing typical war works. This essay sketches the composition and publication of both works and analyses certain primary themes that concern the nature of the human experience of music as a means of expression and as a means of negotiating time. After a brief introduction, I comment on three common themes: time and technique, the 'unattended moment' and the 'still point of the turning world.’

Listado de docentes, concursos, becarios, visitantes invitados, biografías, conciertos de los "Seminarios de composición" y de los "Festivales de música contemporánea" que se desarrollaron en el Centro Latinoamericano de Altos Estudios Musicales (CLAEM) del Instituto Torcuato Di Tella. Publicado en: Castiñeira de Dios, José Luis. 2011. La música en el  Di Tella: resonancias de la modernidad, 74-139. Buenos Aires: Secretaría de Cultura de la Presidencia de la Nación.

The critical influence of Debussy’s music on Messiaen’s artistic development is widely acknowledged, but the more specific question as to how it helped shape Messiaen’s sound-world has not been addressed in any depth. Volume VI of Messiaen’s Traité de rythme, de couleur et d’ornithologie (2001), which compiles his analyses of Debussy’s music, is one of the best sources for such an investigation. Taking a cue from the notion of a ‘miroir fluide’, which was cited by Messiaen from Cyrano de Bergerac (1620–55) in Traité VI, this essay explores how the latter may be read metaphorically along the same line. Since Messiaen was less wary about how his discourse might affect others’ perception of him as a composer in Traité I, the latter throws as much light on Debussy’s as on his own music.

Olivier Messiaen’s Turangalîla Symphonie bears aesthetic characteristics compatible with both modern and postmodern concepts; however, this article argues that assimilation to the latter category becomes inevitable when Turangalîla is viewed unproblematically through the eyes of the present.  Situating Turangalîla within its own productive context, and deriving its significance therefrom, this article corrects such anti-historicist tendencies by demonstrating the historical dependence of aesthetic meaning.  It is argued that these meanings can in large part be understood through Messiaen’s rejection of the composer’s own capacity for aesthetic discrimination.

O panorama da teoria do ritmo no século XX, registrado por Justin London, é utilizado nesta comunicação como um meio de compreender a destacada posição de Olivier Messiaen neste campo do conhecimento. Este estudo justifica-se por conectar seus conceitos aos de outros teóricos, ampliando o entendimento de seus processos criativos. Conclui-se que, apesar da originalidade de sua linguagem musical, seu pensamento sempre esteve firmemente ancorado na tradição e nos conhecimentos adquiridos no Conservatório de Paris.
The panorama of the theory of rhythm in the Twentieth Century, registered by Justin London, is used in this paper as a means of understanding the prominent position of Olivier Messiaen in this field of knowledge. This study is justified by connecting his concepts to those of other theorists, expanding the understanding of his creative processes. We conclude that, despite the originality of his musical language, his way of thinking has always been firmly rooted in the tradition and knowledge acquired at the Paris Conservatoire.

If Messiaen’s claim to have given “Gagaku,” the centerpiece of Sept haïkaï, a “Christian dimension” proves intriguing, “Miyajima et le torii dans la mer,” the following piece of the set, may strike us as even more perplexing in makeup.  Apart from the use of an octachordal soundband to imitate the shō playing of gagku music, “Miyajima et le torii dans la mer” is deprived of other conspicuous Japanese musical elements. Instead, there is a rich display of French birdsong, Greek rhythm, and, most unexpectedly, what Messiaen refers to as the “theme of chorale.”  Even though the torii of Miyajima – unlike any other torii in that it is set up in the sea rather than on land – is commonly construed as a gateway that leads to the Shinto shrine, Messiaen takes a different perspective and views through the torii not the Shinto shrine but rather the open sea.  This explains his conception of the torii as leading to what he calls “an invisible temple,” which he remarks emphatically as “the true temple.”  The idea of an invisible temple and, by extension, an invisible God might have led Messiaen to arrive at the unexpected but nonetheless symbolic intrusion of a chorale.  I thus argue that Messiaen’s use of such non-Japanese elements as French birdsong, Greek rhythm and, above all, the “theme of chorale” tells of a hidden program, a metaphor that is shrewdly withheld from his copious commentaries on the music.

Olivier Messiaen’s “Méditations sur le mystère de la Sainte Trinité” (Meditations on the mystery of the Holy Trinity) for organ were completed in 1969, following the monumental orchestral work “La Transfiguration de Notre Seigneur Jésus-Christ” (1963-69). A summation of Messiaen’s compositional technique up to this point, the “Méditations” contain a sophisticated semiotic system which includes bird song, modes of limited transposition, deçi-talas, plainsong, passages from the “Summa theologiae” by Saint Thomas Aquinas, and text superscriptions from a variety of sources. They reach a new height in Messiaen’s idiomatic use of the timbral resources of the organ, and they incorporate an innovative feature, which Messiaen termed the “langage communicable” (communicable language). This novel musical language, which he explains in the Preface to the score and in conversations with Claude Samuel and others, is comprised of three elements: (1) a musical alphabet, which assigns a rhythmicized pitch to each letter of the Roman alphabet, (2) a system of grammatical cases based on Latin, and (3) a series of leitmotifs. These three categories are combined to transliterate phrases from the “Summa theologiae” into music. This essay examines the “langage communicable” linguistically and musically, and places it in the broader semiotic system of the “Méditations.”

Until the advent of recording technology, the composer's influence as a
performer or teacher was continued posthumously only by his or her pupils
in an oral (and aural) tradition, and in written sources. By preserving the
composer's own performance in an audible form which can be recalled at any time and in any place, we have the equivalent, albeit mediated, of a direct experience with the composer. What we need to decide is how much
credence we should give to this information in relation to the score and
the other data used to prepare a performance.

This essay discuses the role of the score and recording in musicological research. It then examines some of the recordings in which Messiaen performs his own music or has had direct or indirect influence on
the performance of others, and suggests that these recordings are an invaluable aid to interpretation. Messiaen's own recordings point to a 'manner of realization' for his music, in effect a performance practice (or perhaps better a performance tradition), which will be an axiomatic reference point for future interpretations.

A phenomenological method of comics analysis can be useful when we need to uncover the structural features of the comics experience itself. One fruitful application would be in the study of irregular intra-panel rhythms, where the temporalized divisions are not visibly indicated but rather are only experienced. By means of Gilles Deleuze's notion of rhythmic repetition and his elaboration of it through Olivier Messiaen's theory of 'kinetic' rhythm, we will formulate a conception of visual rhythm as being based on metrical irregularity. We further explicate this concept of irregular rhythm by drawing upon the notion of 'ragged time' in the early jazz musical form, ragtime. We finally test its usefulness by examining how the 'jazzy' rhythms of Cubist-styled panels by Art Spiegelman and Mary Fleener generate an experience of ragged time.

While at conservatory, I played several smaller piano pieces by Olivier Messiaen, parts of the Quartet for the end of time, even a handful of the easier Vingt Regards. Our theory class analysed the Études, in particular the iconic Mode de valeurs, with its mysterious amalgam of total material serialism and intuitive composition. I heard the world 2nd performance of Éclairs de l'au-délà in Oslo in 1991, Messiaen's last great work, and it was truly splendid. However, I was not taken in by his sound – saturated and thoroughly sotte, to quote Pierre Boulez – and certainly not his rhythm – instructive, as in Mon language, but so much less compelling and human than in Bartok, Berio or Holdsworth. When analysing scores, I was stunned by the straightforward, almost mechanical ordering of local harmony and rhythm, but even more surprised by the absence of understandable rules as to why this material had been composed in a particular way. The structure was simpler than in Bach or Berg, but more temperamental than in Carter. Exactly how this simplicity gave rise to splendour evaded me. What was I missing?

Os ateliers, seminários e encontros realizados com Claude Ledoux se inscreveram no âmbito de atividades acadêmicas desenvolvidas na Unicamp e na Usp na área de Análise Musical e compreenderam: Reflexão sobre a Análise Musical relacionada a tradições populares; Impacto do conhecimento de tradições populares no ato da composição musical; Claude Debussy e as tradições do Sudeste Asiático; Ligeti e a influência de músicas subsaarianas; Feldmann, tradições do Oriente-Médio e filosofias orientais; Scelsi, Murail e Harvey: interesse mutuo em músicas tibetanas, mongólicas e outros rituais budistas; Eötvös e Kurtag em relação às tradições da Europa Central; Claude Ledoux: influência das músicas da Índia do Norte e Indonésia; Relações com etnomusicologia e improvisação musical em extensão às reflexões analíticas; Levy Strauss e a Sinfonia de Berio; Relação entre música e texto em Berio e Kurt Schwitters.

Resumo: O presente artigo pretende discutir o modelo formal chamado forma momento, formalizado por Karlheinz Stockhausen (1963), tendo em vista o debate entre J. Kramer (1978) e C. F. Hasty (1986) sobre a real possibilidade de descontinuidade temporal numa obra musical. Na obra Chronochromie de Messiaen, considerada uma das primeiras experiências de forma momento, é discutido o quanto alguns de seus elementos musicais podem ser entendidos ou não como descontinuidade temporal e o quanto ela pode ser considerada, de fato, como uma experiência da forma momento.
Abstract: The paper aims to discuss the formal model named moment-form, formally described by Karlheinz Stockhausen (1963), considering the debate between J. Kramer (1978) and C. F. Hasty (1986) about the possibility of discontinuity in a musical work. In the piece Chronochromie, by Olivier Messiaen, considered one of the first experiences of moment-form, is discussed how much some of its musical elements could help or not to shape a time discontinuity and how it could be considered, indeed, an experience of moment-form.

Com base em estudos de cunho analítico, histórico e autoral de Olivier Messiaen, identificamos a formação de seu corpus teórico autoral norteado por um prisma original, o " tempo da Eternidade " , estreitado pelo prisma de limitação, as " impossibilidades ". Agrupamos seus processos composicionais autorais inter-relacionados em três grandes vertentes de pensamento, a que denominamos (1) Expansão de materiais musicais consolidados historicamente, (2) Exploração de limitações de possibilidades em materiais gerativos e (3) Geração de material musical a partir de conceitos extramusicais. As especificidades dessas três grandes vertentes foram exploradas e exemplificadas, sendo os resultados apresentados na forma do presente painel.