ABSTRACT
This conclusion presents some closing thoughts on the key concepts discussed in the preceding chapters of this book. The book provides the range of composers in which Messiaen interested himself was remarkable, but their direct impact on his musical language is concentrated in specific ideas and attitudes towards the process of composition. It illustrates that pitch-class set theory is not the only way forward and needs to be employed in moderation. It has established a foothold in recent Messiaen literature but the overriding focus has been the identification of chords with pitch-class labels, and the crucial question of how to interpret 'non-standard' harmonies needs to be brought to the fore. The book roots to the Messiaen style of analysis based on the evidence of his writings, and the introduction of 'outside' methods and leads to an enrichment of an analyst's armoury that must be used in tandem with knowledge of methodologies exhibited in die Traitè..
