Dorsal Monuments: Messiaen, Sellars, and Saint Francis

Olivier Messiaen's musical works, particularly 'Et exspecto resurrectionem mortuorum,' are shown to uniquely address religious modes of time that restructure aesthetic presence. This study focuses on how gestures in Messiaen's compositions modulate temporality and alter the meaning of his works. It highlights a critical aspect of his oeuvre: the production of presence, which distinguishes his approach from other musical traditions. The research draws on Messiaen's own writings, including his 'Traité' on rhythm, color, and ornithology, to explore this phenomenon. By analyzing specific performances, such as that at Chartres Cathedral in 1965, the study provides insight into how Messiaen's works engage with theological and philosophical concepts of time, offering a novel perspective on the intersection of music, religion, and temporal experience.

van Maas, S. (2011). Dorsal Monuments: Messiaen, Sellars, and Saint Francis. The Opera Quarterly, 27(4), 420–442. https://doi.org/10.1093/oq/kbs029