That is how the Darmstadt “class of 1951” chose to interpret Messiaen's purpose, at any rate, when he played them his recording of the piece. Boulez in particular found the work inspiring, not only for the way in which it seemed to integrate “the four constituents of sound” as he listed them (surely under the influence of Messiaen's “divisions”) in “Schoenberg Is Dead,” but also for the way in which the whole piece arose out of a set of axioms, or what Messiaen scholar Peter Hill called its “fantastically detailed set of a priori rules.”33 It promised a new utopia: “total” or “integral” serialism.
- Citation (MLA):
- Richard Taruskin. "Chapter 1 Starting from Scratch." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 30 Apr. 2016. <http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-001010.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 1 Starting from Scratch. In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 30 Apr. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-001010.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 1 Starting from Scratch." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 30 Apr. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-001010.xml