Overview

Ton de Leeuw (1926-96) is probably one of the most influential composers at the crossroads between Eastern philosophy and Western technique. A one-time pupil of Olivier Messiaen’s in Paris, throughout the latter years of his musical career he concentrated on the marriage of Western emphasis on action and tension, and the ethical function of music in Eastern traditions. The musical world of the twentieth century is a divided one. Numerous histories of it have been written, but few of the exceptional quality of de Leeuw’s, who brought into his writing a lifetime of experience as a composer and scholar of music. His work is a lucid and impassioned discussion of the elements, structures, compositional principles and terminologies in modern music that can be regarded as most innovatory. This book is an excellent guide for anyone wishing to gain knowledge of the compositional technique and mentality, particularly university and conservatory students.

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Ton de Leeuw's music is essentially diatonic. He uses modes, melodic lines, counterpoints, chords, but it all remains diatonic. Hardly any discords. The colour is white, or just a shade bluish, sometimes a golden light is added. But the spirit always remains diatonic in a static way that is very close to the type of oriental music which penetrates the listener and gets him into a semi-oneiric state, the state of a waking dream. --Olivier Messiaen<br>

Ton de Leeuw's music is essentially diatonic. He uses modes, melodic lines, counterpoints, chords, but it all remains diatonic. Hardly any discords. The colour is white, or just a shade bluish, sometimes a golden light is added. But the spirit always remains diatonic in a static way that is very close to the type of oriental music which penetrates the listener and gets him into a semi-oneiric state, the state of a waking dream. --Olivier Messiaen

Ton de Leeuw's music is essentially diatonic. He uses modes, melodic lines, counterpoints, chords, but it all remains diatonic. Hardly any discords. The colour is white, or just a shade bluish, sometimes a golden light is added. But the spirit always remains diatonic in a static way that is very close to the type of oriental music which penetrates the listener and gets him into a semi-oneiric state, the state of a waking dream. --Olivier Messiaen Ton de Leeuw s music is essentially diatonic. He uses modes, melodic lines, counterpoints, chords, but it all remains diatonic. Hardly any discords. The colour is white, or just a shade bluish, sometimes a golden light is added. But the spirit always remains diatonic in a static way that is very close to the type of oriental music which penetrates the listener and gets him into a semi-oneiric state, the state of a waking dream. --Olivier Messiaen Ton de Leeuw's music is essentially diatonic. He uses modes, melodic lines, counterpoints, chords, but it all remains diatonic. Hardly any discords. The colour is white, or just a shade bluish, sometimes a golden light is added. But the spirit always remains diatonic in a static way that is very close to the type of oriental music which penetrates the listener and gets him into a semi-oneiric state, the state of a waking dream. --Olivier Messiaen 0;Ton de Leeuw7;s music is essentially diatonic. He uses modes, melodic lines, counterpoints, chords, but it all remains diatonic. Hardly any discords. The colour is white, or just a shade bluish, sometimes a golden light is added. But the spirit always remains diatonic in a static way that is very close to the type of oriental music which penetrates the listener and gets him into a semi-oneiric state, the state of a waking dream. --Olivier Messiaen

Ton de Leeuw's music is essentially diatonic. He uses modes, melodic lines, counterpoints, chords, but it all remains diatonic. Hardly any discords. The colour is white, or just a shade bluish, sometimes a golden light is added. But the spirit always remains diatonic in a static way that is very close to the type of oriental music which penetrates the listener and gets him into a semi-oneiric state, the state of a waking dream. --Olivier Messiaen

Ton de Leeuw s music is essentially diatonic. He uses modes, melodic lines, counterpoints, chords, but it all remains diatonic. Hardly any discords. The colour is white, or just a shade bluish, sometimes a golden light is added. But the spirit always remains diatonic in a static way that is very close to the type of oriental music which penetrates the listener and gets him into a semi-oneiric state, the state of a waking dream. --Olivier Messiaen

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Ton de Leeuw's lifetime engagement with music, European and Oriental, gives this book its unique insight into what constitutes true modernity and innovation

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