Epilogue

Abstract

Abstract This short epilogue introduces sketches from the revisions to Don as a means for summarizing the primary conclusions of the book. First, Boulez’s use of revision and self-borrowing increased as a direct result of his activities as a performer, conductor, and music administrator. Second, blocs sonores played a major role in his development as a composer. Blocs sonores sped up his ability to compose and facilitated new relationships among his works. They also contributed to his concept of “diagonal” polyphony in essential ways. Finally, Boulez’s use of non-musical influences changed over time, from the problematic imitation of modernist concepts to more intuitive uses of poststructuralist ones. Boulez’s aesthetic shift provides a way for bifurcating his output and corresponds with the changing reception of his works. It also lays the foundation for possible (and multiple) hermeneutic approaches to his music.