This paper seeks, above all, to analyse harmony as a compositional idiom in T¿ru Takemitsu's late works, as it played a significant musical role during the last two decades of his career. The numerous writings that focus on Takemitsu's harmonic approach usually approach the subject through scale theories or pitch-class set theory. This study therefore seeks to understand Takemitsu's harmonic language through vertical developments, as well as through its connection to the tonal context, both horizontally and vertically.
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