Harmonic thinking in Tōru Takemitsu's late works

This paper seeks, above all, to analyse harmony as a compositional idiom in Tōru 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.