^{page 22 note 1} In conversation with Claude Samuel, Messiaen also characterized Barraqué as being a rebel in the Boulez mode.

^{page no 23 note 2} Particularly regarding rhythm in La Met.

^{page no 24 note 1} Samson, Jim, Music in Transition: a Study of Tonal Expansion and Atonatlity, 1900–1920 (London: Dent, 1977), p. 101 Google Scholar.

^{page no 24 note 2} Kington, Beryl, quoting Rowley, Alec (apparently quoting warlock), in Cox, David and Bishop, John (eds), Peter Warlock: a Centenary Celebration (London: Thames Publishing, 1994), p. 217 Google Scholar.

^{page 25 note 1} Musique et Couleur - nouveaux entretiens avec Claude Samuel by Messiaen, Olivier (Paris, 1986), 41 Google Scholar.

^{page 25 note 2} The entire Traité is likely to weigh-in at about 5000 pages. According to Jean Leduc, the volume dedicated to birdsong (Tome V) is now going to be split into two parts with a total of 2000 pages.

^{page 25 note 3} The dedicatee of Technique Je mon langage musical.

^{page 25 note 4} Director of the paris Conservatoire, 1956–62.

^{page 26 note 5} Boivin, p. 293.

^{page 26 note 6} ibid.

^{page 26 note 7} Messiaen Traité Tome II, p. 130.

^{page 26 note 8} From the film Messiaen et les oiseaux (1973) by Tual, Denise and Fano, Michel Google Scholar.