Music and Time Annotation << Back "Seven Haiku" by O. Messiaen: Interpretation of the Cycle, Orchestra, Compositional Techniques N.A. Petruseva, N.N. Alekseeva The article is devoted to the analysis of the features of the cycle “Seven Haiku: Japanese Sketches” (1962) by Olivier Messiaen. The composer’s interest in the East is caused by the desire to convey his deep impressions from visiting Japan, to express the essence of Japanese music. The relevance of the work lies in the consideration of the interpretation of the cycle, orchestra, tempo, form, rhythm, counterpoint and harmony of the seven-part cycle "Seven Haiku". The authors highlight the problem of periodization of the composer’s work, the characteristics of the works of the period of the 60s, the programmatic and symmetry of the cycle, the interdependence of the choice of tools and the concept of each movement. The first and fourth "superpositions" (overlay of two or five different rhythmic and melodic layers), forms "Yamanaka-cadenza" and "Gagaku" are considered; the neo-modal and rhythmic techniques that defi ne Messiaen’s style (the transformation of Indian rhythms, the numerical series of interversions), the phenomenon of "rotating chords" (II and IV parts), the dialectic of the stable and the mobile. An integrated approach was used as a combination of elements of biographical, comparative and structural-musical methods. Keywords: Olivier Messiaen, "Seven haiku", "superpositions", triple stanza, sectional form, Indian rhythms, the principle of irregular increase and decrease in durations, "rotating chords". Pp. 03-11.