Abstract
Taking as a starting point the thoughts of Olivier Messiaen about relationships existing between music and faith and about the importance of the plainsong, this article deals with the context that led to the enactment, a hundred years ago, of St Pius X's Motu Proprio on sacred music, and analyses the implications of the papal document in musical composition. Finally, some potential investigation lines are pointed out, in order to appreciate more precisely the consequences the Motu Proprio had, not only in the liturgical field, but in that of musical creation as well. Olivier Messiaen, m?sico nacido cinco a?os despu?s de la publicaci?n del Motu Proprio sobre la m?sica sagrada de san P?o X, y que se defin?a como un ?m?sico teol?gico?, quiso expresar a trav?s de los sonidos la This content downloaded from 207.46.13.103 on Thu, 20 Oct 2016 04:00:05 UTC All use subject to http://about.jstor.org/terms
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