This paper examines harmony and voice leading in the music of Olivier Messiaen that is based on his modes of limited transpositions. The study develops a classification system for harmonic and voice-leading vocabularies in modal systems of cardinalities other than 12, with particular emphasis on those cardinalities represented in Messiaen's modes. It then takes a closer look at the relationship between voice leading and harmony in selected passages from Messiaen's music, and culminates in a discussion of harmony and voice leading in polymodal and modulating textures.
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Christoph Neidhöfer (2005) studied this question.
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