Summary

Chapter II serves multiple functions: it introduces Messiaen's first non-Western source, establishes the principle of ametric organization, and derives three fundamental rhythmic techniques (added values, complex augmentation/diminution, nonretrogradable structures) from analysis of a single Hindu rhythm. The chapter exemplifies Messiaen's analytical method—extracting generative principles from existing patterns—and demonstrates his approach to historical synthesis—appropriating elements from distant traditions as compositional resources. While modern perspectives recognize the limitations of this cross-cultural appropriation (extracting isolated patterns without systematic understanding of their original contexts), the chapter represents an important early instance of Western art music systematically engaging non-Western rhythmic materials. For Messiaen, rāgavardhana functions as a conceptual seed from which major aspects of his rhythmic language germinate, making this brief chapter foundational to the entire rhythmic system developed in Chapters III–VII.