Editing Paul Dukas (section)

===Later years===
[[File:Classe-dukas.jpg|thumb|right|450px|Paul Dukas and students of his composition class at the [[Paris Conservatoire]], 1929. [[Olivier Messiaen]] is on the extreme right; [[Maurice Duruflé]] stands next to him]]
In the last years of his life, Dukas became well known as a teacher of composition. When [[Charles-Marie Widor]] retired as professor of composition at the Paris Conservatoire in 1927, Dukas was appointed in his place.<ref name=mq/> He also taught at the École Normale de Musique in Paris. His many students included [[Jehan Alain]], [[Elsa Barraine]], [[Yvonne Desportes]], [[Francis Chagrin]], [[Carlos Chávez]], [[Maurice Duruflé]], [[Georges Hugon]], [[Jean Langlais]], [[Olivier Messiaen]], [[Walter Piston]], [[Manuel Ponce]], [[Joaquín Rodrigo]], [[David Van Vactor]] and [[Xian Xinghai]].<ref name=l89/><ref name=grove/><ref>[http://www.chesternovello.com/default.aspx?TabId=2431&State_2905=2&ComposerId_2905=248 "Francis Chagrin"], Chester Novello, accessed 19 March 2011</ref> As a teacher he was conservative but always encouraging of talent, telling one student, "It's obvious that you really love music. Always remember that it should be written from the heart and not with the head."<ref name=blakeman/> He said his method of teaching was "to help young musicians to express themselves in accordance with their own natures. Music necessarily has to express something; it is also obliged to express somebody, namely, its composer."<ref name=mq/> ''Grove'' observes that his wide knowledge of the history of European music, and his editorial work on Rameau, Scarlatti and Beethoven, gave him "particular authority in teaching historical styles".<ref name=grove/>

After ''La Péri'', Dukas completed no new large-scale compositions, although, as with his contemporary [[Jean Sibelius]], there were frequent reports of major work in hand.<ref name=pog>Walsh, p. 110</ref> After several years of silence, in 1920 he produced a tribute to his friend Debussy in the form of ''La plainte, au loin, du faune...'' for piano, which was followed by ''Amours'', a setting of a sonnet by [[Pierre de Ronsard]], for voice and piano, published in 1924 to mark the four hundredth anniversary of the poet's birth.<ref name=mm/> Shortly before his death he had been working on a symphonic poem inspired by [[William Shakespeare|Shakespeare's]] ''[[The Tempest]]'',<ref name=mm/> a play of which he had made a French translation in 1918 with an operatic version in mind.<ref name=grove/>

In the last year of his life Dukas was elected to membership of the [[Académie des Beaux-Arts]].<ref name=pog/> Though adhering to neither the progressive nor conservative factions among French musicians of the era, Dukas had the friendship and respect of both.<ref name=mt/> In 1920, [[Vincent d'Indy]] published a study of Dukas's music;<ref name=grove/> Debussy remained a lifelong friend, though feeling that Dukas's music was not French enough;<ref name=pog/> Saint-Saëns worked with Dukas to complete an unfinished opera by Guiraud, and they were both engaged in the rediscovery and editing of the works of [[Jean-Philippe Rameau]];<ref name=mq/> [[Gabriel Fauré|Fauré]] dedicated his Second Piano Quintet to Dukas in 1921.<ref>Jones, p. 207</ref>

In 1920, he became a member of the [[Royal Academy of Science, Letters and Fine Arts of Belgium]].<ref>Index biographique des membres et associés de l'Académie royale de Belgique (1769-2005). p 104</ref>

Dukas died in Paris in 1935, aged 69. He was cremated and his ashes were placed in the [[columbarium]] at [[Père Lachaise Cemetery]] in Paris.<ref>Cimetière du Père Lachaise. Plot: Division 87 (columbarium), urn 4938</ref>