I realize this isn't the most current thread and I have no rep here, but this is a topic I've heard discussed often over the years. Well to be fair, it's a topic I've seen typed about on the internet a lot over the years as if it's extremely serious.
I relate most to Yyrkoon's take on it-- but since long before I knew who Kanno Yoko was, I've found this topic really fascinating. When I was a kid in the '90's being taught composition for piano and organ, one of the most memorable moments in my development as a writer was the moment I tagged an organ piece with a musical phrase identical (and I mean identical note-for-note) with a musical phrase from a 10,000 Maniacs single I loved from the radio. I proposed this addition to my song fully expecting censure from my teachers, who had heard the same single I had plenty of times. But instead, I was given encouragement and plaudit for my instincts: it was a great way to end a song that otherwise dangled unfinished at its end.
At the time, I felt like I'd gotten away with something seedy, but over the years, I've realized that this is what great musicians (one of which I ain't, by the way!) do. Blues, jazz, and classical music in particular isn't made up of a bunch of isolated individualistic pieces expressed by generative savants, they're Conversations over reaches of time. Riffs. When it doesn't work, it's a cheap knockoff-- a pale approximation of something prevenient that transcended the sum of its parts. When it does work, like with Yoko, it takes disparate pieces of discourse started by others in the past and recombines them with an original meaning. I don't love Yoko's music because she's reinvented the wheel (btw to be fair, she's come up with many extremely original and totally unprecedented songs and musical concepts that I love, and I'll hold them up to anyone who tells me she's riding on other peoples' ideas like some heartless commercial machine), I love her because she takes elements that inspired her and makes them BETTER. As in deeper, more imaginative, more memorable, or sometimes even just more accessible.
I haven't spent that much time studying all the comparisons so It's not my intention to generalize, but every example I've heard of "ripoffs," while not unfounded, have seemed unfair. I can understand purists saying that she goes to far, but I can't really agree.
For instance, Daphnis et Chloé is one of my favorite favorite pieces of music of all time (picking just one is impossible). Another of my favorite pieces of music of all time is The Creation. Yoko's piece doesn't usurp Ravel's just because it references it. She recreates a feeling that only Ravel has ever given me then sets up a melody deeply rooted in Japan. Contextualizing the melody with that feeling makes it feel completely new and compelling, and is the reason I've listened to that song (along with the rest of the Creation songs) way more times than Daphnis et Chloé, though I might not admit that readily to classical music buffs!
As I type this, The Flood Story is playing behind me just as it references Daphnis et Chloé again. The feeling that adds then leads to an interlude deferring all the way until the main theme picks up again. Without that feeling, the main theme doesn't have the impact that makes me love hearing it again. It's a conversation that is memorable not because of the individual words making it up but because of where it takes me. Kanno's brilliant at that.
In my humble opinion.