Hostname: page-component-586b7cd67f-2brh9 Total loading time: 0 Render date: 2024-11-25T19:58:28.875Z Has data issue: false hasContentIssue false
  • English
  • Français

Form-Building Patterns and Metaphorical Meaning

Published online by Cambridge University Press:  06 July 2010

Lasse Thoresen with the assistance of Andreas Hedman
Lasse Thoresen with the assistance of Andreas Hedman*
Affiliation:
The Norwegian Academy of Music, PO Box 5190 Majorstua, 0302 Oslo, Norway
*
E-mail: [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

This paper will present methods for the analysis of form-building patterns in general, formulating analytical principles across stylistic borders. We will demonstrate the use of two selected analytical tools on a specific work by the Swedish composer Åke Parmerud. We identify, firstly, time-fields which describe the segmentation of form sections and, secondly, dynamic forms tracing the perceived directions of energy flow. Eventually we will discuss a semiotic interpretation of the music analysed. The present paper is a continuation of two previous papers that have presented conceptual and graphic tools for an aural, spectromorphological analysis of music. The first paper, published in Organised Sound 12/2, demonstrated the spectromorphological categories for the transcription of sound objects (level one). The second paper, published in Organised Sound 14/3, demonstrated their application, and expanded the scope of analysis through a discussion of the Schaefferian terms of values/characters.

Type
Articles
Information
Organised Sound , Volume 15 , Issue 2: Organising electroacoustic music , August 2010 , pp. 82 - 95
Copyright
Copyright © Cambridge University Press 2010

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Bayle, F. Thomas, J. C. 2008. Diabolus in Musica. Paris: Magison.Google Scholar
Bent, I. with Drabkin, W. 1998. Analysis. The New Grove Handbooks in Music. London: Macmillan.Google Scholar
Billing, B. 1992. Gåtans form – svarets gåta: tankar kring Åke Parmeruds Les objets obscurs. Nutida Musik 35(1): 23–28.Google Scholar
Cooper, G., Meyer, L. 1960. The Rhythmic Structure of Music. Chicago: University of Chicago Press.Google Scholar
Delalande, F. 1998. Music Analysis and Reception Behaviours: SOMMEIL by Pierre Henry. Journal of New Music Research 27(1–2): 13–66.CrossRefGoogle Scholar
Deliège, I. 1987. Grouping Conditions in Listening to Music: An Approach to Lerdahl and Jackendoff’s Grouping Preference Rules. Music Perception 4(4): 325–343.CrossRefGoogle Scholar
Forte, A., Gilbert, S. 1982. Introduction to Schenkerian analysis. New York: Norton.Google Scholar
Greimas, A.-J. 1966. Sémantique structurale: Recherche de méthode. Paris: Larousse. Translation 1983: Structural Semantics. An Attempt at a Method: with an introduction by Ronald Schleifer, trans. Daniele McDowell, Ronald Schleifer and Alan Velie. Lincoln: University of Nebraska Press.Google Scholar
Jakobson, R. 1960. Linguistics and Poetics. In T.A. Sebeok (ed.) Style in Language. Cambridge, MA: The MIT Press.Google Scholar
Krumhansl, C. 1996. A Perceptual Analysis of Mozart’s Piano Sonata K.282: Segmentation, Tension, and Musical Ideas. Music Perception 13(3): 401–432.CrossRefGoogle Scholar
Landy, L. 2007. Understanding the Art of Sound Organization. London: The MIT Press.CrossRefGoogle Scholar
Lerdahl, F., Jackendoff, R. 1983. A Generative Theory of Tonal Music. Cambridge, MA: The MIT Press.Google Scholar
Miller, I. 1984. Husserl, Perception, and Temporal Awareness. A Bradford Book. Cambridge, MA: The MIT Press.Google Scholar
Nattiez, J.-J. 1975. Fondements d’une semiologie de la musique. Paris: Union Generale d’Editions.Google Scholar
Nielsen, F. V. 1983. Oplevelse of Musikalsk Spænding. Copenhagen: Akademisk Forlag.Google Scholar
Nöth, W. 1990. Handbook of Semiotics. Bloomington and Indianapolis: Indiana University Press.CrossRefGoogle Scholar
Roy, S. 2003. L’analyse des musiques électroacoustiques: Modèles et propositions. Préface de Jean-Jacques Nattiez. Paris: L’Harmattan.Google Scholar
Salzer, F. 1962. Structural Hearing: Tonal Coherence in Music. New York: Dover.Google Scholar
Schaeffer, P. 1966. Traité des objets musicaux. Paris: Editions du Seuil.Google Scholar
Schoenberg, A. 1967. Fundamentals of Musical Composition. London: Faber and Faber Limited.Google Scholar
Smith, C. J. 1996. Musical Form and Fundamental Structure: An Investigation of Schenker’s Formenlehre. Music Analysis 15(2–3): 191–297.CrossRefGoogle Scholar
Smith, P. 2005. Expressive Forms in Brahms’s Instrumental Music: Structure and Meaning in His Werther Quartet. Bloomington: Indiana University Press.Google Scholar
Snyder, B. 2000. Music and Memory. An Introduction. Cambridge, MA: The MIT Press.Google Scholar
Tenney, J., Polanski, L. 1980. Temporal Gestalt Perception in Music. Journal of Music Theory 24(2) (Autumn): 205–241.CrossRefGoogle Scholar
Thoresen, L. 1987. An Auditive Analysis of Schubert’s Piano Sonata Op. 42. Semiotica 66(1–3): 211–237.Google Scholar
Thoresen, L. 1988. Auditive Analysis of Musical Structures. A Summary of Analytical Terms, Graphical Signs and Definitions. Proceedings from ICEM Conference on Electroacoustic Music, No. 15. Stockholm: Royal Swedish Academy of Music, 65–90.Google Scholar
Thoresen, L. 2007a. Form-building Transformations: An Approach to the Aural Analysis of Emergent Musical Forms. Journal of Music and Meaning 4. http://www.musicandmeaning.net.Google Scholar
Thoresen, L. 2007b. Spectromorphological Analysis of Sound-objects: An Adaptation of Pierre Schaeffer’s Typomorphology. Organised Sound 12(2): 129–141.CrossRefGoogle Scholar
Thoresen, L. 2009. Sound-objects, Values and Characters in Åke Parmerud’s Les objets obscurs, 3rd Section. Organised Sound 14(3): 310–320.CrossRefGoogle Scholar

DISCOGRAPHY

Parmerud, Å. 1994. Les objets obscurs (1991). Invisible Music. Phono Suecia PSCD 72.Google Scholar

Thorsesen supplementary material

Movie example 1: Music from Ake Parmerud, Les objets obscurs (1991), 203500

Download Thorsesen supplementary material(Video)
Video 46.4 MB