I.PLANES OF DISCOURSE IN FIXED MEDIA ELECTROACOUSTIC MUSIC: A COMPARATIVE STUDY AND APPLICATION OF ANALYTICAL APPROACHES AND II. THREE MOVEMENTS FOR STRING ORCHESTRA By TIM REED A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2008 1 © 2008 Tim Reed 2 ACKNOWLEDGMENTS I thank Dr. James Paul Sain for his support and mentoring throughout this process. I would also like to thank Dr. Paul Richards, Dr. Paul Koonce, Dr. Larry Crook and Dr. Scott Nygren for all of their support and feedback. 3 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................3 LIST OF TABLES...........................................................................................................................7 LIST OF FIGURES .........................................................................................................................8 LIST OF OBJECTS .........................................................................................................................9 ABSTRACT...................................................................................................................................10 CHAPTER 1 INTRODUCTION ..................................................................................................................12 Definition of Terms ................................................................................................................13 Definition of Electroacoustic Music................................................................................13 Definitions................................................................................................................14 Asking ......................................................................................................................15 Observing .................................................................................................................17 Definition of “Fixed Media Electroacoustic Music”.......................................................17 Individual Listening Context...........................................................................................17 Study Objectives and Purpose ................................................................................................18 Specific Challenges Presented by Fixed Media Electroacoustic Works.........................18 Multiple Planes of Discourse...........................................................................................21 Multiplicity of Existing Analytical Approaches..............................................................22 Why Analyze This Music? ..............................................................................................23 Potential Goals in the Analysis of Fixed Media Electoacoustic Music ...................23 Personal Anecdote....................................................................................................24 Esthesic Analysis: Poietic Analysis .........................................................................25 Note on Terminology ...............................................................................................27 Summary.................................................................................................................................27 2 A COMPARATIVE STUDY OF REPRESENTATIVE APPROACHES TO THE ANALYSIS OF FIXED MEDIA ELECTROACOUSTIC MUSIC.......................................28 Introduction.............................................................................................................................28 William David Moylan: An Analytical System for Electronic Music ...................................28 Denis Smalley’s Spectromorphology .....................................................................................33 Spectral Types .................................................................................................................36 Morphological Models ....................................................................................................37 Motion Types...................................................................................................................38 Spectral-space Settings....................................................................................................39 Gesture-carried and Texture-carried Structuring.............................................................40 Structural Functions.........................................................................................................41 4 Critique of Morphological Analysis................................................................................42 Stéphane Roy’s “Functional and Implicative” Approach.......................................................44 Category of Orientation...................................................................................................47 Category of Strafication ..................................................................................................48 Rhetorical Category.........................................................................................................48 Rhythmic Category..........................................................................................................49 Ambrose Field: Landscape Morphology ................................................................................50 Ambrose Field: Sonic Rhetoric ..............................................................................................54 Denis Smalley: Space Form....................................................................................................58 Katharine Norman: Listening Journal ....................................................................................62 Conclusion ..............................................................................................................................66 3 APPLICATION OF THE APPROACHES CONSIDERED IN THIS STUDY ....................70 Introduction.............................................................................................................................70 Onset/Offset by Pete Stollery..................................................................................................71 Pitch Contour Graph........................................................................................................72 Spectromorphological Description..................................................................................72 Landscape Morphology...................................................................................................74 Sonic Rhetoric .................................................................................................................76 Private Play by Scott Wyatt ...................................................................................................77 Roy’s Functional and Implicative Approach...................................................................78 Space-form ......................................................................................................................79 Spectromorphology .........................................................................................................80 England (G & T Swimmers) by Antti Saario..........................................................................81 Landscape Morphology...................................................................................................81 Sonic Rhetoric .................................................................................................................83 Spectromorphology .........................................................................................................84 Night Traffic by Paul Lansky..................................................................................................85 Space-form ......................................................................................................................85 Landscape Morphology...................................................................................................87 Sonic Rhetoric .................................................................................................................87 Norman’s Discussion of Night Traffic ............................................................................88 Conclusion ..............................................................................................................................88 4 CONCLUSION.......................................................................................................................92 Introduction.............................................................................................................................92 Interconnection of Planes of Discourse ..................................................................................94 Plane ................................................................................................................................94 Interconnection................................................................................................................95 Comprehensive Strategy.........................................................................................................97 Search for pertinences .....................................................................................................99