Stephane Roy - Form and Referencial Citation in a Work by Francis Dhomont _ 1996 _ Analise _ Eletroacustica

5/23/2018 Stephane Roy - Form and Referencial Citation in a Work by Francis Dhomont _ 1996 _ Analise _ Eletroacustica

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Form and referential citation in a workby Francis Dhomont

*

S T EP HA N E R O Y

Universitede Montreal, Faculte de musique, C.P. 6128, succursale Centre-ville, Montreal, Quebec, Canada H3C 3J7

It is common to oppose formalist and referentialist book, Explaining Music (Meyer 1973). First, I shallapproaches to music. However, in Francis Dhomonts work begin by defining the principal analytical conceptsPoints de fuite, these approaches appear complementary which form the basis of this approach.when we consider the relationship between sounds and

sources. Adopting the analytical approach of the American

theorist Leonard B. Meyer, we show how the syntactic flow 2. MEYERS IMPLICATIVE ANALYSISof Points de fuite generates formal implications through the

The work of Leonard Meyer, an American musicolo-impact of tension and relaxation archetypes. The piece gist, is part of a field of study referred to as Americanexplores metaphors based upon recurrent anecdotal events criticism. This critical approach accounts for thethe recorded signifiers of the source. These extra-musical

elements define the works structure to such an extent that formal aspects of a musical work, first by attemptingthey eliminate the traditional gap between formalism and to reveal its hierarchical organisation, and the pro-referentialism in music. cesses through which they are elaborated,

3and sec-

ondly by an analysis of the relationships of the

individual parts, and how these take on meaning in1. INTRODUCTION the mind of a competent listener.

4In Meyers opin-

ion, the musical meaning (that which is signified) andIn Quebec, acousmatic music is particularly vibrant,the aesthetic pleasure that it provides result from theas shown by the sheer number of composers of thisformal relationships which constitute the musicaltype of music, and the international recognition offabric.their work.

1In this article, I address this repertoire

Assuredly, such an analytic position leaves out athrough the analysis of one piece composed by a mas-large part of the musical repertoire; however, Meyerter among acousmatic artists, Francis Dhomont. Thewas principally interested in researching what hecatalyst for this movement in Quebec nearly sixteenreferred to as syntactico-kinetic works: those madeyears ago, Dhomont continues to promote its devel-up of functional units that strive for a state of stab-opment, through both his writing and his music. Thisility and goal-oriented syntactic resolution. Thesearticle is at once a tribute to his pioneering work, andteleological musics, by definition, exclude several cat-an acknowledgement of my interest in his subtle andegories of contemporary music, most notably serial,sometimes dreamlike repertoire. I have chosen toalgorithmic or conceptual works.comment on and analyse Dhomonts Points de fuite

(1982) (Vanishing Points), a work from which the

Cycle de l errance (a cycle which contains the3. THE IMPLICATION

nostalgic . . .Mourir un peu) draws its origins.2

To the competent listener, an implicative work oneFor the past several years, I have been working oncomposed in a known style offers at all times aelaborating analytic methodologies for acousmaticrange of possibilities for its evolution. If the syntacticmusics. I am particularly interested in certain semi-processes proceed in a predictable and expected way,otic approaches conceived to examine tonal music,they do not generate new information, they are neu-but whose fundamental approaches can be adaptedtral: their syntactic formulae are known, categorised,for analysis of new repertoires. For this article, myand redundant for the listener. On the other hand,analysis borrows directly from Leonard Meyerswhen the syntactic processes are disturbed or inter-implicative method, which he developed in his 1973rupted, the musical discourse becomes less and less

* Translated by Ned Bouhalassa with assistance from KevinAustin.

3A process exists when a musical parameter (melody, rhythm,harmony, timbre, etc.) is found to have a clear and coherent

1The composer Francois Bayle was the first to propose that theterm acousmatic refer to a specific compositional approach. progression in a given direction.

4

A competent listener is one who has integrated the musical

2

Francis Dhomont, MouvancesMetaphores; cycle de lerrance,empreintes DIGITALes, IMED-910708-CD, Montreal, 1991. language used in a given work.

Organised Sound1(1): 2941 1996 Cambridge University Press


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30 Stephane Roy

predictable; there is an increase in the amount of My analysis of Points de fuite will show how the

information and the listener is invited to formulate concept of congruent parameters, when applied to

implicative hypotheses concerning what will follow. acousmatic music, can bring about interesting results.

For Meyer, the implication is an implicit or Indeed, the analysis of the spatial, melodic, spectralexplicit hypothesis that a competent listener will for- and dynamic profiles and envelopes, shows how thesemulate, implicitly or explicitly, regarding the past, aspects play a crucial role during the phases of resol-

present and future musical events in a given work. ution in Points de fuite.7

The implication is in fact a hypothesis on the continu-

ation and on the probable realisation of a process

whose progress has been interrupted.5. GAP-FILL

Meyers proposed concept of a leap followed by a4. DEFLECTION fill is one of the most common types of melodic

deflections found in tonal music. He points out thatDeflection, along with implication, is one of the twomelodic progression is often suddenly transferredcentral concepts of Meyers approach. Deflectionhigher or lower (less than an octave), a jump whichinterrupts processes, freezing them momentarily byis resolved when the melodic line returns throughthe use of another process that suggests new direc-stepwise motion towards its point of origin (melodictions in the works evolution. Implication and deflec-fill).tion are intimately connected. Each musical event is

In acousmatic music, the leap or gap is not onlyonly truly implicative when it appears to be incom-applicable to the melodic parameter but to others asplete, even if only briefly, thereby generating in thewell: a dynamic envelope can instantly increase itslistener a particular level of emotional tension; inamplitude, then return through a diminuendo to itsfact, deflections are part of a number of syntacticaloriginal state; an event which suddenly becomesdigressions that serve to delay the realisation of andynamically intense can be resolved soon afterinterrupted process. The duration of the deflection,through a decrescendo; an inharmonic timbre thatthe stylistic and syntactical context in which it occurs,closely follows one that is harmonic can, through fil-and the point in time where the initial process is inter-tering, be transformed back into its original harmonicrupted, are all aspects that determine the degree ofstate; a closed space can quickly change into a large,implication.

5

open space before closing progressively upon itselfI think that the majority of the acousmatic reper-

once more, etc. In the appropriate stylistic context,toire can be analysed in terms of tension and release,all these sudden changes can generate a certainimplication and the resolution of implication. Theamount of tension and become implicative.

8concepts of tension and release are not exclusively

applicable to tonal or modal Western music. In fact,these descriptive concepts transcend style and lan-

guage; one has only to determine how they are mani-6. METHODOLOGYfested in other musical languages.

Meyer deconstructs the musical fabric into numer- In the analysis that follows, implicative relationshipsous parameters such as melody, harmony, rhythm, are represented by horizontal lines and arrows. Whendynamics and timbre, whose interactions can gener- the implicative process precedes the explicit event, theate or resolve implicative processes. Another of his arrows face to the right; in the case of inverse impli-concepts involving phase relations throws new light cations, the arrows face left.

9The entire process, from

on the principles of stability and instability in the its introduction to its resolution, is delimited by amusical syntax. horizontal line with a hook on one of its ends. When

Phase relations manifest themselves in a piece the process is interrupted by a deflection or prolongedwhen the musical parameters move towards congru- by a parenthesis, the horizontal line is also interrup-ency, which produces periods of syntactical release;

6

when the progression of the parameters is away from 7The envelope or profile (borrowed from the French, profil) is a

congruency, phase relations are absent and, particu- term proposed by Schaeffer. This envelope is the outline of alarly during conclusive periods, the musical events sound aspect in time; it is directly linked to the concept of

variation.generate varying degrees of tension. 8The syntactical circumstances leading to an implication cannot bedefined in vitro. It is a matter of context, and it depends on theinterpretative skills of the analyst; I only list several examples that

5The deflection of a process in its conclusive state constitutes acritical point, where the interruption suddenly becomes highly hypothetically reside in favourable syntactic contexts.

9An inversed implication consists of an event (the implicative),implicative.

6

For example, during an authentic cadence, where the melodic and whose appearance in the musical syntax sheds new light on thefunctional role of previous events (the implied).harmonic parameters are simultaneously concluded.


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Form and referential citation 31

Figure 3Figure 1

Figure 4Figure 2

resent non-periodic, noise-like sounds (see figure 3).

Hybrid sounds, also designated spectrally striatedted, up to the point that marks the continuation of (sons canneles by Pierre Schaeffer), are those thatthat same process (see figure 1).

have both a strong inharmonic content and a recog-For a clear and concise representation of thenizable pitch; these are represented by objects with aanalysis, the score remains the preferred form.

10

combination of oblique lines and solid fill (see figureUnlike instrumental pieces, acousmatic work is not a4).

12The durations and indexes refer to the 1991 CDprioridependent on a pre-existing score for its realis-

recording on the empreintes DIGITALes label,ation. The score that I am using was realised throughIMED-910708-CD.listening sessions after the work was composed. As a

In this analysis, the reader will find typomorpho-descriptive and listening score, it must not be con-logical concepts first proposed by Pierre Schaeffer infused with an instrumental score, which is prescrip-his book Traite des objets musicaux(Schaeffer 1966).tive and contains a work in a to be realisedSince these concepts will not be explained in greatcondition.detail here, the interested (and French-reading)In addition to serving as an analytical tool, thereader may find additional information in Michellistening score also represents the first level of analy-ChionsGuide des objets sonores (Chion 1983), a worksis. Based on my perception of the work, this scorewhich contains clear and concise definitions.already highlights the segments of the musical flow

Points de fuite was composed in 1982, soon afterinto individual perceptive units.11

As a consequence,Francis Dhomonts arrival in Quebec. The coherenceunlike music realised from notation, the listeningof this particular acousmatic piece is not only a resultscore is not the work: it is only an analogic represen-of its formal structure, but also of the way in whichtation. All analysis must begin with the work in itsthis structure follows the programmatic intent. My

original form; here, as an acoustic event devoid ofanalysis follows these two levels of reading; the for-

any interpretation.mal analysis is based on the implicative approach,

Although the graphic aspect of my listening scoreswhile the comments on the programmatic aspect of

has not been strictly formalised, the form of a drawnthe work focus on the contrasting concepts of sound

object corresponds to the shape of the sounds. Vol-

and source.ume changes are reflected in time, the vertical pos-Please note that in order to maintain my investi-

ition of an object represents the approximate registergative goals, I have chosen not to ask the composer

of a sound, while fill pattern indicates the degree ofabout his initial compositional intent. This presen-

periodicity. Objects containing oblique patternstation is an inductive aesthesic analysis (a semio-

correspond to sounds with a recognisable pitch (seelogical term first suggested by Nattiez (1987)) of the

figure 2), while objects that are completely filled rep-structure of the work which will single out at the

neutral level in this case, the recording of the work 10

The listening score ofPoints de fuite is located at the end of the the elements that are capable of being perceived by aarticle. The main points of the implicative analysis are illustrated

competent listener.on this score.11

The cognitive process that is used to decide how a work is dividedrelies in great part on gestalt factors such as similarity, proximity,

12The harmonic spectrum of a spectrally striated sound (sons can-neles), such as that of a bell, contains both harmonic and inhar-good continuity, and common destiny. Meyer showed particular

interest in these factors in his work entitled, Emotion and Mean- monic components, a fact which makes the identification of afundamental frequency more difficult.ing in Music (Meyer 1956).


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32 Stephane Roy

7. IMPLICATIVE ANALYSIS OF another gap, that of the spatial dimension, increases:

POINTS DE FUITE as of 1:07, the event that features a registral glide

moves to the right of the stereo field, while the low7.1. Section 1, 0: 001:17 (Index 1)

register drone slides to the left.16

There appears in this first section a musical gesture Although it seems to suggest the outline of a realis-

whose overall shape dominates the rest of the work. ation, there are several reasons why this end of sec-

Movements with intensifying and attenuating dynam- tion remains implicative:ics of equivalent durations (averaging 8 s) follow one

(1) The widening of the stereophonic field creates aanother. Though this sections individual events are

spatial gap that is in contrast to the diminishingnot identical, two of their morphological aspects

registral gap.evolve in a parallel fashion: the dynamic and spectral

(2) The evolution of the spectral, dynamic and spa-or mass envelopes.

13The increase and decrease of the

tial envelopes is interrupted by the second sectiondynamic envelope coincide respectively with

(first deflection) at 1:17.unpitched and pitched material, which leads us to

(3) The registral gaps realisation is also interruptedconclude that there is congruence between the

by the new section.dynamic and spectral aspects.

An increase in both dynamics and mass content Beginning at 1:17 and ending at 11:07, a long deflec-can be considered part of a tension phase which, tion will delay the realisation of section 1 throughthrough a return to pitched material and reduced several sections. In fact, the last section (6b), whichdynamics, evolves towards a greater syntactic stab- lasts from 11:07 to the end of the work, is, borrowingility that is marked by periods of silence. Separating from Meyers terms, a remote realisation of all thethe phases of amplification and attenuation, these sil- implicative processes in the first section that were leftences can be considered ideal areas of syntactic stab- unresolved by this deflection. The implicative linkility; in fact, silences are often analysed as implicative with section 1 is indicated at levels 6b (6b 1) andphenomena. In this works first section, the silences 6.11 (6.11 1.11).that separate the events that occur from 0:00 to 1:17 At 12:17, each of the two drones situated atare the most stable moments, for they are the end- opposite ends of the register will follow an uninter-point and goal of the dynamic envelopes attenuative rupted path to complete extinction.

17In addition, the

movement; they resolve the periods of instability that registral spacing that separates the drones is notwere generated by the introduction of events during resolved through a gap-fill process, as was the casethe phase of amplification. before 1:17 of the first section; here instead, the gap

At 0:32 (Index 2) a low-register drone fades in.14

is widened by the upward glissando of the upperComing on the heels of 32 s of a texture situated in a drone and the downward glide of the lower drone. Inhigher registral region, this intervention appears contrast to what had occurred in the first section, theimplicative since it helps to define and contrast two uninterrupted movement of the drones in the stereoextreme areas of the register, separated by a gap in field high drone towards the right, and low drone tothe middle register. This leads us to suggest a new the left matches their individual melodic contour,

18

concept, the simultaneous gap-fill, that is different and allows them to reach extreme positions.19

Thisfrom Meyers gap-fill which only concerns itself with congruence of the spatial, melodic and dynamica series of events in time. It is only through an induc- aspects resolves, without omission, all of the implicat-tive process that this registral interval becomes impli- ive processes generated in the first section. For thiscative: the introduction at 1:07 (Index 3) to 1:17 of a reason, the segment which lasts from 1:17 to 11:07second sound event in which there is a harmonic slide should be considered a long deflection, several timesfrom the high to the low part of the register, brings

interrupted, that delays the realisation of the impli-about the fulfilment of the implication that was gen- cations of this works first section.erated by the registral spacing (interval fill) of the two

sounds.15

In addition, as the registral gap is reduced, 16 This non-convergent phenomenon is particularly ambiguous andimplicative: while the pitch of the fill event declines closer to thatof the low-register event, it simultaneously moves away from the

13A sounds mass corresponds to the amount of activity in its har-monic content. A sound which has a dense amount of activity latter in terms of space.

17Here again, it is clear that this is a process of resolution or realis-and inharmonic partials does not possess a pitch; this sound is

referred to as being complex. A pitched mass is a sound that has ation, as long as the events do not reach the point of silence. Theresolution, then, only occurs after the extinction of all sound: thea perceivable fundamental and partials that have simple relation-

ships harmonic to that fundamental. arrival of silence.18

This resolves the ambiguity created by the divergence of these14

A drone can be defined as an event of long duration, whose massand dynamic envelopes are unstable within a narrow band of processes at the end of section 1: at that point was witnessed

both a closing of the registral differences, and an enlargement ofvariations.15

I do not hesitate in considering as equivalent the harmonic the stereophonic space.19

These extreme positions are: silence, for the dynamic envelope,glissando(harmonic outline created, in this case, by the removal

of the high frequencies through the use of a low-pass filter) with binaural separation, for the spatial outline, and extreme registers,in the case of the melodic envelope or contour.the melodic glissando.


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7.2. Section 2, 1:17 (Index 4) 2: 43 (Index 6) hint at the possibility of another type of deflection

which would not consist of a pure and simple inter-Each unit of level 2.1 is made unstable by a process

ruption of processes, but rather of a transfer of per-of intensification which, through a process of rarefac-

ceptible activity from one evolving process totion and attenuation of events, leads without delay to

another, more meaningful process which appearsa return to stability, recalling the first units of section

suddenly and superimposes itself on the previous1. At 1:45, the morphological lengths of groupings

process in progress.2.11 and 2.12 are stretched by the process of exten-The process 4.0 contains the groupings 4.1 and

sion. Therefore, this section is composed of three4.11. Beginning with an introductory theme at 3:28

complete units (2.10, 2.11, 2.12), each of which iswhich reiterates certain elements from the previous

closed and without implication, due to the fact thatsection it continues with a play-sequence from 3:30

their realisation occurs without delay.to 6:02 which varies the morphological elements of

this same theme.21

The pair formed by the theme

heard between 3:28 and 3:29 (Index 10) and the play-7.3. Section 3, 2: 43 (Index 6)3 :25

sequence is a complete syntactical process that will be

interrupted by three deflections.Section 3, a transition phase which prepares theThe other processes of section 4 are superimposeddevelopment section which will follow it, contains

in time on the first process (made up of the first themeseveral non-resolved implicative phenomena. Theand the play-sequence), thereby deflecting the syntac-

implicative events of this section (2:46 Index 7 and tical progression towards new types of implications.3:05 Index 9) are at first judged to be parenthetical,There are three deflections of segments 4.20, 4.21 andthey do not have a causal link to preceding events in4.22, and all of these segments are contained in thethe syntactic progression, and their timbres are com-upper hierarchical level 4.11. The first two processespletely different in the context of this section. Never-at 3:36 and 4:36 present dynamic, melodic and har-theless, their evolution has a directed progression, onmonic envelopes of increasing progression that areboth the spatial plane, through a left to right trajec-followed by their decreasing counterparts, until theytory, and in their placement in the spectral or melodicreach a stable position.

22register, through the gradual filtering of the high fre-

The third process, found between 5:28 and 5:56,quencies (3:053:25) and a glissando towards thefocuses the listeners attention. In fact, the perceptivelower register (2:462:55); each of these gestures willvalue of this composed event,

23acting as a return, canbe suddenly interrupted, the first at 2:55 and the

hardly be contested:24

while its upper layer recalls thesecond at 3:25.

events of the first section, the spatial and harmonicMade implicative by a deflection, the event whichaspects of the lower stratum (rolling marble), as welloccurs between 3:05 and 3:25 can perhaps be linkedas some of its timbral characteristics, recall the eventswith that which takes place between 1:07 and 1:17.found at the end of the first and third sections ofIndeed, not only are their envelopes similarlythe work. As previously noted, this conclusive eventdeflected from their progression, but they share theresolves the implication caused by the deflection atsame spatial and spectral progression towards athe end of section 3 (3:25), and in addition, its struc-specific horizontal point. The event which begins attural impact is enhanced by the fact that it also brings5:39 is both a return to and a realisation of the impli-about a provisional realisation of the implicationcative event at 3:05 (axis 3.01);

20although these two

events are identical and present the same variation in21

The play-sequence is a compositional device that is common intheir shape, the event at 5:39 is considered a realis-acousmatic music and which is, in some ways, analogous to theation, due to its dynamic envelope which has an unin-idea of theme and variation in instrumental music. It consists in

terrupted attenuation to silence, and because it has a the variation of the morphological aspects of an initial pattern,either through transformation, or by the permutation of its parts.left to right continuous trajectory which dissolvesThe play-sequence retains its unified state throughout the cyclicalinto a reverberation effect.transformations that it imposes on the sound material.

22In the case of segment 4.2, there is a continuous transposition ofthe harmonic content, up to 5:57; this difficult climb is resolvedbetween 4:09 and 4:16, with the arrival of events that fall toward

7.4. Section 4, 3:28 (Index 10) 6:02 (Index 16)the low register.

23A composed event is a sound object that can be resolved as sev-

The moments of deflection in section 4 are particu-eral, simultaneous sounds. Certain criteria of vertical fusion,

larly interesting. When Meyer speaks of melodic such as temporal synchronicity and the identification of morpho-logical outlines, must be met in order to consider this phenom-deflection, he defines it as the interruption of a pro-enon as a single sound object.

cess in development. The analysis of this section does 24Meyer considers that returns play a very important role in theprocess of resolution or realisation. Contrary to repetitions(form-related), returns (process-related) are part of the implicat-

20This is not a resolution of the implicative event found between

1:07 and 1:17, since the event at 5:39 can only be linked to it on ive dynamic, in that they are conclusive aspects of an event thatcomplete a non-resolved process (like the coda in tonal music).a timbral level.


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34 Stephane Roy

which had appeared at the end of section 1 (1:17). and release shape. On an upper hierarchical level, seg-

ment 5a comprises a long progression up to 7:37 thatThis realisation is deemed provisional because it does

not resolve all of the implicative processes that is temporarily resolved at 8:48. The implicative and

realising processes are based on a series of increasingremained at the end of the first section, specificallythose that involved the congruence of the spatial and diminishing dynamic envelopes, and on spectral

variations, where the timbres at first thicken, beforeaspects with the harmonic and pitch envelopes.

The segments 4.20 (3:364:16), 4.21 (4:365 :14) becoming rarefied: once again, changes in spectralcontent and dynamic activity are congruentand 4.22 (5:235:58) are three complete processes

whose function, of perceptible significance, is to move processes.

A composite and dense high-register texturethe focus away from the process of variation initiated

earlier by the play-sequence. Together, these three appears at segment 5.15 (8:24), amongst other com-

posite and spectrally striated (canneles) timbres. Thissegments are another example of the tensionrelease

pairing that has had a dominant role since the begin- segment is unstable and breaks the pattern of increas-

ing and diminishing envelopes that characterised pre-ning of the work. Finally, the play-sequence resolves

the theme and variation process through a progress- ceding sections, yet it must not be considered a

deflection: it does not interrupt the progression ofive attenuation of dynamics, starting at 5:56. This re-solution is not as decisive as the one which occurs preceding segments, these having already reached at

8:24 (Index 17) a position of relative stability, in spiteduring the segment 4.22 (5:395:58), this latter resol-

ution truly serving to end section 4 with the closure of the sustained presence of a low drone that alters

the conclusive aspect of this passage.of more important processes.

Segment 5.15 contains an accumulation of strata,

increasing the density of the musical texture. In cer-

tain musical works, such as some of those found in7.5. Section 5, 6:02 (Index 16) 10:31

the acousmatic repertoire, an increase of an aspect of

sound like that of the dynamics or spectra can be theSection 5 brings back and develops elements found

in the first section. In terms of the syntactical conti- sign of an approaching cadence for example, one

may recall thetutti orchestral intervention at the endnuity, this return is particularly meaningful in that it

follows a complete realisation (segment 4.22) that will of instrumental pieces. This phenomenon of theincrease in density can be observed at the end of sec-only be superseded in importance by the final

cadence. tion 5, during the period of the temporary cadence in

the last part of segment 5.15. This is a partial realis-This section begins at 6:02 and ends at the end of

segment 5.23 (10:31), a segment that seems to be a ation for, although the tension in the upper strata isresolved through a type of melodic descent just beforedeflection: it interrupts the processes in progress (cas-

cading rising objects) without resolving them, and 8:48, the lower drone remains present, ensuring,

thereby, syntactical continuity. In creating a bridgeleads to new processes. Further, the next section, 6a

(10:3111:07), contains a long series of parentheses between sections 5a and 5b, and frustrating the pro-

cess of closure before 8:48, this drone considerablyand recalls. As for the section 6b, which begins at

11:10 and concludes the work, it is a return and a weakens the impact of the resolution.

At 8:48, an event of short duration appears (frag-resolution of the first and fifth sections.

One may question the caesura that separates sec- ment of the rolling marble); it is of great significance,for it recalls similar events heard earlier, events oftion 5b from section 6a. If we judge segment 5.23 to

be a deflection, and section 6a a series of parentheses great structural importance, at both the implicative

(3:053:25) and resolution (5:395:57) levels, eventsup to 11:10, it is possible to attach the former to the

latter. However, an audition of this part of the work with a strong programmatic function. A simple inlay,the fragment at 8:48 does not have implicative sig-reveals that a new section begins at 10:34, a section

to which it is impossible to attach segment 5.23. In nification; its rhetorical value is strong, as will be

shown below.fact, this segment is made up of a short process: first,

it deviates section 5b, and then proceeds to resolve Section 5b is punctuated by a number of periods

of syntactical instability, and its resolution is partial:itself (10:3310:34) thereby linking it to the preceding

section. Contrary to segment 5.23, the parentheses of the ascending cascades (melodic profile) (9 :14, 9:28,

9:55, 10:18 and 10:27) found in this section possesssection 6a do not deflect the structural unity, serving

only instead to delay, through the use of a coda-like short melodic envelopes, and their unfolding is welloriented. Their dynamic envelope matches thegesture, the final realisation of the work.

Let us return to section 5a, which, as was pre- tensionrelease shape. During the last part of each

cascade, a new tonal stratum is added to the texture:viously mentioned, recalls and develops materials

already presented in the works introduction. Each of the causal relation linking these events is identified in

this analysis as implicative (segments 5.205.22). Dueits individual parts (5.10 5:15) have the same tension


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to the instability of the melodic process, these cas- ment part in section 5; and (iv) at the end of section

cades retain their implicative character: with gap-fill 6b, the closure of the work.

movement, the melodic envelopes climb in the mid-

to upper registers, without ever returning to theiroriginal register.

8. COMMENTS ON THE WORKSCreating an interval whose resolution will only

PROGRAMMEoccur in the next section (6a), the cascades later flowin the opposite melodic direction in segment 6.20, and Let us introduce this look at the programmaticfunction as a simultaneous gap-fill. Although this characteristics of the work by examining its title. Amakes segment 5b appear unstable, the interruption

vanishing point is the point of a perspective draw-of the climbing cascades at 9:36 and 9:54 creates a

ing where two straight lines, that would in reality betemporary period of stability that delays the implicat-

parallel, converge instead.25

The vanishing point of aive process until 9:55 (Index 23).

group of converging elements is the final destinationSections 5b and 6a are linked by an implicative

of a linear process, with a goal in an undefined hor-process that results from the resolution of a climbing

izon. It is the horizon of the visual space, as thatmelodic process (segments 5:205:22) by its

found in the perspective play between parallel lines,descending counterpart (6.20). Despite the very clear

that vanish in the distance, and the poetic horizon, asbreak in the sections each possessing very distinct

that which is found in the final part of the work, witharticulation modes and sonic materials the implicat-

its inescapable dissolve into silence.ive process linking the two generates a certainThe musical horizon is closely linked to the tem-

amount of ambiguity in the mind of the listener.poral dimension, just as the visual horizon is part of

the spatial dimension; therefore, it is with the help of

the illusion created by musical time that which is7.6. Section 6, 10: 34 (Index 26) 12:19 experienced by the listener, different from objective

time that the poetic aspects of the work are skilfullyThe last section divides into two subsections, 6a andrevealed.6b. This division being based in part on the gestalt

The vanishing point seems to pull towards an end,law of good continuity in the shape of the envelopesfinal point situated somewhere in the infinite. Thecoupled with similarities of timbres, and on theorganisation and structure flow towards this idea ofappearance in section 6b of the resolution of anan end; its finality has the power to cohere and coor-implicative process which originated in the very first

dinate a group of actions and intentions in the direc-section of the work. On a formal level, section 6a istion of a specific goal. As in the visual parallel, thea parenthesis between section 5, itself a return to sec-separate axes are sourced and structured in such ation 1, and section 6b, which serves as its final resol-way as to converge in the mind of the listener, theution. Section 6a cannot be considered a deflectionillusion of a congruent vanishing point in the infinitefor it is mainly made up of inlays and, with the excep-horizon.tion of a few inner implications (6.21 and 6.22), it

As this analysis has shown, Points de fuitepresentsdoes not contain a process. This does not mean thata number of implicative processes. We can considerthis section is less important in the context of theimplication to be a phenomenon inextricably linkedentire work; rather, by recalling every one of the pre-to that of finality. Indeed, a phenomenon can only bevious sections without exception, it serves to recapitu-

implicative if it is teleological, if it is goal-oriented,late the work in its entirety. We have seen how, in

Points de fuite, events that serve to recall parts of a born of the expectations generated in the listeners

work are particularly present during closing periods, mind. In music, the implicative phenomenon can onlysomething that is demonstrated throughout section 6. exist within coherent structures of sound objects. An

Section 6b is the works most conclusive phase. In implication is a principle of coherence which frameseffect, it resolves important syntactical processes by the movement of musical aspects towards a finality.guiding to morphological stability, aspects that were If, as Meyer states, the aim of an implication remainsmade implicative through the syntactical condition, the realisation or resolution of tension generated byand as it stabilises these dimensional relationships, multiple deflections, we may therefore suggest that athey attain congruency. work that is complete contains processes that,

We can recall the parts where these aspects played throughout both their directed and sometimes wan-an important syntactical role: (i) during the failed dering evolution, have reached the end of their finalconclusion attempt in the first section (tension goal, when all tension has been effectively resolved.

26

release expressed by the dynamic envelope, the left

right movement in the image field, and the gap-fill); 25Petit Larousse Illustre, 1982, Paris, p. 439.26 This is not a judgement on the quality of a given work.(ii) at the end of section 4; (iii) during the develop-


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36 Stephane Roy

In this analysis, I have shown how the aspects of able) has evidently inspired the behaviour of the

sound (the sound object in its most abstract form).melodic register and spectrum, of movement in the

stereo field, and of dynamics have envelopes whose The sound profiles generated by the movement of

physical objects through a particular auditive space,progressions are particularly goal-oriented ordirected. This leads me to state that the conclusion of and in front of an immobile subject, have inspired the

composer in his choices of the shape of a number ofthe work at 12:19 is the true vanishing point for all

of the processes. The silence at the end is part of the the non-referential sound events in the work, and inthe ordering of particular syntactical processes, likeinfinite horizon where all morphological envelopes

meet. Like the multiple lines in a perspective, the those found at the end of the work.

Although the source in Points de fuite is revealed,dynamic, melodic, spectral and spatial envelopes are

all resolved at the same time and in a congruent and it is not merely for its anecdotal value but serves

rather to unite the subject of the piece (flightescape)convergent fashion.27

The metaphor of the vanishing point could be with the behaviour of the aspects of sound. Indeed,

the appearance of a sound that moves across the list-applied to all teleological works. It is its close

relationship to the programmatic part of the work ening space, like that of the rolling marble (3:05, 5:39,

and that returns, like a leitmotiv at 8:48, 10:47 andthat gives this metaphor particular meaning in Pointsde fuite. It is this same metaphor that allows us to lift 10:45), the sound of the plane taking off (3:36), the

passing of a car (2:46) or the sound of a train movingthe veil on the poetic aspects of the work.

(4:36), all share the same allegorical expression of

flightescape.9. A VANISHING POINT WHERE SOUNDS

But flight towards what? Towards the silence ofAND SOURCES CONVERGE

nothingness, of forget, of the deaths strewn along the

horizon, the farewells, as indicated by the secondThe metaphor of the vanishing point can be applied

to more than just the sounds themselves; and it is not work in the cycle Cycle de lerrance, . . . Mourir un

only what I have defined in acousmatic music as the peu, that is framed by Points de fuite and Espace

material expression of the work, its neutral level, Escape. We can complete the saying, To leave is to

which can be studied and explained using a formal- die a little; to leave is to die for oneself, to die for

istic approach, by neutralising all conclusions based others and to erase others from ones memory.on strategies of production or reception. This meta- Points de fuite contains an implicit part that isphor can and must also be applied to the source, that revealed by . . . Mourir un peu and inversely: the van-is, the area where the strategies and means of pro- ishing point creates a horizon that calls out for depar-

duction, and the perceptible clues of their existence ture and movement, but that also signals the end ofin the work are combined.

28all progression, where death, existential sorrow

In addition to the close and congruent relation- accompanying the traveller and the runaway, takesships between the profiles of the sonic dimensions of up perpetual residence. This semantic meeting point

Points de fuite, there exists a link between the denot- of the two titles also appears in the soundsative meaning of the works anecdotal sounds and the of . . .Mourir un peu, where there are repeated quotesbehaviour of their envelopes. Illustrating this idea, of the moving sound sources heard in Points dethe event which occurs at 3:05 is made up of spectral, fuite.

29In both works, the sounds that emerge and

dynamic and spatial envelopes similar to those acous- disappear along a vanishing point are the expressiontically generated by the rolling of a ball on a hori- of the duration of all movement, of life that springszontal angle, perceived from the angle of an immobile from very little, like a longcrescendo, and eventuallysubject. In various parts of the work, a shape resem- vanishes into the silent horizon of death.

bling that of the envelopes is applied to abstract In Points de fuite, what is most fascinating is thesound events, devoid of a denotative function and of resemblance in the behaviours of the more abstractlittle major structural significance, as shown at the sounds and those sources made recognisable by theirend of section 1, from 1:07 to 1:17, or at the end of anecdotal aspects. The sounds and the revealedthe work, from 11:38 to 12:19. In a totally original sources express, together, and yet each in their ownfashion, the source (in this case, the acoustic sound way, the same concept of a determined trajectory, ofrecorded by the composer and completely identifi- a teleological movement. Through this double play,

this double level of reading that presents a single sub-27This is accomplished by having the dynamic envelope reach sil-

ject, Points de fuite transcends the anecdotal evo-ence, by extending the melodic contour to extreme and oppositecation of the source by giving it a higher function,registers, and by placing the sounds in opposite stereophonic

positions (leftright). one that is both poetic and structural.28It is possible to consider the semiological aspects of both soundand source. Inspired by the semiological theory of Jean Molino,

further developed by Jean-Jacques Nattiez, I propose that the

29

For example, refer to the 4th section of . . .Mourir un peu,entitled, Theme de la fuite (escapeflight theme).source is to the poetic level, as the sound is to the neutral level.


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REFERENCES BIOGRAPHICAL NOTE

Bayle, F. 1993. Musique acousmatique proposition . . . pos- A composer of electroacoustic music, Stephane Roy has

itions. Paris: BuchetChastel INA-GRM. been awarded several national and international prizes. AChion, M. 1983. Guide des objets sonores. Paris: Buchet grant-holder researcher, he has obtained a doctorate in

Chastel. composition from the Universite de Montreal, underMeyer, L. B. 1956. Emotion and Meaning in Music. Francis Dhomont and Jean-Jacques Nattiez; currently, he

Chicago: University of Chicago Press. is finishing a PhD in musicology, focusing on the analysisMeyer, L. B. 1967.Music,the Arts and Ideas. Chicago: Uni- of electroacoustic works, with Jean-Jacques Nattiez.

versity of Chicago Press. Stephane Roy is currently teaching auditory perception atMeyer, L. B. 1973. Explaining Music. Los Angeles: Univer- the Universitede Montreal.

sity of California Press. Ned Bouhalassa is a composer and teacher of electro-Nattiez, J.-J. 1987. Musicologie generale et semiologie. acoustics in Montreal.

Paris: Christian Bourgois.

Schaeffer, P. 1966. Traite des objets musicaux. Paris: Seuil.

DISCOGRAPHY

Dhomont, F. 1991. MouvancesMetaphores; cycle de

lerrance. Montreal: empreintes DIGITALes, IMED-

910708-CD.

Documents

Stephane Roy - Form and Referencial Citation in a Work by Francis Dhomont _ 1996 _ Analise _ Eletroacustica