Teori och Analys A Mattias Sköld och Bill Brunson 19 Dec 2014

Good Morning Love! It’s springtime in my heart

An analysis on the piece of Kim Hedås

After hearing and listening to Good Morning Love! It’s springtime in my heart, I divided it in 4

parts: introduction (first 30 seconds of music), first section, faster, more rhythmical and with

characteristic elements (from second 30 to 2 minutes and 17 seconds), second section, with

textural slow sounds and a few attacks in the end (from 2’17’’ to the forth minute and 12

seconds) and a third section that conducts the piece till the end, being a mixture of elements

from the first and second parts.

As for layers, most of the piece is constituted by no more than 3 layers: a background

sound, attacks and another longer sound. The most part is constituted by only 2 layers.

The introduction begins with a medium pitch sound that remembers a bowed

suspended cymbal. Another, higher in pitch, comes and, in between, a vibrato sound,

transporting one to the other. Then, at 8 seconds, there is an attack and the sound is stretched

and seems to slowly die when another sound comes up. This sound is a metal wind-chimes-

like sound, where the high frequencies leave themselves vibrate and resonate. Then there is a

series of two small attacks and a new stretched sound (rubber-like), then two short high notes,

a new attack and another high note. The stretched sound evolves to a continuous sound that

opens fast and then decays in a slower way. During the attenuation, another, higher pitched

sound like the first appears on top of the now background sound. This sound cuts to a new

part constituted by electric guitar accentuation that extend for about 15 seconds. Some noise

appears at 57’’ and another higher pitch sound, not so much as the firsts, as it in not so

continuous, shifting a bit in pitch and volume. Then, there are two curvy train-like sounds

following one another, and after some decrement in the sound (it appears more as

background), there are another two attacks of the same kind of sound. At 1’15’’, there are

three more short attacks and at 1’16’’, an attack with immediate decrement and

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intensification, followed by a 3 seconds noise. Another stretched sound, with a higher pitched

sound on the top and a skin-stretching sound to follow. Another higher pitched, not

continuous, vibrating sound and more stretching. Then, another section with electric guitar

accentuations, but this time with the train-like sound as background, sometimes trying to

come over on top but always fading. This background sound continues alone until it merges

in the wind-chimes-like sound. At this time, I consider the end of the first section, even

though it is not quite that clear until some seconds later. Following this sound, there is an

rotation between wind-chimes-like sounds and stretched rubber-like sounds. This second

section has a more mysterious side than the first caused by the slower sounds and the metal-

like sounds that fade with one another. A lower sound emerges from this rotations and it

intensifies and then becomes background, as new attacks come to life. This are spaced by a

fez seconds each during almost half-a-minute, and the background sound acquires somewhat

the texture of a medium-low pressed string on a cello. There is a new, not constant, higher

sound, similar to the train-like sound, not very long, and the background sound transforms

itself in the wind-chimes sound again. After, it is introduced a new bouncing sound and a

successive amount of attacks follow it. Being as the next 50 seconds are dominated by this

new kind of sound and breaking the textural, tymbrical of the part before, I choose this

moment to start part three, the final part. The bouncing sound gives away to the stretched

sound and 3 closing-a-door short attacks. The new bouncing comes with a wind-like sound

and a bouncing longer sound. There is the intensifying strings-like sound and a train-like,

sound with movement that also has a bit of glister in it (probably as a remembrance of the

wind-chimes-like sound. This sound transforms itself in a new section of electric guitar

accentuations not so clear as before and with a lot more distortion. This finishes with two

more attacks, a background noise of the electric guitar accentuation really dulled, a new

attack and, in the end, a fading of the sounds to nothing that finishes the piece.

It is a stereo piece of music but the panning is not the highest priority and most os the

elements stay on the two channels, although sometimes with more focus on one than the

other. The dynamics are very uniform, without there being very aggressive sounds or almost

unlistenable ones. The mixing process is done very constant, without great disparity. The

spectrum of the sound is neither very lower or very higher, so we can say it stays within

medium registers.

As for sound processes, a great number of sounds are stretched and reversed, but a lot

of them have only been worked on the reverberation. The sounds speak for itself and are

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very clear. Being that most are metal and the pitch is not always identified as a singular

frequency, the music seems to have some kind of reference to the oriental world. As it is a

electroacoustic song, we can hear most of the instruments used in the making of the sounds,

as the bowed suspended cymbal, the wind-chimes, some strings (maybe) and a door.

I’ve not found information on the purpose or subject of the work, either social, political,

textual or technical. Looking at the title of the piece, we would say that it is a positive work of

art, with some mystery of the morning and the springtime. We can feel it when we listen to

the music, and I found the music very relaxing in some way, as it has not very loud, nor very

aggressive sounds.

Written in 1994, by swedish composer Kim Hedås, Good Morning Love! It’s springtime in my

heart received an honourable mention at the Stockholm Electronic Arts Awards (1994) and

was also awarded a residence prize at the Grands prix internationaux de musique

électroacoustique (Bourges, France, 1994). Kim Kerstin Margareta Hedås was born in the 3rd

day of April in 1965 in Hedemora in Dalarna and is actually living in Stockholm. Hedås

studied composition and electronic music at the Royal College of Music in Stockholm

1991-97 with Pär Lindgren and, in between 1998 and 2000, was composer in residence "at

Swedish Radio P2. Her breakthrough, in 1994, was with this piece of electro-acoustic music,

Good Morning Love! It’s springtime in my heart. Although she started as a mainly electronic music

composer, Hedås reverted to a more diversified production, which includes orchestral,

chamber and choral music. She has written works for, among others, oboeisten Helen Jahren,

pianist Dr Ullén, percussion ensemble Kroumata, accordionist Anita Agnas, chamber

ensemble Pearls before swine, and several orchestras as the Gothenburg Symphony

Orchestra. Since the 80’s, she has done some works for the theatre and TV productions. In

2011, Hedås collaborated with artist Petra Gipp to the sculptural installation at Kivik Art

Centre on Osterlen. Hedås has received several artist scholarships, including from the city of

Stockholm and the Royal College of Music. Her music has been performed in several

countries.

Nádia de Sousa Varela de Carvalho

911906

nadia.de-sousa-varela-de-carvalho@student.kmh.se

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