Form and referential citation in a work

by Francis Dhomont
*
STE

PHANE ROY
Universite de Montreal, Faculte de musique, C.P. 6128, succursale Centre-ville, Montreal, Que bec, Canada H3C3J7
It is common to oppose formalist and referentialist
book, Explaining Music (Meyer 1973). First, I shall
approaches to music. However, in Francis Dhomonts work
begin by dening the principal analytical concepts
Points 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 ow
2. MEYERS IMPLICATIVE ANALYSIS
of 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 eld of study referred to as American
explores metaphors based upon recurrent anecdotal events
criticism. This critical approach accounts for the
the recorded signiers of the source. These extra-musical
elements dene the works structure to such an extent that formal aspects of a musical work, rst by attempting
they eliminate the traditional gap between formalism and
to reveal its hierarchical organisation, and the pro-
referentialism in music.
cesses through which they are elaborated,
3
and sec-
ondly by an analysis of the relationships of the
individual parts, and how these take on meaning in
1. INTRODUCTION
the mind of a competent listener.
4
In Meyers opin-
ion, the musical meaning (that which is signied) and
In Quebec, acousmatic music is particularly vibrant,
the aesthetic pleasure that it provides result from the
as shown by the sheer number of composers of this
formal relationships which constitute the musical
type of music, and the international recognition of
fabric.
their work.
1
In this article, I address this repertoire
Assuredly, such an analytic position leaves out a
through the analysis of one piece composed by a mas-
large part of the musical repertoire; however, Meyer
ter among acousmatic artists, Francis Dhomont. The
was principally interested in researching what he
catalyst for this movement in Quebec nearly sixteen
referred to as syntactico-kinetic works: those made
years 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. This
ility and goal-oriented syntactic resolution. These
article is at once a tribute to his pioneering work, and
teleological musics, by denition, exclude several cat-
an acknowledgement of my interest in his subtle and
egories of contemporary music, most notably serial,
sometimes dreamlike repertoire. I have chosen to
algorithmic 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 the
3. THE IMPLICATION
nostalgic . . . Mourir un peu) draws its origins.
2
To the competent listener, an implicative work one
For the past several years, I have been working on
composed in a known style offers at all times a
elaborating analytic methodologies for acousmatic
range of possibilities for its evolution. If the syntactic
musics. 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 adapted
tral: their syntactic formulae are known, categorised,
for analysis of new repertoires. For this article, my
and redundant for the listener. On the other hand,
analysis borrows directly from Leonard Meyers
when the syntactic processes are disturbed or inter-
implicative method, which he developed in his 1973
rupted, the musical discourse becomes less and less
* Translated by Ned Bouhalassa with assistance from Kevin
Austin.
3
A process exists when a musical parameter (melody, rhythm,
harmony, timbre, etc.) is found to have a clear and coherent
1
The composer Francois Bayle was the rst to propose that the
term acousmatic refer to a specic compositional approach. progression in a given direction.
4
A competent listener is one who has integrated the musical
2
Francis Dhomont, MouvancesMetaphores; cycle de l errance,
empreintes DIGITALes, IMED-910708-CD, Montreal, 1991. language used in a given work.
Organised Sound 1(1): 2941 1996 Cambridge University Press
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, spectral
explicit hypothesis that a competent listener will for-
and dynamic proles and envelopes, shows how these
mulate, 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 a
4. DEFLECTION
ll is one of the most common types of melodic
deections found in tonal music. He points out that
Deection, along with implication, is one of the two
melodic progression is often suddenly transferred
central concepts of Meyers approach. Deection
higher or lower (less than an octave), a jump which
interrupts processes, freezing them momentarily by
is resolved when the melodic line returns through
the use of another process that suggests new direc-
stepwise motion towards its point of origin (melodic
tions in the works evolution. Implication and deec-
ll).
tion are intimately connected. Each musical event is
In acousmatic music, the leap or gap is not only
only truly implicative when it appears to be incom-
applicable to the melodic parameter but to others as
plete, even if only briey, thereby generating in the
well: a dynamic envelope can instantly increase its
listener a particular level of emotional tension; in
amplitude, then return through a diminuendo to its
fact, deections are part of a number of syntactical
original state; an event which suddenly becomes
digressions that serve to delay the realisation of an
dynamically intense can be resolved soon after
interrupted process. The duration of the deection,
through a decrescendo; an inharmonic timbre that
the stylistic and syntactical context in which it occurs,
closely follows one that is harmonic can, through l-
and the point in time where the initial process is inter-
tering, be transformed back into its original harmonic
rupted, are all aspects that determine the degree of
state; a closed space can quickly change into a large,
implication.
5
open space before closing progressively upon itself
I 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 certain
implication and the resolution of implication. The
amount of tension and become implicative.
8
concepts 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. METHODOLOGY
fested in other musical languages.
Meyer deconstructs the musical fabric into numer-
In the analysis that follows, implicative relationships
ous parameters such as melody, harmony, rhythm,
are represented by horizontal lines and arrows. When
dynamics and timbre, whose interactions can gener-
the implicative process precedes the explicit event, the
ate 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.
9
The entire process, from
on the principles of stability and instability in the
its introduction to its resolution, is delimited by a
musical 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 deection or prolonged
when 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
7
The envelope or prole (borrowed from the French, prol ) is a
congruency, phase relations are absent and, particu-
term proposed by Schaeffer. This envelope is the outline of a
larly during conclusive periods, the musical events sound aspect in time; it is directly linked to the concept of
variation.
generate varying degrees of tension.
8
The syntactical circumstances leading to an implication cannot be
dened in vitro. It is a matter of context, and it depends on the
interpretative skills of the analyst; I only list several examples that
5
The deection of a process in its conclusive state constitutes a
critical point, where the interruption suddenly becomes highly hypothetically reside in favourable syntactic contexts.
9
An 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 the
functional role of previous events (the implied). harmonic parameters are simultaneously concluded.
Form and referential citation 31
Figure 3 Figure 1
Figure 4
Figure 2
resent non-periodic, noise-like sounds (see gure 3).
Hybrid sounds, also designated spectrally striated
ted, up to the point that marks the continuation of
(sons canneles by Pierre Schaeffer), are those that
that same process (see gure 1).
have both a strong inharmonic content and a recog-
For a clear and concise representation of the
nizable pitch; these are represented by objects with a
analysis, the score remains the preferred form.
10
combination of oblique lines and solid ll (see gure
Unlike instrumental pieces, acousmatic work is not a
4).
12
The durations and indexes refer to the 1991 CD
priori dependent on a pre-existing score for its realis-
recording on the empreintes DIGITALes label,
ation. The score that I am using was realised through
IMED-910708-CD.
listening sessions after the work was composed. As a
In this analysis, the reader will nd typomorpho-
descriptive and listening score, it must not be con-
logical concepts rst proposed by Pierre Schaeffer in
fused with an instrumental score, which is prescrip-
his book Traite des objets musicaux (Schaeffer 1966).
tive and contains a work in a to be realised
Since these concepts will not be explained in great
condition.
detail here, the interested (and French-reading)
In addition to serving as an analytical tool, the
reader may nd additional information in Michel
listening score also represents the rst level of analy-
Chions Guide des objets sonores (Chion 1983), a work
sis. Based on my perception of the work, this score
which contains clear and concise denitions.
already highlights the segments of the musical ow
Points de fuite was composed in 1982, soon after
into individual perceptive units.
11
As a consequence,
Francis Dhomonts arrival in Quebec. The coherence
unlike music realised from notation, the listening
of this particular acousmatic piece is not only a result
score is not the work: it is only an analogic represen-
of its formal structure, but also of the way in which
tation. All analysis must begin with the work in its
this structure follows the programmatic intent. My
original form; here, as an acoustic event devoid of
analysis 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 scores
while the comments on the programmatic aspect of
has not been strictly formalised, the form of a drawn
the work focus on the contrasting concepts of sound
object corresponds to the shape of the sounds. Vol-
and source.
ume changes are reected in time, the vertical pos-
Please note that in order to maintain my investi-
ition of an object represents the approximate register
gative goals, I have chosen not to ask the composer
of a sound, while ll pattern indicates the degree of
about his initial compositional intent. This presen-
periodicity. Objects containing oblique patterns
tation is an inductive aesthesic analysis (a semio-
correspond to sounds with a recognisable pitch (see
logical term rst suggested by Nattiez (1987)) of the
gure 2), while objects that are completely lled 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 of Points de fuite is located at the end of the
the elements that are capable of being perceived by a
article. 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 divided
relies in great part on gestalt factors such as similarity, proximity,
12
The 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 identication of a
fundamental frequency more difcult. ing in Music (Meyer 1956).
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 eld, while the low
7.1. Section 1, 0:001:17 (Index 1)
register drone slides to the left.
16
There appears in this rst 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 eld creates a
another. Though this sections individual events are
spatial gap that is in contrast to the diminishing
not 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.
13
The increase and decrease of the
tial envelopes is interrupted by the second section
dynamic envelope coincide respectively with
(rst deection) at 1:17.
unpitched and pitched material, which leads us to
(3) The registral gaps realisation is also interrupted
conclude 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 deec-
can be considered part of a tension phase which, tion will delay the realisation of section 1 through
through a return to pitched material and reduced several sections. In fact, the last section (6b), which
dynamics, evolves towards a greater syntactic stab- lasts from 11: 07 to the end of the work, is, borrowing
ility that is marked by periods of silence. Separating
from Meyers terms, a remote realisation of all the
the phases of amplication and attenuation, these sil-
implicative processes in the rst section that were left
ences can be considered ideal areas of syntactic stab-
unresolved by this deection. The implicative link
ility; in fact, silences are often analysed as implicative
with section 1 is indicated at levels 6b (6b 1) and
phenomena. In this works rst 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 at
are 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.
17
In addition, the
movement; they resolve the periods of instability that
registral spacing that separates the drones is not
were generated by the introduction of events during
resolved through a gap-ll process, as was the case
the phase of amplication.
before 1:17 of the rst 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 upper
Coming on the heels of 32 s of a texture situated in a
drone and the downward glide of the lower drone. In
higher registral region, this intervention appears
contrast to what had occurred in the rst section, the
implicative since it helps to dene and contrast two
uninterrupted movement of the drones in the stereo
extreme areas of the register, separated by a gap in
eld high drone towards the right, and low drone to
the middle register. This leads us to suggest a new
the left matches their individual melodic contour,
18
concept, the simultaneous gap-ll, that is different
and allows them to reach extreme positions.
19
This
from Meyers gap-ll which only concerns itself with
congruence of the spatial, melodic and dynamic
a 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 rst section. For this
cative: the introduction at 1: 07 (Index 3) to 1:17 of a
reason, the segment which lasts from 1:17 to 11: 07
second sound event in which there is a harmonic slide
should be considered a long deection, several times
from the high to the low part of the register, brings
interrupted, that delays the realisation of the impli-
about the fullment of the implication that was gen-
cations of this works rst section.
erated by the registral spacing (interval ll) of the two
sounds.
15
In addition, as the registral gap is reduced,
16
This non-convergent phenomenon is particularly ambiguous and
implicative: while the pitch of the ll event declines closer to that
of the low-register event, it simultaneously moves away from the
13
A 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.
17
Here 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. The
resolution, then, only occurs after the extinction of all sound: the a 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 these
14
A drone can be dened as an event of long duration, whose mass
and 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 of variations.
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 lter) with binaural separation, for the spatial outline, and extreme registers,
in the case of the melodic envelope or contour. the melodic glissando.
Form and referential citation 33
7.2. Section 2, 1:17 (Index 4) 2:43 (Index 6) hint at the possibility of another type of deection
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 intensication which, through a process of rarefac-
ceptible activity from one evolving process to
tion and attenuation of events, leads without delay to
another, more meaningful process which appears
a return to stability, recalling the rst units of section
suddenly and superimposes itself on the previous
1. 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 three
4.11. Beginning with an introductory theme at 3:28
complete units (2.10, 2.11, 2.12), each of which is
which reiterates certain elements from the previous
closed and without implication, due to the fact that
section 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 deections.
Section 3, a transition phase which prepares the
The other processes of section 4 are superimposed
development section which will follow it, contains
in time on the rst process (made up of the rst theme
several non-resolved implicative phenomena. The
and the play-sequence), thereby deecting 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 rst judged to be parenthetical,
There are three deections of segments 4.20, 4.21 and
they do not have a causal link to preceding events in
4.22, and all of these segments are contained in the
the syntactic progression, and their timbres are com-
upper hierarchical level 4.11. The rst two processes
pletely 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, on
monic envelopes of increasing progression that are
both the spatial plane, through a left to right trajec-
followed by their decreasing counterparts, until they
tory, and in their placement in the spectral or melodic
reach a stable position.
22
register, through the gradual ltering of the high fre-
The third process, found between 5:28 and 5:56,
quencies (3:053:25) and a glissando towards the
focuses the listeners attention. In fact, the perceptive
lower register (2:462:55); each of these gestures will
value of this composed event,
23
acting as a return, can
be suddenly interrupted, the rst at 2:55 and the
hardly be contested:
24
while its upper layer recalls the
second at 3:25.
events of the rst section, the spatial and harmonic
Made implicative by a deection, the event which
aspects of the lower stratum (rolling marble), as well
occurs between 3:05 and 3:25 can perhaps be linked
as some of its timbral characteristics, recall the events
with that which takes place between 1: 07 and 1:17.
found at the end of the rst and third sections of
Indeed, not only are their envelopes similarly
the work. As previously noted, this conclusive event
deected from their progression, but they share the
resolves the implication caused by the deection at
same spatial and spectral progression towards a
the end of section 3 (3:25), and in addition, its struc-
specic horizontal point. The event which begins at
tural impact is enhanced by the fact that it also brings
5:39 is both a return to and a realisation of the impli-
about a provisional realisation of the implication
cative event at 3:05 (axis 3.01);
20
although these two
events are identical and present the same variation in
21
The play-sequence is a compositional device that is common in
their shape, the event at 5:39 is considered a realis-
acousmatic music and which is, in some ways, analogous to the
ation, 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 dissolves
The play-sequence retains its unied state throughout the cyclical
into a reverberation effect.
transformations that it imposes on the sound material.
22
In the case of segment 4.2, there is a continuous transposition of
the harmonic content, up to 5:57; this difcult climb is resolved
between 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.
23
A composed event is a sound object that can be resolved as sev-
The moments of deection 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 identication of morpho-
logical outlines, must be met in order to consider this phenom-
deection, he denes it as the interruption of a pro-
enon as a single sound object.
cess in development. The analysis of this section does 24
Meyer considers that returns play a very important role in the
process of resolution or realisation. Contrary to repetitions
(form-related), returns (process-related) are part of the implicat-
20
This 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 that
complete a non-resolved process (like the coda in tonal music). a timbral level.
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 that This 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 increasing remained at the end of the rst section, specically
those that involved the congruence of the spatial and diminishing dynamic envelopes, and on spectral
variations, where the timbres at rst thicken, before aspects with the harmonic and pitch envelopes.
The segments 4.20 (3:364:16), 4.21 (4:365:14) becoming rareed: once again, changes in spectral
content and dynamic activity are congruent and 4.22 (5:235:58) are three complete processes
whose function, of perceptible signicance, is to move processes.
A composite and dense high-register texture the 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. This segments 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
deection: it does not interrupt the progression of ive 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 spite during 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 in
7.5. 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 the Section 5 brings back and develops elements found
in the rst section. In terms of the syntactical conti- sign of an approaching cadence for example, one
may recall the tutti orchestral intervention at the end nuity, this return is particularly meaningful in that it
follows a complete realisation (segment 4.22) that will of instrumental pieces. This phenomenon of the
increase in density can be observed at the end of sec- only be superseded in importance by the nal
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 is
resolved through a type of melodic descent just before deection: 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 bridge leads 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 considerably and 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 rst and fth sections.
One may question the caesura that separates sec- ment of the rolling marble); it is of great signicance,
for it recalls similar events heard earlier, events of tion 5b from section 6a. If we judge segment 5.23 to
be a deection, and section 6a a series of parentheses great structural importance, at both the implicative
(3:053:25) and resolution (5:395:57) levels, events up 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 nication; its rhetorical value is strong, as will be
shown below. fact, this segment is made up of a short process: rst,
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 prole) (9:14, 9:28,
9:55, 10:18 and 10:27) found in this section possess section 6a do not deect the structural unity, serving
only instead to delay, through the use of a coda-like short melodic envelopes, and their unfolding is well
oriented. Their dynamic envelope matches the gesture, the nal 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 identied in
this analysis as implicative (segments 5.205.22). Due its individual parts (5.105:15) have the same tension
Form and referential citation 35
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-ll 6b, the closure of the work.
movement, the melodic envelopes climb in the mid-
to upper registers, without ever returning to their
original register.
8. COMMENTS ON THE WORKS
Creating an interval whose resolution will only
PROGRAMME
occur in the next section (6a), the cascades later ow
in the opposite melodic direction in segment 6.20, and
Let us introduce this look at the programmatic
function as a simultaneous gap-ll. Although this
characteristics of the work by examining its title. A
makes 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 be
temporary period of stability that delays the implicat-
parallel, converge instead.
25
The vanishing point of a
ive process until 9:55 (Index 23).
group of converging elements is the nal destination
Sections 5b and 6a are linked by an implicative
of a linear process, with a goal in an undened hor-
process that results from the resolution of a climbing
izon. It is the horizon of the visual space, as that
melodic 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, as
break in the sections each possessing very distinct
that which is found in the nal part of the work, with
articulation modes and sonic materials the implicat-
its inescapable dissolve into silence.
ive process linking the two generates a certain
The 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 is
7.6. Section 6, 10:34 (Index 26) 12:19
experienced by the listener, different from objective
time that the poetic aspects of the work are skilfully
The last section divides into two subsections, 6a and
revealed.
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 envelopes
nal point situated somewhere in the innite. The
coupled with similarities of timbres, and on the
organisation and structure ow towards this idea of
appearance in section 6b of the resolution of an
an end; its nality has the power to cohere and coor-
implicative process which originated in the very rst
dinate a group of actions and intentions in the direc-
section of the work. On a formal level, section 6a is
tion of a specic goal. As in the visual parallel, the
a parenthesis between section 5, itself a return to sec-
separate axes are sourced and structured in such a
tion 1, and section 6b, which serves as its nal resol-
way as to converge in the mind of the listener, the
ution. Section 6a cannot be considered a deection
illusion of a congruent vanishing point in the innite
for 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 fuite presents
does not contain a process. This does not mean that
a number of implicative processes. We can consider this section is less important in the context of the
implication to be a phenomenon inextricably linked entire work; rather, by recalling every one of the pre-
to that of nality. Indeed, a phenomenon can only be vious 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 only
something 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 frames
effect, it resolves important syntactical processes by the movement of musical aspects towards a nality.
guiding to morphological stability, aspects that were If, as Meyer states, the aim of an implication remains
made implicative through the syntactical condition,
the realisation or resolution of tension generated by
and as it stabilises these dimensional relationships,
multiple deections, we may therefore suggest that a
they 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 nal
conclusion attempt in the rst section (tension
goal, when all tension has been effectively resolved.
26
release expressed by the dynamic envelope, the left
right movement in the image eld, and the gap-ll);
25
Petit 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-
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 eld, and of dynamics have envelopes whose The sound proles generated by the movement of
physical objects through a particular auditive space, progressions are particularly goal-oriented or
directed. 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 of the 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 in
the ordering of particular syntactical processes, like innite 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 (ightescape) 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 and that gives this metaphor particular meaning in Points
de 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 moving the veil on the poetic aspects of the work.
(4:36), all share the same allegorical expression of
ightescape.
9. A VANISHING POINT WHERE SOUNDS
But ight towards what? Towards the silence of
AND SOURCES CONVERGE
nothingness, of forget, of the deaths strewn along the
horizon, the farewells, as indicated by the second The 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 l errance, . . . Mourir un
only what I have dened 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 is
phor 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 of
in the work are combined.
28
all progression, where death, existential sorrow
In addition to the close and congruent relation-
accompanying the traveller and the runaway, takes
ships between the proles 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 sounds
ative meaning of the works anecdotal sounds and the
of . . . Mourir un peu, where there are repeated quotes
behaviour of their envelopes. Illustrating this idea,
of the moving sound sources heard in Points de
the event which occurs at 3:05 is made up of spectral,
fuite.
29
In both works, the sounds that emerge and
dynamic and spatial envelopes similar to those acous-
disappear along a vanishing point are the expression
tically generated by the rolling of a ball on a hori-
of the duration of all movement, of life that springs
zontal angle, perceived from the angle of an immobile
from very little, like a long crescendo, and eventually
subject. 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 the
sound events, devoid of a denotative function and of
resemblance in the behaviours of the more abstract
little major structural signicance, as shown at the
sounds and those sources made recognisable by their
end of section 1, from 1: 07 to 1:17, or at the end of
anecdotal aspects. The sounds and the revealed
the work, from 11:38 to 12:19. In a totally original
sources express, together, and yet each in their own
fashion, the source (in this case, the acoustic sound
way, the same concept of a determined trajectory, of
recorded by the composer and completely identi-
a teleological movement. Through this double play,
this double level of reading that presents a single sub-
27
This 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 opposite
cation 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.
28
It is possible to consider the semiological aspects of both sound
and 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 (escapeight theme). source is to the poetic level, as the sound is to the neutral level.
Form and referential citation 37
38 Stephane Roy
Form and referential citation 39
40 Stephane Roy
Form and referential citation 41
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. A
Chion, M. 1983. Guide des objets sonores. Paris: Buchet grant-holder researcher, he has obtained a doctorate in
Chastel.
composition from the Universite de Montreal, under
Meyer, L. B. 1956. Emotion and Meaning in Music.
Francis Dhomont and Jean-Jacques Nattiez; currently, he
Chicago: University of Chicago Press.
is nishing a PhD in musicology, focusing on the analysis
Meyer, 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 at
Meyer, L. B. 1973. Explaining Music. Los Angeles: Univer-
the Universite de 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
l errance. Montreal: empreintes DIGITALes, IMED-
910708-CD.