A Gestalt Music Analysis. Philosophical Theory, Method, and Analysis of Iegor Reznikoff's Compositions
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ABSTRACT:
The aim of this study is to develop a Gestalt Music Analysis (GMA) theory and method. The GMA consists of three parts: theoretical, methodological, and music-analytical. I theoreze analytic frames, and introduced a method by which the Gestalt of a composer's music can be analysed and interpreted in the context of a philosophy of musical mind. Another aim of the study is to investigate the claim that a musical Gestalt is a representation of the composer's inner creative process, and that said process can be analysed with the GMA. The results of the study revealed the composer's inner creative Gestalt as a formulaic circular process, as emotional formulas of micro-structural findings, and as performance. The study also reveals the Gestalt quality of music as the "third dimension" of composition.
The music is analyzed according to Gestalt philosophical theories, this is to say, theories of the conscious (musical) mind and phenomenology. Original Gestalt theory is derived from Austrian philosopher Christian von Ehrenfels' essay, "Über Gestaltqualitäten" (1890), which sheds light on this entire study. Prof. Jukka Louhivuori's formula theory of development and Prof. Marc Leman's representation theory are the basic modern Gestalt theories used in the analysis. I developed and adapted these theories in analyzing compositions of the French chanter and composer, Professor Iegor Reznikoff. Therefore, both voice-analysis theory and spectral analysis play an important role in the GMA.
The study has revealed that the method and theory were functional, providing answers to crucial questions. Formula analysis and its various parameters have revealed that creativity was based on unexpected formula Fe and the unconsciousn formula Ff, and relations to the whole. The formula circle represents inner creative processes with content formulas that form a circular movement. The inner impulse x, or creative formula paradigm, was found from the frequency level of around 83 Hz (E) with a looping phenomenon, and was also hypothesized as a genetic formula at the micro-structural level.
The Gestalt quality, or third dimension of the music, was found in individual consciousness wíth a meaningful moment between two musical forms. As a result of collective consciousness, the Gestalt quality was revealed by "inside" and "outside" experiments of the compositions, which we may say refer to the human being, Gestalt (or God).
From the present study we can conclude that all musical components of the analysis express the philosophical-aesthetic Gestalt phenomenon of musical dualism: high and low voices, upwards and downwards, mental and physical, mind and body, sprit and earth, as well as God and the mundane.
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