Modules in a piece can derive from each other, making new sounds through manipulation of speed and rhythm. Beginning modules lend structure to a piece as recurring themes for further elaboration in proceeding modules. The pacing of the development of modular ideas often scales with the length of the piece. A key example of evolving a musical theme is the Goldberg Variations. It features 32 pieces, mirroring 32 measures. Each piece elaborates the initial module differently. It is interesting to learn that commonalities in musical ideas exist beyond rhythm and pitch. Technique and relation to previously-introduced ideas can bridge modules together. The Goldberg Variationsexhibit changes in speed, rhythmic complexity, and rate of modular development. Stravinsky’s quartet pieces show an extreme form of rhythmic variation.
Narmour’s Three Hypotheses encapsulate the modular approach to music. Similar patterns yield more variations on those patterns. Different patterns signal more unique elements. The Five Melodic Archetypes further capture the ideas of modules by discretizing paths in musical elaboration. Syntactic reversal does not seem very convincing to me. I believe that, rather than a feeling of completeness, the pattern is just appealing to the popular ear. The application of non-musical contexts to analysis give more room for interpretation of the evolution of a piece. This, paired with the listener’s predictions of a tonal path, helps create a mental picture of the music. The application of psychology to musical synthesis expands the methodology of creating music. There are more than patterns to arrange; there are reactions and feelings to evoke. The use of symbols and script to notate the various mechanisms in this style of musical synthesis is necessary because of the many nuances and techniques.
Questions: Is there a psychological limit to the number of modules in a piece before a person would find it unappealing?
What methods would be used for testing the existence of the connection between musical synthesis and psychology?
Do the principles introduced by Narmour apply to harmony writing as well?
Music 26 Blog: Ryan Hyun 