Structure (music)

Structure of musical work

In the extrinsic approach, functional, Music, like whole Art, a work can be perceived and fully appreciated by an individual only if it establishes correspondences emotional, reactive, interpretative, cognitive, with its history (personal and collective) and with its culture. There is not thus music that if there is an implicit dialog between Compositeur, interprets and Auditeur.

Creation, interpretation or musical Improvisation, thus produce a particular reception of work, where the fitting of the formal elements plays a paramount role, precisely analyzed by the musical Acoustics and the Psychoacoustique. This fitting constitutes the musical structure of work.

The memory plays a very important part in the hearing of a musical work, and for this reason the type-setters create recalls sets of themes, on the level of a sentence or quite simply on the level of a musical cell, each element of the structure which can have a more or less large importance. Thus, reassured by a training of the development of these mnemic recalls, the listener will fully appreciate the form of work as a globality which is structured in the time, and which constitutes an entity in itself.

Structuring a priori

The theory of the forms or GestaltTheorie , is most recent of the cognitive theories explaining the relationship between Perception and Cognition. In the compositionnelles theories, one finds the application of this theory to the theoretical structures of the musical works. The elaborate musical theory with the wire of the centuries is a practical application laws of acoustic perception explained by the Psychoacoustique.

It will be noted for example that the processes of rates structuring the musical, and often qualified sentences “Ponctuation”, bring some elements to the bringings together between the comprehension of the musical structures and those of the language. These bringings together were operated by a form of musical analysis near to the Linguistique, which gave rise to the Sémiologie of the music.

In this vision, the musical structures obey, a priori , with compositionnelles and perceptive laws, which constitute constraints for the type-setter and which one can find with the analysis.

Structuring a posteriori

theory with the going beyond of the theory, musical creation is a play da to and from between what exists (a structuring obeying with certain theories) and the new one (the creation of a structure having its own rules).

Paradigms and theories

to check new laws and new systems (in physics as in art), the experimentation always starts with the recognition of the preexistent reports/ratios (of the Paradigme S) to deviate some insidiously and truly " créer" from nothing ( ex nihilo ), a structure obeying laws which had never been stated before.

One could, in this vein, to explain that while wishing to give an equal value to all the elements of the chromatic scale, the school of Vienna has " inventé" the Dodecaphony. This example is worth of course only in one historical context much broader, the Sérialisme being the fruit of a long evolution of the musical composition, and the result of research much more complex on the structuring of the musical work.

Personal theories

It would be wiser to explain than, in making of his material compositionnel, each type-setter creates a particular theory melting the screen of work, and, than thus, each musical structure obeys a musical law created in fact by the type-setter for each work, but obeying musical theories, psychoacoustics, etc, proven since good a long time.

The structure of musical work is, in this vision, an approach much more personal, as well in its creation as in its reception. One can then speak about structures a posteriori justifying fully the term of musical Composition.

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