SPECTRAL MUSIC:

ANALYSIS OF RASTLOSE LIEBE BY HUGUES DUFOURT

A Written Creative Work submitted to the faculty of San Francisco State University

In partial fulfillment of / ” jg the requirements for

H U SIC the Degree

. m

Master of Music

In

Music Composition

by

Ann Tung

San Francisco, California

May 2018

CERTIFICATION OF APPROVAL

I certify that I have read Spectral Music: Analysis of Rastlose Liebe by Hugues Dufourt

by Ann Tung, and that in my opinion this work meets the criteria for approving a thesis

submitted in partial fulfillment of the requirement for the degree Master of Music in

Composition at San Francisco State University

Professor

SPECTRAL MUSIC:

ANALYSIS OF RASTLOSE LIEBE BY HUGUES DUFOURT

Ann Tung San Francisco, California

2018

In traditional tonal music, tonality is established to create sense of hierarchy as musical

structure. In twelve-tone music movement led by Schoenberg, the equally important

twelve tones have destroyed the sense of hierarchy and direction in musical structure.

Then in the next wave of spectral music with pioneers such as Hugues Dufourt, the sense

of direction and structure is recreated with new ways of harmony and formality without

traditional tonality. In this thesis of oral presentation, the theory of spectral music is

examined with a chosen piece, Rastlose Liebe by Hugues Dufourt, to understand the

emergence of spectral music and the origin where it came from, as a way to understand

and to analyze spectral music and furthermore to create a piece in this genre.

I certify that the Abstract is a correct representation of the content of this written creative work.

Date

PREFACE AND/OR ACKNOWLEDGEMENTS

It was a journey in learning while studying in San Francisco State University, starting

with taking undergraduate courses taught by professor Benjamin Sabey who also started

teaching in the school at the same time, and then was admitted under professor Richard

Festinger, to joining different combos led by professor Andrew Speight to develop my

performance capability, to now pushing through graduation requirements by professor

Cyrus Ginwala. I originally didn’t expect this journey would end, until I started to realize

it is time to move on for the next chapter of upcoming professional possibilities. I

appreciate those opportunities while in school, and hopefully more future opportunities

within the connection through the school of San Francisco State University Music

Majors. Cheers.

v

TABLE OF CONTENTS

List of A ppendices............................................................................................................................. vii

Introduction............................................................................................................................................. 1

Harmonic Overtone Series...................................................................................................................1

Instrumental spectra..............................................................................................................................2

Non-harmonic spectra and artificial spectra ...................................................................................2

Spectra characteristics and analysis in Spectral M u s ic ............................................. 3

Rhythmic concepts................................................................................................................................ 3

Formal co n cep t......................................................................................................................................4

Analysis o f Rastlose Liebe by Hugues D u fo u rt..............................................................................5

1. Section A (mm. 1-26) ................................................................................................... 5

2. Section B (mm.27-41)................................................................................................... 6

3. Section C (mm .42-83)................................................................................................... 6

4. Section D (mm.84-126)................................................................................................7

5. Section E (mm. 127-217).............................................................................................. 7

6. Coda (m m .219-241)......................................................................................................... 7

D iscussion............................................................................................................................................... 8

R eference................................................................................................................................................ 9

Appendices..............................................................................................................................................9

LIST OF APPENDICES

Appendix Page

1. Extraction o f Rastlose Liebe by Hugues Dufourt page 1.......................................... 9

2. Extraction o f Rastlose Liebe by Hugues Dufourt page 2 ...... 10

3. Extraction o f Rastlose Liebe by Hugues Dufourt page 3...........................................11

4. Extraction o f Rastlose Liebe by Hugues Dufourt page 4 .......................................... 12

5. Extraction o f Rastlose Liebe by Hugues Dufourt page 5...........................................13

6. Extraction o f Rastlose Liebe by Hugues Dufourt page 6 ...........................................14

vii

1

Introduction

In traditional tonal music, tonality is established to create sense o f hierarchy as musical structure. In twelve-tone music movement led by Schoenberg, the equally important twelve tones have destroyed the sense o f hierarchy and direction in musical structure. Then in the next wave o f spectral music with pioneers such as Hugues Dufourt, the sense of direction and structure is recreated with new ways o f harmony and formality without traditional tonality.

Some aesthetics adapted in Spectral music includes:

1. Voice leading: Notes are created with local level o f direction and phrasing.2. Emphasize: Notes are repeated to become the tonal center o f tonality.3. Pitch aggregates: Harmonic and timbral music structures are created based on

frequencial structures.4. Additive synthesis: Congregate o f simple and limited since waves to approach the

natural sounds or to produce the mathematical models o f sounds.5. Orchestral synthesis: Instrumental synthesis o f complex sounds from elementary

ones to create timbre which mixes the electronic sound with acoustic one.

Techniques to develop timbre harmony o f spectral music, such as harmonic overtone series, instrumental spectra, non-harmonic spectra, and artificial spectra are described in the following sections. It then is followed by characteristics perceived in spectra music pieces such as harmony development, rhythm and formal concepts as well as processes. Then the piece Rastlose Liebe by Hugues Dufourt is analyzed based on these observations.

Harmonic overtone series

Spectral music derives its sound from harmonic overtone series, with or without distortion o f its natural frequency. In harmonic overtone series, fundamental can be herd as a pitch, and the series is derived through Frequency = Rank * Fundamental, and the relative amplitudes o f various partials determine the color o f timbre o f the sound.

2

Instrumental spectra

Due to physical system o f sound production, sounds are never completely harmonic and will have the following characteristics:

1. Noises produced through blowing o f wind instruments or scraping in string instruments

2. The vibrating system would slightly stretch or compress the harmonic part o f the spectrum. For example, piano tends to have larger octaves in the upper register.

3. Various partials would have different relative amplitudes o f emphasis. For example, flute has weak fundamental tone in the lower register which is difficult to hear; Clarinet has a spectrum which emphasizes odd numbered partials; brass has the loudest dissonant upper partials o f the spectrum for “brassy” sound. In general, an instrument tends to have fewer partials in higher portions o f range than lower portions, such that those penetrating and concentrated shrill sound is difficult to be modified.

The term “formants” referred to the emphasis o f certain range o f spectrum in instruments. In western music education, an interval can be distinguished more than each individual pitch. Timbre, as well, can be picked up by human ear more than the pitch it produced. In human voice, vowels have certain formants, so that when singing above certain pitch range, those vowels would lose its formant and can’t be distinguished. For example the vowel ‘e ’ has formant o f frequencies at 350, 2000, 2800, 3600, and 4950; the vowel ‘a ’ has formant o f frequencies at 800, 1150, 2900, 3900, and 4950, etc.

Other characteristics o f instrumental spectra include Spectral envelopes encompassing the changes in overall amplitude and the relative changes o f partials, as well as Attack transients representing the coloring of spectrum only in the first part o f the sound event.

Non-harmonic spectra and artificial spectra

Examples of non-harmonic spectra include colored noises, multiphonics, and spectral manipulation such as spectral stretching or compression. M ultiphonics such as bell sound can be synthesized by multiple superimposed spectra.

Artificial spectra is performed through the following methods:

1. Distortions o f harmonic spectra: Frequency = Rank * F u n d am en ta ls

3

2. Frequency shifted spectra: Frequency = rank * Fundamental + shifted amount3. Modulation: Amplitude modulation, Frequency modulation, and Ring modulation

multiplying two signals. In frequency modulation, frequency = carrier +/- (index*modulator).

4. Virtual fundamentals suggested by its overtones.

Spectra characteristics and analysis in Spectral Music

The purpose o f the spectral music movement is to blur the definition between harmony and timbre, since the notes aggregates based on timbre spectra is adapted in the music to control the harmonic movement and timbral evolution. Harmony as well as timbres are developed from the acoustically-based models provided by spectra development as a reservoir o f modes, from which lines and harmonies can be constructed with an overall coherence in surface manifestations and musical evolution. Note aggregates could be moving towards higher partials of the same spectrum as music evolves, with other parameters such as meter or temple augmented to create ambient tension, which can be observed in Rastlose Liebe by Hugues Dufourt to be discussed later. Within the slower harmonic rhythm with this harmony and timbre approach, the surface activitycould lend itself to more harmonic passages.

Spectral analysis has derived into pitch aggregates in spectral music, using technologies such as discrete fourier transform (DFT), fast fourier transform (FFT), and dynamic fast fourier transforms where either more detail is picked up in a smaller range while the whiole picture can be closely resembled in a bigger range. Other techniques include sonogram and data reduction using psychoacoustic algorithms and partial tracking so that musical lines are generated with dynamic fast fourier transforms.

Rhythmic concepts

Rhythm can be presented through absolute duration in time versus symbolic rhythm in barline, and it can be quantified through the Kant tool. In accelerations or decelerations in rhythm in spectral music, it could be described with exponential or proportional notation mixed with traditional notation. There are models from electro-acoustic sources such as tape music, and models from sonic analysis from nature such as crashing waves, recited texts, and instrumental gestures. Spectral music could use rhythmic distortions base on

4

perceptual clarity and predictability. For example, rhythmic stretching or compression, small percentage o f random rhythmic fluctuation to make surface less predictable, or combinatorial permutation in which linearity o f a rhythmic model is disturbed in comparison to the directional sequence.

Formal concept

In spectral music, the process can be multi-parametric which affects all the musical parameters together at a perceptible level rather than just one or two phrasing changes in minimalist’s process. Those processes are continuously transformed from one state to another as perceived musical movement and evolution, and it could be from the state of order and stability such as harmony to the state o f disorder and instability such as noise.In M urail’s Gondwana, the process involves transformation from orchestrally synthesized bell sound into brass sound. In Rastlose Liebe by Hugues Dufourt to be analyzed later, it reversely transformed a randomly selected object theme into an orderly spectral gesture before the random object comes back for a recap.

In spectral music, the process evolves in the form o f interpolation in pitches and rhythm, with two end-points of lines or curves which are sampled at various points to generate the intermediate states in continuous domain o f frequency and time. With such combination of sampling, novelty can occur in the interpolated states as a new perspective o f the object in transformation.

The processes o f those processes hence provide the limiting directionality with the following characteristics:

1. Sense o f direction and inevitability2. Anamorphosis: A single object is presented from different perspectives3. Incomplete presentation: A method to provide variety in skipping steps within a

process. In Rastlose Liebe by Hugues Dufourt analysis, a piece o f melody is left out from the process until the end.

4. Building process: Those complex intermediated states in the multi-layer process produces novel musical textures and situations.

5

Analysis o f Rastlose Liebe by Hugues Dufourt

Dufourt is associated with spectral music as a one o f the pioneer and his composition is inspired by paintings o f various artist. Rastlose liebe is inspired by Schubert lied o f the same name (amour sans treve) composed in 1815 and the piece is composed for the pianist Francois Frederic Guy.

The piece can be described in two objects o f endpoints and the internal transitory point o f anamorphosis between the two. The first object is the first section o f the piece with restless and random characteristics which invites the imagination o f the connection o f the 18th century Lied by Schubert. The second object is the up-down arch line characteristic of 20th century spectral music typical o f defining a harmonic timbre which is embedded with the downbeat bass and the syncopated melody. Dufourt makes a connection between the centuries through his work o f art.

1. Section A (mm. 1 -26)

After a five-measure intro of restless character, Section A1 introduces a melodic line centering in F#, which can be traced in the following sections with different formation

F# M # D(F)-Bb C-Eb (high point) G-C# G# Eb Bb-B F (low point)

(Eb.................-F)

(C.............................................................Bb)

The line reaches its high point at Eb, and low point at F, to be found when it emerges into arch line formation. And each segment is transformed into different formation when it gradually emerges into arch lines:

F-F# : section B1 (mm.27-35)

D-Bb : section C l (mm.42-46)

6

C-Eb : section C2, C3, and C5 (mm.47-83) with C#-E: section C4 (mm.64-73)

G-C# : section DO (mm.84-87)

Eb-F : section D1 (mm.88-100)

C-Bb : section D2, D3, and D4 (mm. 101-126)

Bb-B : section B2 (mm.36-41)

G#-Eb : codal(m m .225-241)

The section A1 melody (mm.6-14) is followed by its second F# melody in whole-steps at section A2 (mm. 15-26), and ends in high F# accompanied by the left-hand trios. Throughout the A section is triplet running restlessly.

2. Section B (mm.27-41)

In section B is more development o f segments for F-F# (section B l) and Bb-B (section B2), with triplets with left-hand run-ups into chords with a F-F#-A-F-Bb (similar to the melodic line in A?) and finally all chords after mm.36.

3. Section C (mm.42-83)

It becomes duple rhythm in 3, with D-Bb (section C l, mm.42-46) and C-Eb (section C2, mm.47-56) run-ups to reach the high Eb. The bass has Bb-B endpoints during the course o f run ups (section C1-C2, mm.42-56), then it accompanies the runs-down in section C3 (mm.57-63) with trios to reach the low F. Starting section C4 (mm.64-73), the melody shifted half step to C#-E. A chromatic scale run-up follows in the left hand, which then accompanies two right-hand runs o f up-down with tremolo. In section C5 (mm.74-83) with the company o f the left-hand trios, the melody runs the entire course o f up-and- down starting with the shifited-back melody C-Eb to reach the high Eb and then back down to the low F. The left hand in section C4-C5 tends to start with key o f Eb, the key o f the right hand at the end o f section C1-C3.

7

4. Section D (mm.84-126)

Section D depicts the up-and-downs with a different perspective, with contrary motion as expansion and convergence, and the stretch o f time as it slows down into counterpoint detail. Section DO (mm.84-87) starts with a fast expand and converge in contrary motion centering in C# with left hand’s tremolo in C then a G-C# chromatic scale. Section D1 (mm.88-100) is a Eb-F cross-note converge from high Eb to low F with left hand’s tremolo and then chord. Section D2-D4 (mm. 101-126) are three C-Bb low-high cross­note expansion, with each even slower in perceived expansion o f time. The first two expansion D2-D3 (mm. 101-115) (low-high) has accompany low F#s, and the third expansion is developed into a well-formed counterpoint with clear top notes, inner voicing, and bass chord accompaniment presented in a moderate tempo and the C-Bb endpoints in the left hand.

5. Section E (mm. 127-217)

Section E presents the arch objects symbolic o f modern spectral perspectives. Section E0 (mm. 127-13 8) is linear line o f arch figure as a unit to connect neighboring bass lines around F# (whole tone at later half) and the syncopated melody sixth above with singable gesture. Section E1-E4 (mm. 139-208) are arch lines with bass chords presented in a hi- low echoing gesture with modernistic sonic effect. Section E1-E3 (mm. 139-190) is progressively getting louder and more chords added in dramatic effect, with 6/8 in section E2 (m m .155-170) for more flow and slower tempo in section E3 (m m .171-190) for exaggeration. Both section E l and E2 started with dominant C# and section E3 with E then to F# when it starts to become softer. This move o f C#-E can possibly be referred to section C 4’s shift o f key. Section E4 is softer, faster, simpler, and more evenly, centering in F#, with the bass chord summarized in C#-E then to F# in section E5 (mm.209-217) with repeated symmetrical and then asymmetrical arches.

6. Coda (m m .219-241)

8

The Coda (m m .219-224) is identical to the first 5 measures o f the A section. After a pause, Codal (mm.225-241) keeps the restless figure in the left hand running as background with prominent block chords on the right hand depicting an arch-like melody which ends with G#-Eb fragment from section A 1. The left hand runs into F# as the end which pauses for reminiscence.

Discussion

The task o f analyzing Rastlose Liebe by Hugues Dufourt is a challenge due to lack o f documentation and the randomness o f the theme without any connection to the past music. The piece starts with restless passage which is not analyzable with traditional methods. Color codes are applied trying to discern different whole tone scales, which is in vain, and the emphasized notes are extracted to compare with Schubert’s music, which turns out to be with no trace o f connection. The extraction shown in appendices turns out to be handy in finding the relations of each section as discussed earlier. The piece can be perceived as an object in three dimensions. The melody sets in its F# tonal center as a random theme. The melody is later developed in pieces in the following sections when it gradually aligns into spectra gesture o f arch with dilated temporal duration for more surface details. An altered piece o f melody in section C is then served as the harmonic progression in the spectra arch section E, the opposite perspective, to modulate away and return back to the F# tonal center. It is similar to looking at a sculpture in a gallery by walking around it. First you see the chaotic aspect in random with restless notes, and later it gradually sorts into the orderly spectral arch lines in the tonal center F#. After the arch lines modulates to C# and then E, the altered piece o f melody in section C, it returns back to tonal center F#. And then the initial chaotic aspect o f restless notes returns, similar to an observer walks in circle back to where it starts. A missing piece o f melody is perceived at the end when the object is re-examined with the arch perspective. The spectral method o f the piece presented itself as a piece o f art when the notes are randomly dissonant in traditional point o f view. By extracting the emphasized notes, similar to adapting fourier transform waveforms with bigger range of picture, the piece can be analyzed to be an art object as a whole.

9

Reference

Guide to the Basic Concepts and Techniques of Spectral Music, Joshua Fineberg, Contemporary Music Review, 2000, vol. 19, Part 2, p .81-113

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