{"id":725,"date":"2009-07-07T18:16:17","date_gmt":"2009-07-07T17:16:17","guid":{"rendered":"http:\/\/www.paulj.myzen.co.uk\/blog\/spheres\/?page_id=725"},"modified":"2016-12-01T09:50:28","modified_gmt":"2016-12-01T09:50:28","slug":"5-patterns-form-process","status":"publish","type":"page","link":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/lectures\/5-patterns-form-process\/","title":{"rendered":"5: Patterns \/ Form \/ Process"},"content":{"rendered":"\n\n\n\n\n\n\n\n\n\n\n\n\n
In this topic we will consider applications of musical ‘patterning’ – palindromes, rotation, reflection and inversion – as structural determinants, with particular reference to Webern’s Symphonie<\/em>, op. 21. The use of the Fibonacci Sequence and the Golden Section as structural ‘generators’ will be examined through a consideration of Claude Debussy’s La fille aux cheveux de lin<\/em>.<\/td>\n<\/tr>\n
We will next consider the notion of form as process, and of ‘forming’ in music. Several examples will be examined, which have in common the principle of the organic generation of form from fundamental components. Stockhausen’s <\/a>
Every present moment counts as well as no moment at all; a given moment is not merely regarded as the consequence of the previous one and the prelude to the coming one, but as \u2028 something individual, independent and centered in itself, capable of existing on its own. An instant does not need to be just a particle of measured duration. This concentration on the present moment – on every present moment \u2013 can make a vertical cut, as it were, across horizontal time perception, extending out to a timelessness I call eternity. This is not an eternity that begins at the end of time, but an eternity that is present in every moment. I am speaking about musical forms in which apparently no less is being undertaken than the explosion \u2013 yes \u2013 even more, the overcoming of the concept of duration. (Stockhausen, 1962)<\/div>, Var\u00e8se’s crystal analogies, Steve Reich’s process music, and computer-based algorithmic composition will be investigated alongside more traditional methods of forming in music.<\/td>\n<\/tr>\n
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Audio & Visual<\/h3>\n
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Articles<\/h3>\n
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Symmetry<\/span><\/p>\n

Symmetry in Webern’s Music<\/span><\/p>\n
The Golden Section and the Fibonacci Series
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Crystal Form
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Moment Form
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Process and Algorithmic Composition
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