TIMBRE, TEXTURE AND SPIRITUAL SYMBOLISM

IN GUBAIDULINA'S TWO WORKS

DE PROFUNDIS AND ET EXSPECTO
Aural Sonology as a tool to explore sonic and structural aspects of interpretation
in contemporary accordion music

Andreas Nikolai Angell

Master thesis in applied music theory

May 15, 2017
 Abstract
This thesis concerns multiple aural analyses of the pieces for accordion by Sofia Gubaidulina; De
Profundis and Et Exspecto. Through aural sonology, this research focuses on the exploration of
emerging gestalts through performance and interpretation. Unlike a traditional analysis of the music
manifested in the score, this approach concerns sonic and structural elements that are heard through
the recorded performance.

Gubaidulina is considered as one of the leading avant-garde personalities that entered the creative
scene in the early 1960s, during the isolation of the «Iron Curtain» in the Soviet Union.
As a professed orthodox Christian, Gubaidulina is recognized for using religious symbolism in her
music.

The goal of this thesis is to ascertain which timbral musical objects are heard, illuminate the
structural forms of the music and make an interpretation of the symbolic meaning in the chosen
works.

If the reader is interested in seeing the aural analyses, they can use the following link:

http://bit.ly/2prw7y4

2
 Acknowledgements

I would like to thank my supervisor Lasse Thoresen, who always helped me whenever I ran into a
trouble spot or had a question about my research. He consistently allowed this paper to be my own
work, but steered me in the right direction whenever he thought I needed it.

Thank you, Live, for invaluable support during this project in all possible manners, both intrinsic
and extrinsic to the thesis.

3
Preface
I first heard Sofia Gubaidulina in a high school performance by an older student at the conservatory
in Oslo and I have been fascinated with it ever since. This was the original reason that I chose her
music for my research.

The experience of listening to Gubaidulina’s music made a strong impression on me due the
radical sounds which were so different from more traditional repertoire that I was used to hearing
for my instrument, the accordion. The timbre was almost unrecognizable to my ear at that time.
The spiritual quality of Gubaidulina´s music has a major appeal for me and her music often results
in achieving a state of transcendental serenity, after long, complex struggles. Her works reveal a
passionate, emotional dimension filled with layers of messages and mystic symbolism that are
hidden within the music.

4
Contents
1 Introduction
1.1 Explorations and intensions……………………………………………………………1
1.2 Two works for accordion……………………………………………………..…..…… 2
1.3 Introducing Gubaidulina…………………………..……………………………….…. 2
1.4 Research questions……………………………………………………………………. 3

2 The spiritual world of Sofia Gubaidulina

2.1 Observation of available biographical sources………………..………………….……5

2.2 Early years…………………………..………………………………………………… 5

2.3 Later years…………………………..………………………………………………… 8
2.4 Meeting Friedrich Lips…………………………..……………………………..….….. 9
2.5 Symbolism………………………..…………………..………..………..………….….10
2.6 Dichotomy……………………………………………………………………………. 12
2.7 Transfiguration……………………………………………………………………….. 13

3 Method part I
3.1 Clarifications………………………………………………………………………….. 14

3.2 Aural Sonology……………………………………………………………………….. 14

3.3 Terminology………………………………………………………………………….. 17
3.3.1 Spectromorphology - level one…………………………………………………….. 17
3.2.2 Endosemantic analysis of harmonicity (harmonic colors) - level two…………….. 19
3.2.3 Time fields - level three………………………………………………………….…. 23
3.2.4 Dynamic form - level three………………………………………………………… 26

4 De Profundis
4.1 Geir Draugsvoll………………………………………………………………………. 31

4.2 Aural analysis of De Profundis……………………………………………………….. 31

4.3 Form structures - The fundamental synopsis of the piece……………………………. 45
4.4 Introduction to exosemiotics as-heard…………………………………………………50
4.5 Sound-objects, harmonicities and dynamic forms……………………………………. 51
4.6 Exosemantic indications …………………………………………………………….. 52
4.7 Psalm 130 ………………………………………………………………………….… 52
4.8 Exosemiotic analysis of De Profundis…………………………………………………54
5
 4.9 Conclusion regarding the semiotic interpretation…………………………………..… 62
4.10 De Profundis (Geir Draugsvoll): Signified indications and fields……………..……. 63

5 Method part II
5.1 Terminology.....................................................................................................................64
5.2 Melodic fragments - level two........................................................................................64
5.3 Flux - level two............................................................................................................... 66
5.4 Enfold versus unfold - level two……………………………………………………… 67
5.5 Concord versus discord - level two…………………………………………………… 68
5.6 Form-building processes and form-building transformations - level three…………… 69
5.6.1 Form-building processes…………………………………………………………… 69
5.6.2 Typology of form-building elements.......................................................................... 70
5.6.3 Defining textures......................................................................................................... 72

6 Et Exspecto
6.1 Iñaki Alberdi…………………………………………………………..…..………… 74
6.2 The title……………………………………………………………………………… 75
6.3. Aural Analyses: 1sth movement - opening………………………………………… 76
6.4. Aural Analyses: 1st movement - ending………………………………………..…. 80
6.5. Aural analyses: 2nd movement - opening…………………………………………. 84
6.6. Aural analyses: 3rd movement - opening…………………………………………. 89
6.7. Aural analyses: 4th movement - opening………………………………………….. 94
6.8. Aural analyses: 4th movement - ending………………………………………….… 98
6.9. Aural analyses: 5th movement - Whole……………………………………………. 101

7 Critical Reflections
7.1 Introduction………………………………………………………………………..… 114

7.2 Summary of my research…………………………………………………………….. 114

7.3 Expanding sonology…………………………………………………………………. 116
7.4 Intension of this artistic research………………………………………..…………… 117
7.5 A look in to other publications ……………………………………………………… 117
7.6 Last words…………………………………………………………………………… 121

6
1 Introduction
1.1 Explorations and intensions

In this publication I wish to present multiple aural analyses of the pieces for accordion by
Sofia Gubaidulina; De Profundis and Et Exspecto. Moreover, I will present a brief biographical
perspective of the composer, by limiting the study to her early life to the point where she wrote the
selected works, as well as approaching her spiritual world and beliefs, and conclude with a critical
reflection of my research.

My goal of this thesis is to ascertain which timbral musical objects are heard, illuminate the
structural forms of the music and make an interpretation of the symbolic meaning in the chosen
works.

I will use the method of aural sonology by Lasse Thoresen, which centers on the intentions
of reductive and taxonomic listening, meaning the consideration of the sound itself, and the sound
patterns, i.e., the integration into greater entities. The knowledge attained by these listening
intentions of the chosen performances, will occur in the details of the aural analyses and will
provide knowledge concerning aural gestalt principles.
This research focuses on the exploration of emerging gestalts through performances and
interpretations of the selected works by Gubaidulina. Unlike a traditional analysis of the music
manifested in the score, this approach concerns sonic and structural elements that are heard through
the recorded performance. The center of analysis is the interpretation by the performer, who creates
and structures the music as it is perceived.
The aural analysis of De Profundis will be executed through the performance of Geir
Draugsvoll, and will consist of a comprehensive analysis of the interpretation and the music as a
whole. The analysis will involve a consideration of endosemantic indications and relations of
sound-objects, sound-patterns and form-building gestalts. These indications will further be the
subject for an exosemantic interpretation of meaning and spiritual symbolism.
The aural analyses of Et Exspecto will be executed through the use of different
performances, as I wish to compare interpretations with each other. Instead of a comprehensive
analysis of the work, I will focus on selected parts of each movement and analyze two different
interpretations of the same material. I will present analyses of four different interpretations,
performed by Friedrich Lips, Geir Draugsvoll, Iñaki Alberdi and myself. This departure establishes

1
an intriguing exploration on how different sonic and structural dimensions emerges through
different performances, and how it may establish different symbolic meanings.

1.2 Two works for accordion

The selected works, De Profundis (1978) and Sonate: Et Exspecto(1985) stand as important
pieces in the accordion literature. Since the first performance of the pieces in Moscow in 1980 and
1987 by Friedrich Lips, the pieces are regularly performed and recorded around the world,
producing new interpretations from both professionals and conservatory-students.1
De Profundis, is a one-movement work, where the title ('out of the depths') is a reference to
Psalm 130, which starts with the first line 'Out of the depths I cry to you, Lord' ('De profundis
clamavi ad te, Domine').
Sonate: Et exspecto (often referred to as Et Exspecto), is a five-movement work, where the
title ('I expect') refers to the second last line of the Nicene Creed which is translated as 'I look for
the resurrection of the dead' ('Et exspecto resurrectionem mortuorum').
Gubaidulina's alteration of the traditional sounds from the accordion, frequently known
through Russian-folk music, went to the point that it became unrecognizable as an instrument. The
timbral explorations in the selected works became an important innovation for the accordion as a
modern instrument, as well as a great inspiration for contemporary music to come.

1.3 Introducing Gubaidulina

Sofia Gubaidulina has become one of the most acknowledged composers of our time, after
earning recognition in the West since the early 1980s. She is considered, along with Alfred
Schnittke and Edison Denisov, as one of the leading avant-garde personalities that entered the
creative scene in early 1960s, during the isolation of the «Iron Curtain» in the Soviet Union. The
ideals of this generation were characterized by the quest for truth, rebellion, independent creative
curiosity and the urge to break out to the other side of the world.
In the case of Gubaidulina, she was a carrier of many featured taboos; not only as a woman
amongst mostly male composers, but also as a practicing believer of Christianity in an atheistic
Soviet Union. Furthermore, she had to fight oppression and exclusion, being a person of mixed
Tatar-Russian background in a broadly xenophobic culture and as member of maverick, partisan

1Premiere dates collected from:

Kevin Friedrich, «Interview of Friedrich Lips», (Accordions Worldwide, 1999)
http://www.accordions.com/interviews/lips/lips2.shtml.
2
artistic groups in society of cultural suppression.2 Being treated as an «outsider» was perhaps
benefiting, as it is likely one of the reasons that led to her creating her own personal, distinctive
style.
As a professed orthodox Christian, Gubaidulina is recognized for using religious symbolism
in her music. Titles like In Croce, Sieben Worte, Hell und Dunkel, along with the selected works
represented in this thesis, De Profundis and Et Exspecto, are examples of descriptions referring to
religious themes such as light and darkness, the cross, the apocalypse and the last judgment.
Additionally, the qualities that have earned her artistic recognition are her unusual
explorations of sounds, exquisite orchestration and instrumentation, subtle use of textural-colors,
balance in structures and form, and the connection of these together with a presence of mysticism
through dramaturgical contents in the music.3

1.4 Research questions

The process of exploring timbre, texture and spiritual symbolism in this context, is outlined by
several important research questions which I wish to ask.
- What define the sonic and structural elements of the selected works?
Thoresen provides a broad selection of different methods in analyzing music as heard, and I
wish to acquire many of these, as it seems that sonic and structural elements naturally emerge
through these considerations. I do not intend to deconstruct the musical structure through the
description of a method that doesn't seem to emerge itself through the music. I argue, that all
applied methods of analyses in my thesis, are suitable to articulate a certain knowledge that already
exists in the sounding music. The applied methods used in my analyses are spectromorphology
(analysis of sound-objects), flux, enfold/unfold, discord/concord (analysis of sound-patterns) and
time-fields, dynamic form, form-building processes and form-building elements (analysis of form-
building gestalts).4 I further intend to present two original concepts of analyzing sound-patterns,
which are the consideration of harmonic color and melodic fragmentation.
- What knowledge differentiates a musical performance from the written score?

2 Ivana Medić, «Gubaidulina, misunderstood», (The Open University United Kingdom, 2012), 101.

3Young-Mi Lee, Musical contents and symbolic interpretation in Sofia Gubaidulina's «Two Paths: a
dedication to Mary and Martha, (School of The Ohio State University, 2007), 1.

4Lasse Thoresen, Emergent Musical Forms: Aural Explorations. Studies in Music of the (University of
Western Ontario, 2015).
3
 My understanding is that most musicologists, historians and classical performers would
argue that the written score is possibly the most important source of knowledge, concerning
compositional apprehension and aesthetics. While I don't necessarily disagree, I still argue that a
significant amount of knowledge concerning the interpretive qualities of the music are lacking when
the score is exclusively studied. My aim is to clarify some of these qualities that solely exists in the
sounding music.
- How can sonic and structural elements be used to interpret musical semiotics?
Symbolic elements are certainly appointed to these pieces as both titles refers to a specific
spiritual context. I will appoint exosemantic interpretations of musical elements that appear as a
dichotomy, meaning a division of two mutually exclusive, opposed or contradictory groups. The use
of dichotomies in sound-elements is a central part of Gubaidulina's music and symbolic indications.
This could be a cluster, which could be associated with 'fear', opposed to a major-chord, which
could be associated with 'hope'. I will also interpret the symbolic indications of transfiguration.
These are sound-objects, patterns and structural elements that transforms to a different state, such as
the glissandi, which could be associated with 'transcendence'.
- What do you learn as a performer?
The study of musical interpretation as an articulated subject of analysis, as well as that of
other art forms involving embodied knowledge, is a challenging discourse in academic research.
This question centers on the most essential purpose of my aural analyses; not only as a method for
artistic research, but as a beneficial tool of studying established interpretations. The extensive
interpretive qualities of the selected works have been explored by many performers since its
premiere by Friedrich Lips. The method of aural sonology provides a certain terminology to achieve
a deeper understanding of how the performer is using sonic and structural elements in the music.

4
2 The spiritual world
of Sofia Gubaidulina
2.1 Observation of available biographical sources
The book «Sofia Gubaidulina, eine biografie» was originally released in 2001 by Michael
Kurtz and fortunately, revised and expanded in 2007 as the first English edition, translated by
Christoph K. Lohmann. In this biography Kurtz claims that the work, background and origin of the
music of Gubaidulina have not been extensively studied.5 Next to various interviews and a few
analyses of individual works, there are two books published: The first was an Italian monograph by
Enzo Restagno and Valentina Kholopova, published in 1991 along with a Russian translation five
years later. The second was «Rhythm of form», a comprehensive study by musicologist Valeryia
Tsenova, published in Moscow in 1991 along with a German translation in 2001. My linguistics
skills are limited to Norwegian and English, thus making it somewhat difficult for me to use other
sources in German or Russian.
The following biographical portrait of Gubaidulina will be based on the knowledge attained
by the book of Michael Kurtz, as well as other interviews and scholar publications. In spite of the
strong critique against what Schmelz calls an absence of objective perspective on Gubaidulina in
the book6 , he is evidently praising the value of the book as an effective, coherent introduction to the
life of Sofia for those who does not speak Russian or German, and he claims it creates a good
ground for future study of the composer.7

2.2 Early years

Sofia Gubaidulina, the daughter of a Tatar father and Russian mother, grew up in Kazan, the
largest city of the Republic of Tatarstan. The diversity between these ethnic groups has repeatedly
led to conflicts between the leaders, both under the Tsardom of Russia (1547-1721) and under the

5Michael Kurtz, Sofia Gubaidulina, translated by Christoph K. Lohmann, (Indiana University Press, 2007),
xvi.
6 Peter J. Schmelz, «Review of Sofia Gubaidulina», (Notes, Sep. 2008), 84-87.

In a review of the biography by Peter J. Schmelz in 2008, it specifies a certain critique of the book's lacking
of critical engagement with many of the topics and, perhaps most important, that it does not provide specific
details of the music, mostly parts of descriptions of the pieces; there is only one exception of a musical
example, and that is a page from the electroacoustic piece Vivente - non Vivente(1970, translated as living-not
living).
7 Ibid.
5
leadership of Soviet.8 The dramatic history between Tatars and Russians involves both violence,
misery and suffering on both sides; the Mongol invasion of Rus' (1223–1240, referred to as «Tatar
yoke») and the «Russification» of Ivan the Terrible (1533-1584), being two examples.9
Since the downfall of the Soviet Union, attitudes of nationalism grew over Russia and
resulted in many activities of destructive ostracism and chauvinism. Gubaidulina, as a «half breed»
of Tatar and Russian experienced the excess of nationalism, and situates the importance of
humanness in an interview from 1992: «For me, the important thing is not nationality but humanity
as a whole».10
The father, Asgad Masgudovich Gubaidullin, was a Soviet engineer of geodetics and the
grandfather Magsud Gabdulgalevich Gubaidullin, a Muslim Imam, described by Kurtz as
intelligent, cosmopolitan, practical and very religious. The mother, Fedosia Fyodorovna Elkhova,
was a teacher, and in the summer of 1931 the third daughter, Sofia, was born in Chistopol. The year
after the birth was the dispatch of the antireligious «five-year-plan», with the objective of
demolishing all religious architecture throughout the Soviet Union and dispose the word «God»
from the language, as something saved from the medieval past used for the misery of farmers and
workers.11
The same year, the State protracted its ideological discipline over artists and writers,
demanding the formation of unions and asserted that they expressed compliments to the new Soviet
State. Sofia often felt alone; as she was often left with her dad when the other two older sisters were
included with their mother on errands. Feeling left with a certain distance from her sisters, she was
described as a bit shy, but with a tendency of a passionate and explosive temperament. On any
occasion the family went out, she preferred to stay at home to nourish in her fantasy and
imagination.
As a five year old she discovered music and the accordion, by listening to a young man that
played in the neighboring backyards mostly for the old babushkas and children. Described as a
mildly retarded man lacking a job; nevertheless, he played with talent and enthusiasm and made
Gubaidulina enchanted with the sounds of his instrument. Soon she started to improvise an
unconscious dance, and an old babushka noticed this and talked to her mother to get her to take
piano lessons.12 At these lessons she only learned easy children-pieces within a two-octave range,

8 Kurtz, Sofia Gubaidulina, 1.

9 Ibid, 2.
10 Göran Fant quoted in Kurtz, Sofia Gubaidulina, 70.
11 Kurtz, Sofia Gubaidulina, 8.
12 Ibid, 11.
6
but soon she discovered the unexpected difference of tone, timbre and color. She encountered this
by playing in the lowest and highest registers on the keys, but also from the inside of the
instrument, - planting pieces of paper, cloth and pencils between the strings. Her curiosity as a child
led to the creative exploration of the instrument's rich world of sound, while at the same time, the
twenty-six-year-old John Cage was writing his first piece for prepared piano, Bacchanale.13
The summer before Sofia entered the music school, the family stayed at a village in the hills,
and Sofia observed an icon of Christ. Regardless of the powerful campaign to inhibit religion, some
people stayed truthful to their fate and symbols. It was here Sofia understood the connection of her
secret prayers in their backyard and the icon. After asking her mother what the icon pictured and
revealing her religious beliefs, these forbidden thoughts of faith frightened the parents. In an
interview with Maria Bogatyryova in 1991, Gubaidulina recalled this movement and said: «So I
started hiding my emotional, religious life from the grownups, but it continued to thrive within me.
Music naturally blended with religion, and sound, straightaway, became sacred for me.»14
Her father frequently said that silence is golden, and the trips Sofia had alone with her father
on the countryside were filled by complete silences. Sofia later stated that these excursions created a
deep and mysterious bond between herself and her father. She was not sure that he felt it, but she
said she never experienced anything so profound again later in life.15 Silence is an important part of
Tatar etiquette, were it is seen as a statement of hospitality, when a guest is welcomed to share a
meal, to make sure that the conversation develop slowly. Silence is indeed one important quality in
the music of Gubaidulina, something that possibly erupted from these influences as a child. Sofia
had progressed rapidly in her piano lessons and at the age of ten, she kept her longing to become a
composer to herself, praying to God to guide a way out of the disorientation of being small and
shy.16
In 1946 Sofia graduated from elementary school and entered the Kazan Music Gymnasium
in the summer of 1946. She attended this school for three years as a preparation for entering to the
conservatory. At the conservatory she attended compositional classes, and in 1949 she began to take
piano classes at the Kazan Conservatory. The contemporary program that was played publicly
during the post-war was mostly unproblematic works of Shostakovich and Prokofiev, and the opera-
theatre mostly played works by Verdi, Tchaikovsky and Rimsky-Korsakov. In the early part of her

13 Ibid, 13.
14 Maria Bogatyryova, quoted in Kurtz, Sofia Gubaidulina, 14.
15 Kurtz, Sofia Gubaidulina, 15.
16 Ibid, 16.
7
education at Kazan, Wagner's operas were her favorite, though she only knew them by score and
never heard them.17
The piano-class, led by Muscovite Lukomsky, gave her the advice «Listen to everybody, but
never follow anyone», as if he anticipated her uncompromising nature of art. Furthermore, she
heard a composition by the student Edison Denisov for the first time, without knowing that they
would later both represent the most prominent names in Russian avant-garde music.
In 1954 she started her graduate studies in composition at the Moscow Conservatory, under
Nikolai Peiko and postgraduate with Vissarion Shebalin. Dmitri Shostakovich, the «father» for the
entire generation of composers in Russia, said to Sofia after hearing her play her first symphony on
the piano; "My wish for you is that you should continue on your own, incorrect way".18

2.3 Later Years

For the search of her own way, Sofia rejected the possibility of a pedagogical profession to
become a freelance composer, encouraged by a first prize award in a competition for the piece
Sound of the Forest (for flute and piano) and publications of the works Quintet, Chaconne and
Piano Sonata.19 The year 1965 became a defining moment for Gubaidulina's work. From
1965-1977, a period that defines the early stages of her mature compositional style, chamber music
was of most importance to her writing, with approximately twenty-five works.
Her individual style is reflected in many of these pieces, as she searches for the world of
unusual, rarely used timbres and methods of producing sounds. From 1978-1991, Gubaidulina
started to explore the expressiveness of the vocal line and the subject of spirituality, as well as
rhythmical searches and methods of expressing time through music. A crucial inspiration was the
Golden ratio and Fibonacci series.20 In an interview with Vera Lukomsky in 1998, she stated:
“I became preoccupied with completely different concepts – in particular, with issues of the rhythm

17 Ibid, 23.
18 Ibid, 45.
19 Alfred Cramer, Musicians & composers of the 20th century, Gubaidulina-Sofia, (Salem press, 2009), 547.
20 A Golden section is a division of the whole into two parts such as the ratio of the smaller to the larger is the
same as that of the larger to the whole (the approximate formula of this ratio is 0.618 to 1).
The Fibonacci series is a sequence of numbers, in which each number is the sum of the two
preceding numbers (0, 1, 1, 2, 3, 5, 8, 13, 21, 34 …). The ratio between any two neighbouring numbers is an
approximation of the Golden section.
8
of form....Fibonacci series was crucial in my experiments with musical form in the 1980s...The
Golden Section is a fantastic proportion.... I was greatly inspired”.21
2.4 Meeting Friedrich Lips
Friedrich Lips (born November the 18th 1948), started teaching the classical accordion at
the Gnesin institute for Music Education in 1971, even before he took his exams in 1974. His
efforts has led to foster new literature for the 'bayan-accordion' from significant composers such as
Edison Denisov and Alfred Schnitke, many of which have already achieved historical value. More
importantly to this subject, he was the man who inspired Gubaidulina to create new pieces for the
accordion.22
Friedrich Lips and his friendship with the composer Wladislav Zolotariew, who also played
the bayan, changed the performer's artistic direction. As a student he was inspired to play
transcriptions of what he considered masterworks for the organ, as Friedrich Lips was not satisfied
with the level of original music for the instrument. But, he identified himself with Zolotariew's
music, and the composer continued to write for Lips. Zolotariew stated that every instrument must
have its identity, and he told Lips that he must dream that someone like Gubaidulina write for
accordion. Zolotariew wanted to be a part of the Composers Union group in Russia, and
Gubaidulina heard Lips perform Zolotariew's third Sonata and recommended him, something which
made him part of the organization. This was the beginning of the relationship between Gubaidulina
and Lips. The 13th of May 1975, Zolotariew tragically committed suicide.
Lips had asked Gubaidulina what she thought about the instrument and whether she wanted
to compose a piece for it, where she replied: "I would gladly write a work for the bayan, but I must
familiarize myself with this instrument, that is to say, I do not know it all".23

Their collaboration began soon thereafter, as Lips later recalled:

She came to me at the [Gnesin] Institute, in the classroom, and at home. I naturally
explained to her all the possibilities of the instrument…. However,
I was astonished how pedantically she asked about all the details, how meticulously she
probed every detail which seemed of little importance to us bayan players. She was striving,
one can say, to penetrate under the hide of this monster, (as she subsequently called the

21Vera Lukomsky. “The Eucharist in my fantasy: Interview with Sofia Gubaidulina”, (Tempo 206, Oct.
1998), 34-35.

22"Biography". Music For Accordion. http://www.musicforaccordion.com/boutique/inform/lips/lips.htm

(5/4/17).
23 Gubaidulina quoted in Kurtz, 134.
9
 bayan) and to get to know it from inside.24

Gubaidulina completed her first composition for bayan, De Profundis in 1978. She took the score
and played it for Lips on the piano at the Gnesin Institute. He later recalled:

I was enchanted not only with the music, but also how well she used the reed of the bayan
which showed the acoustic potential of the instrument in a fresh new way. At my request
she introduced for the first time into Russian musical literature the tonal glissando [for the
bayan]. Of course I had to make some editorial corrections, when working on this piece, to
… make the notation more comfortable for bayan players, but this was not work, but a
pleasure.25

Lips has performed this piece since the early 1980s, "hundreds of times in the USSR and other
countries".26 The second solo piece for bayan by Gubaidulina, Et Exspecto, a sonata in five
movements was composed in 1985 and also dedicated to Friedrich Lips. At this time, when she met
him to discuss the various aspects of the composition, she pointed to the instrument and said: "Do
you know why I love this monster so much? Because it breathes".27

2.5 Symbolism
Vera Lukomsky has provided several interviews with Sofia Gubaidulina and these articles
are important due to some statements by Gubaidulina to the importance of religion and spirituality
in her life. In a discussion about symbolism in instrumentation, Gubaidulina stated: "I like very
much the idea of instrumental symbolism, when the instrument itself, its nature and individuality,
hints at or implies a certain meaning. The instrument’s quality and the meaning of music join each
other... I wanted to find the idea of the cross in the instruments themselves".28 Therefore, the
symbolic appearance, particularly for religious intentions, is a crucial aspect to Gubaidulina's
aesthetics.

24 Lips quotes in Kurtz, 134.

25 Ibid.
26 Ibid.
27 Gubaidulina quoted in Kurtz, Ibid.
28
Gubaidulina quoted in Vera Lukomsky. “Sofia Gubaidulina: My Desire is Always to Rebel, To Swim
Against the Stream!" (Perspectives of New Music 36:1,Winter 1998), 20.

10
 Religion was suppressed by the Soviet regime and religious beliefs became an expression of
rebellion against authority. Still, the depth of Gubaidulina's religious beliefs are manifested to her
inner core and the spiritual symbolic intensions are profounder than strictly a desire to rebel against
the state. Religion is the main concern of inspiration in Gubaidulina's creative works and she
explains her understanding of 'religion':29

I understand the word "religion" in its literal sense. That is as "re-ligio" a reestablishment of
"legato", of connection. And I am totally convinced there is no more serious task for the
artist than to recreate this connection because our whole life is fragmented. Daily life takes
place in a kind of staccato. We have no time to create any continuity in our lives. But
culture helps us draw a line and so this "legato" is essentially a religious act.30

Gubaidulina desires that her music shall recreate the connection between ourselves, our lives, and
God. The meaning of culture, she believes, is to unite us with our spiritual side for the hope of an
eventual reunion with God.

As far as the connection between the process of composition and religious art is concerned, I
feel there is no doubt that these activities are very close to each other in consciousness.
You'll remember I said that religion means the recreation of a link with something above us,
with God [...] Religion is a link with God. Essentially the artistic work, the artistic act,
fulfills this task. It brings together the fragmented impressions of our consciousness into a
whole.

In essence, the artistic act is a manifestation of our subconscious on the surface of our life.
The artist extracts the plurality of this information, which is inside us, which is hidden from
us, from the dark chamber of our subconscious and gives it a unified form, and that is a
religious act. It is important that an artistic work deals with the task of extracting the
richness of the information in our subconscious. Essentially it is the same kind of human
activity.31

29Caroline M. Askew, "Sources of inspiration in the music of Sofia Gubaidulina: Compositional aesthetics
and procedures",(Phd., University of Huddersfield 2002), 89-90.
30Gubaidulina quoted in Askew, Sources of inspiration in the music of Sofia Gubaidulina: Compositional
aesthetics and procedures, 90.
31 Ibid.
11
 The censorship by the state led to a strict control of music through the sponsorship of the
Composers' Union. The conditions required composers to write in certain styles and to subjects
that were acceptable to the Party. This led many composers towards symbolism as an
expression. The composer Alexander Ivashkin describes symbolism as a characteristic feature of
Russian music:

For many years we weren't allowed to speak or show what we thought, and consequently, a
strange thing happened. When something came into the open, part of it stayed hidden like
an iceberg with only a small part above water. So, symbolism became very characteristic of
Russian music. Symbolism of the simplest things - an interval, sound, or rhythm became a
symbol with which the listener could fantasize. Music became the bridge to a thought or
philosophical concept rather than an end in itself. It was never a simple sound
construction.32

2.6 Dichotomy
Dichotomy is one example of a central part of the music of Gubaidulina, which is implied
and treated as a representation of symbolic meaning. The terminology is defined as a division of
two mutually exclusive, opposed or contradictory groups, and used in this relation to connect
different expressions of musical objects and patterns. Some essential sound-objects are illustrated
with the typology of spectromorphology in the next figure (2.1).

###### #####
high pitch low pitch

#### ##
pitched sound complex texture (cluster)
###### ##
chord complex texture(cluster)
### 
sustained pitch iterated pitch

32 Alexander
Ivaskhin quoted in Askew, Sources of inspiration in the music of Sofia Gubaidulina:
Compositional aesthetics and procedures, 93.
12
 ### 
accumulation stagnation
/# #
variable sound stable sound
### 
pitched sound unvoiced complex sound

Figure 2.1 - Examples of dichotomy

In the publication Musical contents and symbolic interpretation in Sofia Gubaidulina's "Two Paths:
A dedication to Mary and Martha", Young-Mi Lee states that the idea of dichotomy is based on the
composer's theological beliefs where heaven and earth, the divine and the human coexist with
contradictory natures.33

2.7 Transfiguration
Another representation of symbolic meaning in Gubaidulina's music, is the transfiguration.
The transformation of sounds may serve as a representation of the transition to another reality, such
as the transfiguration as a symbolization of the two spheres - earth and heaven. Transfiguration in
the music by Gubaidulina could be perceived by the transformation of sounds, such as timbral
changes that represents symbolic roles.34 These symbolic representations could represent a sense of
'crossing over to a different dimension'.
The transfiguration of sonic and timbral elements coexist in the spheres of dichotomy, the
possibilities of finding new ways of articulating transformations and contradictory relations in the
aural analysis are many, and I wish to present some original methods of discovering these aspects in
the analysis of the selected works.

33Musical contents and symbolic interpretation in Sofia Gubaidulina's "Two Paths: A dedication to Mary
and Martha", Young-Mi Lee, 55.
34 Ibid, 60.
13
3 Method Part I

3.1 Clarifications
The aural analyses conducted in this thesis represent a relevant documentation of this
research, as a large part of this process has been dedicated to the work. The Acousmographe, which
is the program that allows an analyzer to design a digital aural analysis, does not illustrate signs
automatically. Each sign is conducted with a manual operation and is a result of an aural evaluation.
This is a thesis in applied music theory, which means a large part of the work has been dedicated to
learn and use of the analytic method.

3.2 Aural Sonology

Aural sonology is the method of analyzing a musical recording as heard, as the music
evolves into a phenomenon of sonic and structural elements. The sound objects is interpreted
through these listening intensions and the process occurs from a phenomenological perspective, -
through the listener's structural consciousness.35 The intention to grasp the sound itself as a sound-
object is established through the idea of reductive listening. Reductive listening is an attitude of
listening to the sound as a sound object, by removing its real or supposed source and the meaning it
may convey.36
Pierre Schaeffer, whose groundbreaking work represents the outset of what would become
the aural sonology project, introduces the term reductive listening. The French composer and music
theorist is known to be a pioneer of Musique Concrète, the movement and style of using new
techniques of recording raw sounds such as trains, dog-barking and a storm to create a new line of
music. This innovative style creates a discourse of music-theory as well as philosophy in relation to
questions such as the definition of what sound objects, textures and timbres in music may be.
Besides the reductive consideration of isolated sound-objects, there is a perception of an entirety
which is organized through «gestalts», a word often used as a psychological study of form.37
The quality of a whole cannot be entirely reduced to its pieces and cannot be perceived
independently of them. The parts may be observed and described, but the whole remains an

35The study of structural consciousness concerns the experience; first-person's point of view.
The fundamental structure of an experience is its intentionality, which is being directed toward an object.

David Woodruff Smith, "Phenomenology". Edward N. Zalta (ed.), (The Stanford Encyclopedia of
Philosophy, 2016) https://plato.stanford.edu/archives/win2016/entries/phenomenology/ (28.02.17).
36 Michel Chion quoted in Thoresen, Emergent Musical Forms, 10.
37 Ibid, 10-11.
14
emergent phenomenon.38
The level of reductive listening, referred to as level one in Emergent Musical Forms, is related to
the process of echoic memory of a musical experience. This level could be left in order to grasp
other levels of gestalts, such as the consideration of sound-patterns (level two) and form-building
processes (level three), and what semiotic implications these levels may convey. The perception of
patterns in level two connects to the applied intention of taxonomic listening; its focus is how music
is perceived and organized in patterns. While the reductive listening is related to the echoic
memory, the perception of patterns relates to the short memory processes of a musical experience.
The taxonomic listening intention also benefits the study of how sound-patterns are integrated to
larger forms, or "patterns of patterns," and relates to the long-term memory. A taxonomic listening
intention is therefore also applied in the third level of articulation; the analyses of form-building
gestalts.

Articulations Considerations Listening intensions Process of

experience

Level one Analysis of sound- Reductive listening Echoic memory

objects

Level two Analysis of sound- Taxonomic listening Short-term memory

patterns

Level three Analysis of form- Taxonomic listening Long-term memory

building patterns

Figure 3.1 - Articulation levels

In addition to phenomenology, aural sonology grasps different theoretical methods such as

hermeneutics and semiotics:

Thus what we propose is a synthesis: Phenomenology informs our approach to listening

intentions and object constitution while at the same time it helps us to avoid a reductionist
perspective; elements of structuralism and semiotics serve to reveal the logical relationships
between musical elements. Through process of a hermeneutical exegesis involving repeated
listening and tentative analyses, the analyst may eventually arrive at a condensed
comprehension.39

38 Thoresen, Emergent musical forms, 197.

39 Ibid, xxviii.
15
Musical patterns and other elements may be perceived as signs, and each sign has a functional
association of meaning for the perceiver. The sounds are communicating in relation to each other
and the perceiver may organize a logical function of interpretational meaning.
One of the strengths and goals of using the theory of aural sonology, is gaining an aural
consciousness either as a performer, composer, theorist or a listener:

The ability to discern different listening intentions is actually one of the gains that the
practice of this method of analysis will yield: Practitioners will develop an aural
consciousness that has been made at once more precise and more flexible as the mind
expands its powers to envisage musical and compositional possibilities.40

My main interest for this project is to explore the interpretation of contemporary repertoire, such as
the pieces for solo accordion by Gubaidulina. Still, other musicians may benefit of this theoretic
approach in order to study interpretations of recordings.

Musicians will increase their capacity to address certain problems of musical interpretation,
such as phrasing, formal articulation, prioritization of parts within an ensemble, and
eventually to find specific solutions to his questions.41

40 Ibid, xxiii.
41 Ibid.
16
3.3 Terminology
These sections may provide information to the reader in order to comprehend the
terminology that occurs in the aural analysis of De Profundis.

3.3.1 Spectromorphology - level one

The articulation of level one is the discovery, study and categorization of sound-objects through
reductive listening.42 Furthermore, the attitude of reductive listening consists of listening to the
sound-object by eliminating its source and the meaning it may convey. The systematic study created
by Thoresen, developed from the central ideas of Schaeffer's model of listening to the sound-object,
is termed spectromorphology.43 The criterion of these categories is based on the energy articulation
of the sound and the sound spectrum, which are the aspects of the sound in which the perception of
pitch and pitch content is founded.
The next figure will illustrate and explain some of the signs and their purpose regarding my
analyses. For further study of the typology of spectromorphology, the reader is recommended to
read chapter four in Emergent Musical Forms or simply explore the website.44 Figure 3.1 depicts a
relevant selection of current signs along with a situated summary of original definitions provided by
Lasse Thoresen.

 Pitched sound Sounds that have a

clearly perceivable
 Cell An accumulation
with a total
(sustained)
pitch or duration in the
fundamental range of gesture-
(continuous time
energy)

 Impulse Short trust of

energy ### Accumulation Unpredictably
diversified
iterations

 Complex or No perceivable
fundamental  Sign of change Gradual change or
transformation
unpitched sound

 Unvoiced No perception of
fundamental,  Dyad A set of two pitches
complex sound
complex spectrum;
"unvoiced"
sonority

 Iterated pitch Discontinuous

energy
 Chord A set of three or
more pitches

42 Thoresen, Lasse, Emergent Musical Forms, 259.

43 The term spectromorphology was defined by Denis Smalley who elaborated on Schaeffer`s model.
44 www.auralsonology.com
17
 / Variable pitched Sound-objects with
a gradual internal  Variable impulse Short trust of
energy with
sound
development in gradual internal
their sound development in
spectrum (glissandi their sound
or sounds with spectrum (glissandi
gliding formants) or sounds with
gliding formants)

 Pitched iterated Flutter-time

represents a BPM ## Composite sound Pair of sounds,
such as a grace
sound in flutter-
faster than 500 note added to (or
time (regular inserted into) a
pulse) main note, or a trill
or mordent

### Sharp ending Sounds with an

ending phase ## Composite sound Ripple-time
represents a BPM
in ripple-time,
containing between 200-500
elements intrinsic
regular pulse
to the main body of
sound itself

### Abrupt ending Sounds with an

accentuated ending
/ Variable complex Sound-objects with
a gradual internal
sound-object
phase, containing development in
elements alien to their sound
the main body of spectrum (glissandi
the sound (e.g., a or sounds with
vibrating string gliding formants)
dampened with a
metal rod)

####>## Bright/brightest The vertical line

put on the ##### Dark/darkest The vertical line on
the prolongation
spectral spectral
prolongation line line indicates the
brightness indicates the entire
brightness entire spectrum
spectrum from high from high to low
to low

A  #
Swelled onset A short crescendo/
decrescendo  Impulse Short thrust of
energy

 Slow, large The gait of a

sound-object is  Decreasing rit. in Regular pulse
divides time into
dynamic gait regular pulse
fluctuation of a equally long
sustained sound- segments
object and in this
example represents
the dynamic
dimension

 Middle, moderate (Gait continues)

The gait is analysed  Decreasing rit. in Oblique pulse
forms an
dynamic gait oblique pulse
with regard to its intermediary
degree of deviation category between
and its pulse the irregular pulse
velocity and regular pulse

 Fast, small (Gait continues)

These three
 Decreasing rit. in Irregular pulse has
no common unit of
dynamic gait irregular pulse
examples of «measurement»
dynamic gait may that can be aurally
be combined in perceived
aspects of velocity
and deviation

18
  Irregular ripple (See definitions on
«decreasing rit. in  Increasing rit. in (See definitions
above)
time regular pulse
irregular pulse)

 Oblique ripple (See definitions on

«declining rit. in  Increasing rit. in (See definitions
above)
time oblique pulse
oblique pulse)

 Gestural-time Gestural-time
represents a BPM  Increasing rit. in (See definitions
above)
irregular pulse
between 25-200

Figure 3.2 - Typology of spectromorphology used in the analyses

Examples of complex sounds (###) that may emerge from the accordion could be a complex
texture such as a cluster of pitches or an unpitched, percussive slam on the instrument itself. A
variable complex texture (/ ), may represent cluster glissandi in the music. Unvoiced complex
sounds (  ), may represent sound-objects such as the air-button on the instrument or other
sounds that create a «hush-sound». An iterated pitch ( ##) may represent a sound-object caused by
a bellow shake made by the instrument or repetitive fingering articulations.45

3.2.2 Endosemantic analysis of harmonicity (harmonic colors) - level two

Level two represents the level of compound sound-patterns. Thoresen does not emphasize
specific concepts of applied methods for the analyst, unlike to level one and level three. More
importantly, he does propose ideas of how analyses of sound-patterns may be created with aural
sonology. The reason is elucidated: level two has already received a huge amount of attention in
interval-based music, such as tonal music theory. The analyses of compound sound-patterns may in
most cases be a helpful understanding of specific styles, where different musical dimensions may be
discussed. These dimensions are seemingly immense and are therefore not restricted to specific
concepts of applied methods. One musical dimension that emerges to the listener of Gubaidulina,
may be the transforming, endosemantic patterns of harmonicity. A description of endosemantic
entities is the interpretation of elements within a musical work, such as appointing functions to the
relationships between different elements.46 These categories are situated on level two (sound

45 Bellow shake is a repeated change of direction of the bellow, creating an iterated articulation of energy.
46 Thoresen, Emergent Musical Forms, 346-347.
19
patterns) and these contextual meanings may be organized as isotopes.47
The origin of the word endo comes from the Greek word endon (from within) and
endosemantics connects with meaning from within.48 Exosemantic (origin from Greek exō- outside)
references however, concern meaning outside the musical discourse and do not participate in this
category. Yet, the endosemantic categories of intra-musical relationships may be interpreted
exosemantically, thus being regarded as the signifiers in an exosemantic interpretation. I wish to
apply this process in order to present examples of interpretative meaning through symbolism as
heard, in light of the performer's interpretation of the selected works.
One of the most characteristic and enigmatic elements of De Profundis, is the process of
harmonicity. The harmonicity expands from the perception of diatonic chorales to chromatic
counterpoint, and further to developments of clusters. Three apparent isotopes emerge of consisting
harmonic perception: complex harmonies, dissonant harmonies and consonant harmonies. These
elements are represented in the aural analysis by colors, inside the model of dynamic form-fields,
which will be introduced in the chapter 3.2.4.

Complexity Dissonance Consonance

Figure 3.3 Harmonic colors

With this scale (fig. 3.3) I have created a colored spectral profile of the harmonicities. Black
represent complex, green represents dissonance and yellow represents consonance. Using colors
creates the opportunity to further express the degree between these elements.

47 In semiotics, we detect an isotopy when there is a repetition of a basic meaning trait (seme). This establish
a level of familiarity. An example may be «I drink some water», where the words drink and water share a
seme (a reference to liquids).
48Oxford Dictionary of English, (Oxford University Press),
https://en.oxforddictionaries.com/definition/us/endo- (15.03.17).
20
 BLACK DARK GREEN BRIGHT GREEN YELLOW
COMPLEX LESSER COMPLEX/ LESS DISSONANCE/ CONSONANCE
MORE DISSONANCE MORE
CONSONANCE

Figure 3.4 Harmonic categories

The coagulation of colors represents certain transitions between the isotopes, making it easier to
articulate a harmonic evolvement. By using examples of fifteen suitable harmonies from De
Profundis, the listener may establish an illustrative scale of harmonic development that provides
further explorations. The aural observation is accentuated as a key tool of defining aspects. This
scale is therefore not obligated by the use of certain interval-calculations or other theoretical aspects
of analysis that does not concern the dimension of phenomenology.
The consideration of these harmonies is based on three measurements: size, register and
mass, which are used as calculations between two borders of references (complexity and
consonance).

Dimensions Complexity Consonance

Size Thick Thin
Low register vs. high register Opaque Clear
Mass Dense Spread

Figure 3.5 Considerations of harmonies

Through these dimensions the perceiver may establish a process of an emerging harmonic
metamorphosis, between the selections of fifteen harmonies, ranging from a considerable cluster to
a luminous major-chord. The structure of the metamorphosis is not continuous in the piece itself,
but remains as an enigmatic development of character.

21
 Figure 3.6 Complexity scale - Harmonic metamorphosis49

The purpose of combining concepts from biology, namely the transformation of the evolving young
insect with the situated harmonies, is purely metaphoric. Some of the transformation-stages are
situated underneath the gradient of colors. The metamorphosis of an insect, such as the butterfly,
consists of four sequences; the embryo, the larva, the pupa and the imago.50 The last two stages are
applied as a metaphor on complex harmonicity to consonant; from the cocoon (pupa) to the
butterfly (imago).
The next model represents explanations of the terms situated underneath the colors and
expresses the different states that are found in the different harmonies of the complexity-scale.

49 Harmony orders in De Profundis: 1. page ten, fifth staff, 2. page eleven, third staff, 3. page two-fifth staff,
4. page three-first staff, 5. page two-first staff, 6. page one-first staff, 7. page one-fifth staff, 8. page five-first
staff, 9. page five-first staff, 10. page twelve-first staff, 11. page twelve-last staff, 12. page three-second staff,
13. page three-second staff, 14. page thirteen-second staff, 15. page ten-second last staff.
50"Butterfly Life Cycle", The Academy of Natural Sciences of Drexel University: http://www.ansp.org/
explore/online-exhibits/butterflies/lifecycle/. (14/03/17).
22
 Terminology Process Metaphor

Pupa(cocoon) The protective holster of the insect Great complex cluster is perceived
larva

Contraction Shrinking Cluster dissolves

Expanding New process emerge Dissonance is achieved and it

gradually grows more consonance

Molting Sheds «old» skin, newer skin Major-chord is perceived,

underneath is exposed simultaneous with large cluster

Emergence The process of reaching its outgrown- Prominent consonance simultaneous

state with dissonance is perceived

Imago The insect attains maturity Clear consonant is achieved

Figure 3.7 - States of harmonic transformation

3.2.3 Time fields - level three

The typology of time-fields represents the successive units in a musical discourse; they are
subdivisions of larger musical entities, organized into smaller segments that are perceptible to the
listener.51
Traditional examples of these smaller segments are the idea of a motif (a short musical
idea, figure or fragment), musical phrase or sentence. The definitions of time-field entities do not
solely rely on these traditional terms, as the method emphasizes a span over stylistic borders such as
contemporary and sound-based music; these may not serve the same structural function as
traditional classical music. The term field is accentuated in Emergent Musical Forms and represents
«an open space».

The approach of defining such a musical field is through the orientation towards primary perceptive
forces at work in the formation of aural gestalts.52 Therefore, an analysis of time-fields is in itself an
interpretation, as the listener will find how the music articulates itself into phrases.

51 Thoresen, Emergent musical forms, 351.

52 Ibid, 352.
23
The music is approached at its face value, beginning roughly with the same view as a listener in a
concert. As the listener proceeds to repeat the listening, it provides clarity to first impressions and
further engages the analyst in an analytic process related to a hermeneutic process that perhaps
proves more critical reflections compared to initial impressions.53
Lasse Thoresen refers to Bob Snyder, who distinguishes three principles by which music can be
divided into events, in order to help grasping the extended music.54

Proximity
Elements that occur in rapid succession integrate; longer durations in a
context of short events tend to mark the boundary of a group.

Similarity
Similar sound-objects tend to be grouped together. Similarity may exist
between various features of the sound(such as loudness, timbre, pitch,
duration).

Continuity
Sound-objects included in the same directional tendency will easily be
grouped together. This gestalt factor may underlie the importance of
linearity in order to establish coherence.

The shorter time-fields are assembled into longer units that form a hierarchy of shorter and longer
time-fields. This hierarchy of units is perceived simultaneously in the temporal continuum of the
musical organization. Thoresen compares this characterization with the organization of verbal
languages, where the sentence is subdivided into shorter, word groups, words, phonemes, while the
sentence itself is a part of longer units of speech such as sections and chapters. In this musical
hierarchy there are three levels of musical organization and perception; sound-objects, sound-
patterns and form building gestalts.55

The shortest fields may then be called object-fields (Field0). Here, sound-events are grouped
into elementary units often functioning as motive. On the second field level (Field1), one
may speak of phrase-fields: usually a musical phrase or a partly completed portion of a
larger musical sentence. One field level deeper (Field2), one can identify the sentence-field; a
unit consisting of a number of phrase-fields, often terminated by a full cadence. Finally,

53 Ibid, 353.
54 Snyder quoted in Thoresen, Emergent musical forms, 353-354.
55 Thoresen, Emergent musical forms, 355.
24
 there is the level of the form-field (Field3) in which a constellation of several sentence-fields
forms a larger section of a composition as a whole.56

Figure 3.8 - Notation of time-field depth57

It is intriguing to interpret the designations of fields in the music of Gubaidulina, as the music
clearly expresses functional levels. Musical phrases and sentences in her music may be compared to
style-references of Western classical music, such as a style resembling baroque music. Still it might
throw itself in a further direction of experimental «avant-garde», where the sound itself defines the
field and functional designations are either abandoned or less emphasized.
Moreover, the next models illustrate how time-field combinations may be linked, and the
signs are organized into two subcategories: field positioning and field demarcation.

Figure 3.9 Time-field positioning58

56 Ibid, 355-356.
57 Ibid, 356.
58 Ibid, 358.
25
The sign indicating 'noticeable silence' is used somewhat carefully in the analyses, as silence may
operate on a large scale in the music of Gubaidulina. Therefore, a noticeable silence will be applied
in order to articulate significant silences in the music, oppose to shorter disjunctions between
musical elements.

Figure 3.10 Time-field demarcation 59

3.2.4 Dynamic form - level three

Dynamic forms are established through the large-scale directional forces in the perceived
music and reveal form-building functions. Directional forces are found in forces of energy and
functions, such as harmonic and metrical functions. This means that we perceive energy through
loudness of the sound-object, dynamics and tempo between sound-patterns and other musical
dimensions such as tessitura, tonal modulations, articulation and density of mass. The articulation of
tendencies and directions may be the result of shaped energy, meaning it is gradually getting louder,
faster, denser, higher et cetera. The stated aspects concern forces of energy, while directionality can
also be expressed through musical functions, such as metrical functions (upbeat, downbeat, etc.)
and harmonic functions (tonic, dominant, et cetera). These aspects define a small-scale
directionality and operate on level two.60

59 Ibid, 359.
60 Ibid, 419.
26
The performer has a particular degree of influence upon these form-structures, since dynamic forms
are sensitive to changes in tempo and dynamics. Therefore, performances with different
interpretations will, to a greater extent, include different dynamic forms, especially regarding the
forces of energy, not the different harmonic functions.61

There are three form-building functions that relate to the directionality of dynamic forms: forward-
oriented, presence-oriented and backward-oriented functions.

Figure 3.11 Form-building functions62

The forward-oriented function is characterised as being directed towards a future point in

time and/or by an increasing tendency.

The backward-oriented function is exactly the inverse: it is characterised by being directed

away from a past point in time, and/or by decreasing tendency

The presence-oriented function is characterised by having a stable(or no) tendency, and,

consequently, by being directed toward neither future nor past.

These functions may be represented with different emphasis or weight.

Less emphasised functions may be called secondary when they are simultaneous with more
predominant(primary) ones.63

61 Ibid, 422.
62 Ibid, 423.
63 Ibid. 422.
27
 Figure 3.12 - The neutral form-building function 64

Since tendencies are established through several musical dimensions, a form-building function may
be ambiguous, and in extreme cases where it is impossible to determine the characteristics of the
functions stated in the figure (3.11). This kind of vagueness could be described with a neutral form-
sign (fig. 3.12).
An additional dynamic function may be applied to express larger tendencies, which occur
simultaneously with the present function. The larger tendencies will be put underneath the shorter
tendencies, like this:
#### ####
#

## ####

Figure 3.13 - Extended dynamic tendencies

The higher dynamic model (the dynamic model on top of the other - fig. 3.13) represents the shorter
tendencies, such as a musical part with a concluding crescendo followed by a second musical part
with higher intensity than the previous, creating a stronger development of the intensity-profile. An
occurrence such as this may be interpreted with a supplementary lower dynamic model (the
dynamic model under the other), illustrating the longer tendencies between these dynamic parts.
Furthermore, Thoresen points to an important consideration of directionality that is of goal
attainment; this means that a moving gesture may or may not attain its goal.65

Goal attainment: a forward-oriented function attains its expected goal.

Blunted goal attainment: a forward-oriented function attains its goal but different
dimensions arrive at different points in time.

Suspended goal attainment: the expected goal of a forward-oriented function is first

suspended, but arrives later.

64 Ibid, 423.
65 Ibid.
28
 Goal evasion: in full goal evasion, the goal is not reached. In partial goal evasion, it is not
reached fully or not in the way expected.66

Figure 3.14 Goal attainment 67

Accents may serve as a function of dynamic forms, as a purpose of musical punctuation.68

Thoresen defines accents as intensive or weighted points in time, created to ensnare the attention of
the listener briefly. Its criteria must be of prominence from its musical environment, often by having
more energy, such as being louder, sharper, longer, etc.
The author defines the following relevant accent functions, illustrated in the next page.

66 Ibid, 423-424.
67 Ibid, 424.
68 Ibid.
29
 Figure 3.15 Accent functions69

An accent can mark out a goal for musical movement, thus at the end of a forward-oriented
form-building function.

An accent can mark the border between successive time-fields, setting them apart from each
other.

An accent can mark the beginning of a time-field, for example by the launching of a directed
motion.

An accent can mark the ending of a time-field or a form-building function.

An accent can affirm, repeat or reinforce another accent or previously stated musical
elements(thus referring back)

An accent can serve as an alert or warning directed towards a future event.70

69 Ibid, 425.
70 Ibid.
30
4 De Profundis
Through aural sonology, I intend to analyze the recorded performance by Geir Draugsvoll.71
I wish to provide an extensive, endosemantic analysis of the piece as whole, to further use these
endosemantic indications as a material for an exosemantic interpretation.

4.1 Geir Draugsvoll

Geir Draugsvoll is considered one of the most important accordion pioneers. He has
collaborated with many composers and premiered a large number of works, including Fachwerk
(2009) by Sofia Gubaidulina, which is dedicated to him. Geir Draugsvoll is Norwegian, but lives
and teaches in Copenhagen, Denmark, where he is a Professor at the Royal Danish Academy of
Music.72

4.2 Aural analysis of De Profundis

Figure 4.1 - Draugsvoll 0' 01''-1' 17'', 1st video, http://bit.ly/2prw7y473

The aural analysis (fig. 4.1) depicts an iterated complex sound-object, representing the
cluster in the accordion’s lower register. The color on the inside of the first dynamic tendency is
dark and represent a complex harmonicity. This tendency depicts a hint of green, which indicates its

71Sofia Gubaidulina, "De Profundis", Geir Draugsvoll, Silenzio / De profundis / Et exspecto / In Erwartung
(BIS Records, 1995).
72 CV, Pro arte international mangement, http://www.proarte.no/dra/draugsvoll.htm. (10.05.17).
73 De Profundis, Karthause-Schmülling Musikverlag (Deutschland), score, page 1.
31
short clustered range. The first texture appears and increases its dynamical and rhythmical intensity,
shown as increasing tendency, and then dissolves, shown as a declining tendency.

Figure 4.2 - Score excerpt74

In contrast to the aural analysis, the score itself suggests a presentation that only describes
the same texture as a declining tendency, in terms of rhythmic values (fig. 4.2). The score and the
analysis differ as the performer includes an accelerando and crescendo to the beginning of the
texture.
Between the gestures there is noticeable silence, illustrated with a positioning between the
phrase-fields (fig.4.1). For each occurring texture, its loudness increases. The lower dynamic figure
in the analysis depicts an increase of energy throughout the motions of the higher dynamic figure. In
this context, an emerging intensity is somewhat perceived between these parts through the long-
term memory.

The texture establishes a certain character in motion, which consists of two strata; the minor
second in the higher part of the chord, which moves in chromatic motion, and the minor second in
the lower register that stays unchanged. The motion of the higher strata is irregular, that carefully
ascends throughout the sentence-field. The expansion and contraction of range is illustrated as
object-fields in parenthesis, indicating its secondary function oppose to the phrase-field focus. The
harmonic color within the dynamic tendency (fig. 4.1 - lower tendency), further illustrates the
harmonic expansion in register by the higher strata and the change of interval timbre of the texture.
The analysis depicts a transformation from complex harmony that slightly evolves towards less
complexity, as shown in the analysis as the transition from dark to dark green (fig. 4.1). Therefore,
the large increasing tendency is determined, -not only by the increasing loudness and rhythmical
intensity of each recurring parts, but also the ascending pitch and expanding harmonicity.
The fourth phrase-field (fig. 4.1) establishes the peak of profile energy within the sentence-field as it
further dissolves to its original complex texture.
A new sentence-field indicates a new part, where the iterated energy articulation of the

74 Ibid, page 1, first staff line.

32
texture is changed from stable energy to variable energy (fig. 4.1). The cluster appears thicker and
therefore more complex (indicated with black). The beginning of this texture aurally resembles the

opening texture of the piece, as it is slightly less extent of range as a cluster (indicated by a dark
green beginning of the higher dynamic model) and the performer establishes a connection to the
previous stable iterated texture. The texture appears unified in directions oppose to the previous
sentence-field where only one strata was in chromatic motion. The motions of the glissandi
resemble the preceding sentence-field; a similar structure of directional tendency, such as rhythmic-
and dynamic intensity, and timbral gestures in the range of register (indicated by movements such
as high- low- higher). The object-fields are perceived as the increase and decrease of rhythmical
intensity as one notion of movement.

Figure 4.3 - Draugsvoll 1' 18''-2' 31'', 1st video75

The next object-field resembles the same motion heard as the opening texture of the piece
and is marked with a bridged positioning (fig. 4.3). The contrast of the stable-iterated texture is seen
in the aural analysis between the phrase-fields of the iterated-glissandi (fig. 4.1+ fig. 4.3).
The following cluster-glissandos are more emphasized and articulated than in the previous
development, and for each object-field (defined as one motion of increasing and declining dynamic
tendency), the sound-object expand the use of pitch-register. Much like the same way as the
opening development of the piece, the objects are gradually exploring a higher range. The peak of
the lower dynamic model (fig. 4.3) illustrates the culmination of the phrase-field (marked with the
goal cancellation-sign) as it reaches its highest level of pitch and dynamics, but abruptly returns to a
lower cluster recognized as the stable iterated texture. The cut demarcation-sign represents the

75 Ibid, page 2 - page 3, second staff line.

33
sudden ending of the phrase-field.
A new part begins before the first is ended, as illustrated through hinged positioning between

the object- and phrase-field, which results in an expansion of the perceptive sentence-field. A new
texture is introduced; a sustained major dyad, the dichotomy of the previous texture.

Figure 4.4 - Score excerpt76

The excerpt (fig. 4.4) depicts a paradox regarding the score and the instrument. The solution is
unidiomatic; the score indicates that the performer should continue the bellow shake and at the
same time start a sustained sound, something that demands an even handling of the bellow. To
recapture the score literally, the accordionist can exchange the bellow shake with rhythmical
fingering to be able to use en even bellow, but this will create a different articulated quality of the
iterated texture. Instead, the performer makes an artistic recapture of the score, by placing the
sustained texture with the last note of the iterated texture.
The sustained dyad indicates consonance and is illustrated with the color yellow (fig. 4.2).
The phrase-field represents a chordal motion with increasing segments; from longer to shorter
object-groups, higher use of register and a stronger dissonant development.
The object-fields are defined through motions of complex impulses, increasing iterated
energy and merging sustained energy. The harmonic development from yellow to dark green is
articulated through the aspects of density and thickness of the textures, and is perceived as a gradual
transformation from consonance to dissonance. The last object-field represents the brightest, loudest
and most dissonant texture. This leads to the designation of the first part of the piece, marked with a
goal attainment.

76 Ibid, page 2, fourth staff line.

34
 Figure 4.5 - Draugsvoll 2' 30''-3' 34'', 1st video77

The phrase- and sentence-field is marked with a hinged positioning (fig. 4.5), similar to the previous
cluster and major dyad (fig. 4.3). There are four phrase-fields in the sentence-field, each perceived
as a stable tendency gradually getting louder (fig. 4.5). The chorale, indicated as a pitched, sustained
chord (L1), appears with a consonant harmonic color. The articulated motions of the chorale are
illustrated as phrase-fields and the object-fields represent the composite sound-object, which
establishes a dissonant fusion. This is indicated in the analysis with the color green. The trills play
an important part of the harmonic tension, as the harmonies changes while the trill remains (first
phrase-field). The performer articulates a rest between the second and third phrase-field, achieving a
more subtle transition to the next phrase-field which is heard primarily as a forward-oriented
tendency.

Figure 4.6 - Draugsvoll 3' 30''-4' 48'', 1st video, http://bit.ly/2prw7y478

77 Ibid, page 3, second staff line - page 4, fourth staff line.

78 Ibid, page 4, fourth staff line - page 6, first staff line.
35
 The goal point represents a high register of pitch and the change in harmonic color creates a
stronger tendency, as illustrated in the analysis as a higher static tendency of dark color (fig. 4.6).
The composite sound-object repeats itself and declines to the lower timbral part of the register,
while the bright cluster remains and fades away. This ends the first form-field of the piece.
The object-fields indicated in the aural analysis depicts a play with three homophonic
textures; first an impulsive texture, then two sound-objects with sustained energy articulation with
middle-fast dynamic gait (fluctuation). The lime-green color indicates a center between consonance
and dissonance, and is recognized as a fusion of bitonality. The second phrase-field consists of a
partitioning in patterns, illustrated by the disjunctions of the sound-objects, with varying silences
between the textures. The faint dynamic tendency showed in the higher model depicts a tendency
goal for each object-field. However, in the partitioning-segment, the tendency is directed in one
broader dynamic form consisting of all the object-fields. The performer creates a dynamic structure
which is not indicated in the score (fig. 4.7):

Figure 4.7 - Score excerpt79

The dynamic model that connects with the represented sustained cluster-glissandi indicates a
black harmonic color (fig. 4.6). Similar, yet disparate, it relates to the cluster-glissandi heard before,
but with the transformation to sustained energy articulation. The listener may perceive two
articulated phrase-fields by the use of dynamics; one increasing tendency and one declining
tendency.

Figure 4.8 - Score excerpt80

79 Ibid, page 5, second staff line.

80 Ibid, page 5, fourth staff line.
36
 The score does not imply any use of dynamics between the objects (fig. 4.8). Furthermore,
the score illustrates a specific range of glissando which is shorter than what is perceived aurally.
The next sentence-field (the last field2 in fig 4.6) consists of three phrase-fields, where the
second and third field marks a recurrence and continuation of the previous motion. The vibrating
tritone-interval, illustrated as a dyad with a middle-moderate dynamic gait that ends in a glissando,
indicates a light dissonance of harmonic color. Each object-field and phrase-field expands in
dynamics, thus establishing a lower model of increasing tendency between motions.

Figure 4.9 - Draugsvoll 4' 48''-5' 57'', 1st video81

The aural analysis depicts a continuance of increasing tendency in the lower model, as the
next phrase-field (fig. 4.9 - first field1) proceeds with stronger articulation, higher dynamics and an
accelerando. The object-field consists of two sound-objects with different articulations: The first
object has sustained energy with a sharp ending, and the other is an impulse. The first sound-object
is illustrated as a complex sustained texture with a pitch on top, representing a perceived chromatic
motion of the texture. The darker shades of harmonic color indicate an occurrence of an articulated
wider cluster.
The object-fields are interpreted as parts where the first sound-object (sustained energy,
sharp ending) indicate the beginning of the object-field, while the other sound-object (impulse)
indicate the ending. The perception of two impulses after each other, are conceived as parts of the
same motion. This is an example of how the analysis reflects my aural interpretation.
The next phrase-field illustrates two sound-objects: first, two iterated homogeneous pitches,

81 Ibid, page 6, second staff line - page 8.

37
second, a continuation of one iterated melodic motion, connected with a pitched composite sound
(trill). The higher model in the aural analysis depicts a slight difference in harmonic color between
these sound-objects (fig. 4.9). The directional forces showed in the lower model continues with
faster operating figures than in the previous part.
The next section has three phrase-fields, where the second and third field marks a recurrence
and continuation of the previous motion, similar to the development of the tritone interval at 04:27.
Because of the recurrence, the listener perceives the phrase-fields as starting again and again.
Therefore, the object-field and phrase-field have similar length. The sound-objects represents a
pitched sound simultaneous with a composite sound in oblique ripple time, ending sharply with an
impulse. The phrase-field is extended through the hinged positioning between the object-fields, as it
continues to increase in dynamics. A similar sound-object previously heard at 04:49 appears; a
complex sustained texture with a pitch (L1), resulting in a sharp ending and a textural impulse. The
higher model is illustrated as an emphasized increasing tendency; it appears louder, brighter and
longer compared to the previous sound-objects (04:48).
The object-fields (05:35 - fig.3.9) are defined by the first occurring composite sound-object
as heard, while the other composite sound-object (blue) functions as an imitating counterpoint.
Repetition of sound-objects contributes to the perception of a presence-oriented tendency indicated
in the higher model. The next phrase-field dedicates a lower static-tendency and functions as a
temporary containment in preparation for the next increasing tendency. The object-field illustrates a
new motion of repetition in sound-objects; where previous sound-objects where oblique flutter time,
is now transformed into regular flutter time, representing only the trill. The sentence-field ends with
a louder and slower appearance of sound-objects, indicated with regular rit. in the aural analysis,
establishing an overall increase of dynamic energy.

38
 Figure 4.10 - Draugsvoll 5' 57''-7' 12'', 1st video82

The music reaches a new dynamic outburst with a new degree of harmonic complexity, for the first
time in the second form-field (fig. 4.10). The first composite sound, indicated by the dark harmonic
color, is identified with a similar rhythmic as the second phrase-field in figure 4.9 (05:07).
The second object-field (fig. 4.10) is a further development of the motion, which ends
similarly as the first object-field. By this clearly rhythmical play, its dynamic functions is stable yet
unpredictable. Thus, the sound-object is perceived as oblique. The second half of the first sentence-
field (fig. 4.10) represents three motions of an iterated complex sound-object, which is connected
with a directional tendency, indicated in the lower dynamic model. This is because it appears
heavier, slower and more emphasized for each occurrence. With a rhythmical increase of intensity
(accelerando) towards the higher register, it provides a perception of a blunted goal.

Figure 4.11 - Score excerpt 83

Using these three steps of motion (fig. 4.11); 1) motion, 2) motion prolonged, 3) motion
expanded, the composer creates an implicit aural possibility that creates a connecting directional
tendency of the sound-objects. To that end, the pauses that separates the sound-objects will
inevitability connect them as a directional-tendency, with the exception of extreme interpretations
performed in ambient time.
The next extensive phrase-field (fig. 4.10) develops a prolongation of the goal, therefore
attracts the directional forces further. The first reveal of consonance in the second form-field is
expressed here by sustained chords, occurring with pitched composite sounds that alters the
harmonic color and creates a fusional consonance indicated by the yellow-green (less dissonance,
more consonance). The object-fields are interpreted through the major chord´s direction of pitch and
rhythmic relations, which represents the prominent function of field perception. Furthermore, the
object-fields are gradually exploring higher ranges in register. The last object-field, illustrated as a

82 Ibid, page 9 - page 11, first line staff.

83 Ibid, page 9, third staff line - forth staff line.
39
goal, consists of a very complex harmonic color, as it aurally represent the thickest cluster in the
piece. The ending of the goal point marks a declining tendency (fig. 4.10), similar to the ending of
the goal point in the first form-field, although the dynamics are not specified in the score (fig. 4.12).

Figure 4.12 - Score excerpt84

Thus, the performer creates a connection of form-elements in a declining tendency, through the
aural memory of the listener.
Air-sounds is perceived at the beginning of the third form-field (fig. 4.10), illustrated as
unvoiced complex sounds. These sound-objects are provided by the air-button of the instrument.
The dynamic tendencies are shaped in a similar manner to previous sections, where phrase-
fields appear with increasing and declining tendencies and are separated with noticeable silences. A
connecting increasing tendency is indicated as a faint function within the presence-oriented primary
function. The inconspicuous color inside the dynamic forms illuminates the lack of harmonic color
from the sound-object as heard.

Figure 4.13 - Score excerpt85

The indications of the air-sounds in the score are enigmatic and are inevitable to be interpreted
concerning dynamics, duration and articulation. To that end, if a performer plays this section with
stable dynamics (and not in ambient time), it could be perceived with a faint-directional tendency,
as each phrase consists of an additional air-sound, thus evolving with intensity.

84 Ibid, page 10, fifth staff line.

85 Ibid, page 11, first staff line.
40
 Figure 4.14 - Draugsvoll 7' 12''-8' 33'', 1st video, http://bit.ly/2prw7y486

The next sentence-field (fig. 4.14) appears in the same structure compared to the previous; three
separate phrase-fields with a connecting faint tendency. The analysis depicts a sustained, variable
pitched sound-object, that has not been previously heard. The third object-field illustrates a
fluctuation in the sustained sound-object, transforming from fast to middle, to slow. It then
transforms to the variable pitched sound heard before, but ends as a sustained sound-object.
The next phrase-field is interpreted in the aural analysis as a transition to the next, indicated
as a bridged positioning. Within the emphasized phrase-field, the object-field are perceived as three
parts; 1) the complex sustained texture (dark harmonic color), 2) fluctuation of texture
(transformation to dark green), 3) one remaining, sustained pitch (lack of harmonic color).
The last phrase-field in the figure (4.14) is emphasized in the aural analysis as it follows a
monophonic melody as heard, appearing as a cantabile passage.

Figure 4.15 - Draugsvoll 8' 33''-9' 44'', 1st video87

86 Ibid, page 11, second staff line - fifth staff line.

87 Ibid, page 11, fifth staff line - ninth staff line.
41
 The object-fields (fig. 4.15) are interpreted as parts through a larger change of pitch-
intervals, articulations or rests, such as rounding off a coherent stream in legato. The performer is
heard breathing preparing the next field, as if he was using his own voice. This intuition, as it is not
specified as a musical sound-object, directs a perceptive designation of a new field. This segment is
characterized by a large increasing tendency (indicated in the lower dynamic model), where the last
pitched sound-object represents the designation of the phrase-field, illustrated as a blunted goal
attainment.

Figure 4.16 - Draugsvoll 9' 44''-10' 51'', 1st video88

The yellow-green color illustrated in the upper model in the aural analysis (fig. 4.16),
indicate prominent consonance. The iterated pitched chord is perceived as foreground and the
iterated complex sound-object is heard as secondary. The phrase-field is emphasized, while the
object-fields are interpreted through the major chord´s direction of pitch and rhythmic relations.
The ascending-character, which is much established throughout the piece, continues towards
an increasing direction of register. Moreover, the aural anticipation of a response is manifested
through both ends of the harmonic-scale; clear consonance and large complexity. The cluster and
the chord, that occurs simultaneous in first phrase-field (fig. 4.16), are opposed in consecutive
motions in the second phrase-field (fig. 4.16). The dynamic motion is at is peak, but the increasing
appearance of complex harmonies creates a connecting directional tendency. This is easily
perceived in the analysis by comparing the dynamic forms with the object-fields, which indicates a
consonant harmony at the beginning of an object-field and a complex texture at its end. This

88 Ibid, page 12 - page 13, second staff line.

42
segment consists of additional complex textures for each object-fields, while the consonant texture
remains as one (fig. 4.16). Based on this development of complexity (black), the analysis illustrates
the lower model as one increasing tendency from consonant to increasingly more complex
developments.
The next chord represents a transition with consonant harmonic color (fig. 4.16).
The chords could be compared to the opening of the first chorale (02:30), where it moved in a
diatonic direction (up, back, down) but now perceived with chromatics (up, back, down). The
conscious memory of the listener may use these designations as a relation between the first form-
field and the third.
The sound-object representing a transition is being held as a pedal point simultaneous with
the following chordal motion. This creates a dissonance for every turn from its departure, indicated
in the aural analysis from yellow to green. The segment is reflected in the object-fields and the
process reoccurs after the first time. An increasing dynamic tendency connects both object-fields
and descends at the end (fig. 4.16). The same transition reoccurs, leading to the next part.

Figure 4.17 - Draugsvoll 10' 51''-11' 39'', 1st video89

The pitched composite sound-object (02:30) is recognized as it appears (fig. 4.17), creating a
similar harmonic fusion as its previous occurrence (02:30). This may be interpreted as a coda for
the listener, thus establishing a sign for destination. Unlike the previous section of these sound-
objects (02:30), that consistently evolved new fusions of textures, each sound-objects do not

89 Ibid, page 13, second staff line - fifth staff line.

43
change: the pitched chord is sustained and the composite sound-objects repeat its melodic pattern.
These motions are first separated object-fields, then connected simultaneous with the phrase-fields
(fig. 4.17).

Figure 4.18 - Score excerpt90

The excerpt (fig. 4.18) presents another example of an unidiomatic paradox, where the score
does not require a soft ending; the trill does not end and the harmony does not close. But the music
often does require an interpretation of a soft ending, if the performer wants to provide a certain
calmness at the end. It is vulnerable to create the trill with high pitch and low dynamics on the
accordion, as it easily produces unwanted noise from the press of the buttons. The performer creates
a ritardando and ends with a creation of harmony between the two previously separated sound-
objects, making a larger chord. Doing this makes it much easier to restrain the declining tendency of
the high pitch without any unwanted noise, and it is a soft transition to the outcome of silence. As
seen in the bars before the ending (fig. 4.18), each phrase of the melodic voice has a note after the
trill, which is not connected of the phrasing-bow. Thus, it could be played or rested upon before
proceeding, and could be the reason of which the performer choses to end the piece on the f-sharp.

90 Ibid, page 13, fifth staff line.

44
4.3 Form structures - The fundamental synopsis of the piece
Extensive details of the analysis have been observed, defined and presented carefully in the
recent text. As a next step, the totality of the piece constituted by larger forms will be presented as a
form-analysis of the piece. By reducing parts of the analysis, leaving out the higher level-dynamic
model, object-fields and other more technical depictions, makes it more practical to see the
fundamental structure of the analysis.
The observer is left with the following signs of analysis:

• larger dynamic tendencies

(indicated by the lower model, while the higher model indicate dynamic form)

• condensation of successive harmonicities

(indicated by harmonic colors)

• summary of developments in sound-objects

(indicated by the signs of spectromorphology)

• phrase-fields, sentence-fields and form-fields

Figure 4.19 - First form-field (Draugsvoll) 0' 01''-3' 53''

A transformation of the sound-objects occurs in the first form-field, from the complex
iterated texture, to the pitched sustained texture (fig. 4.19). This change occurs in the middle of the
form-field and second sentence-field. At the end of the third sentence-field, the sound-object returns
to a complex, but sustained texture. Transformations of harmonic colors are visible, between the
45
dichotomy of sound-objects (L1). The successive structures of dynamic models suggests an
increasing tendency of form (fig. 4.19 - higher dynamic model).

Figure 4.20 - Second form-field (Draugsvoll) 3' 53''-6' 51''

New sound-objects are introduced (fig. 4.20) and the second form-field consist of a broader
complications of elements. The illustrated sound-objects are far more detailed in this summary,
compared to the first form-field; the music has a less accessible designation of transformation in the
occurring sound-objects (L1). Nevertheless, the play between complex and pitched objects consists
of many opposed elements:
first example being ##/#####, or the last example being ############.
The third dynamic-model looks peculiar; it consists of a large, emphasized tendency
involving smaller dynamic tendencies of the original analysis. While being an unusual figure, it is
used to limit the reduction of structural transformations of harmonicity. However, on this section
one may easily notice a gradual expansion of harmonic complexity, with the exception for the
ending-segment of consonance, before reaching a large complexity. This last increasing tendency

with consonance functions as a suspension of the goal ( ##), as it further directs the listener
until it reaches a designated ending with large complexity. A similar increasing tendency of form
can be made of these successive dynamic models (fig. 4.20 - higher dynamic model).

46
 Figure 4.21 - Third form-field (Draugsvoll) 6' 51''-11' 39''

If the second form-field is regarded as an advancement of sound-object-transformations,

then the third form-field can be considered a retrogression.91 The first half of the analysis depicts a
development of different monophonic sound-objects (fig. 4.21);
1.Field2 : air-sounds marked as unvoiced complex sounds ( )
2.Field2: tone glissandi marked as variable, sustained pitched sound (S )
3.Field2 : 1) cluster marked as stable, sustained complex texture ( ###), 2) interval-based recitative
marked as stable, sustained pitched sound (###).
The monophonic sound-objects creates an absence of harmonicity, with an exception of the
texture.
Furthermore, a certain confrontation of dichotomic sound-objects emerge; the complex
texture and the pitched chord. The harmonic colors depict a development from consonance to
complexity, because the chords are heard as more prominent than the simultaneous cluster. A further
separation of the opposites occur ( .#######), with a recurring emphasis of complex textures
( .###########). However, the last sentence-field illustrates the pitched chord as a remaining
sound-object. This is illustrated with yellow and light-green marks, which represents a slight

91 Definition: the process of returning to an earlier state, Oxford Dictionary of English.

47
dissonant tension. The last compound sound-object (##) requires a mention in the aural analysis,
as it receives a special attention from the listener. This means that the pitched chord is heard as a
background to the composite sound-object, appearing as designated end. This is a contrast to the
quite similar ending of the first form-field, which ended with a complex texture. Given that there are
no harmonic or melodic transformations in the ending, meaning that both the chord and the melodic
pattern repeats and does not change, the composite sound-object is illustrated as the last timbral sign
in the form-analysis. The declining calmness of dynamics in the last sentence-field reduces the
previously established increasing tendency of dynamic form, and provides a more calmer ending of
the third form-field (fig. 4.21 - higher dynamic model).

48
Form analysis of De Profundis
Geir Draugsvoll (1992)

49
4.4 Introduction to exosemiotics as-heard

I will seek a phenomenological approach into the field of musical semiotics presented by
Thoresen as an approach called Exosemiotic of music-as-heard. The term exosemiotic or
exosemantic is referred in this context to the way music is associated with entities beyond its own
material and inherent structure. An oppositional approach is a taxonomic description of entities that
would be identified as endosemantic.92
Endosemantic elements will serve as a description of the signifier (the perceptible sign) that
will associate an exosemantic signified (the hidden meaning of the sign). These are two aspects out
of three in total, which consists inside the definition of a musical sign; the manifest aspect
(signifier), the hidden aspect (signified) and the link between them (the semiosis). Thoresen further
defines semiosis as the nature of the mental act that joins the signifier and the signified, and can be
identified as being the listening intentions that imbue what we hear with meaning. Mankind is
creators that transcend the immediate percept in order to associate meanings that are the matter of
the mind. Man is distinct from the animal by its mastery of intricate sign systems and languages,
and the life of mankind could be seen as an endless process of interpreting reality through
perception and thinking. The intentional act that lies under the creation of meaning is what defines
semiosis.93
Three primary semioses will be used as listening intentions; causal inference (abbreviation:
INFER), connotation (abbr. CONNOT) and comparison (abbr. CMPAR). The primary semiosis
casual inference can be described as "reason[ing] to the conclusion that something is, or is likely to
be, the cause of something else".94 Comparison as a semiosis concerns the connection of comparing
a signifier, such as a perceived sound, with something outside the music itself; a descending minor
third interval, may be compared to a cuckoo. If a listener interprets a musical imitation of symptoms
of feelings, the semioses is often recognized as CMPAR and INFER. This is because we have to
deal with a phenomenon that is similar to the symptoms caused by the feeling.
In the article Exosemantic Analysis of music-as-heard, Thoresen uses the term association,
but in this context it is replaced with connotation. This term is preferred as it represents the
associated or secondary meaning of a word or expression in addition to its explicit or primary
meaning. A possible connotation of 'home' can be 'a place of warmth, comfort and affection'.

92
Thoresen, Exosemantic Analysis of music-as-heard, Meaning and Meaningfulness in Electroacoustic
Music, (Stockholm, June 2012), 2.
93 Thoresen, Emergent musical forms, 95.
94Encyclopedia Britannica, s.v. "causal inference", 06.05.2017. https://www.britannica.com/topic/causal-
inference.
50
 The secondary semiosis is a further specification of the circumstantial process of the
interpretation. Thus, a degree of conventionality of the sign will be indicated, spanning from full
openness (a new sign which is not defined) to clearly defined semiosis (such as a national
anthem).95 In the semiotic model we will use four different categories; open interpretation (F0),
conventional interpretation (F1), coded interpretation (F2) and opaque interpretation (F3).
The secondary semioses opens the interpretation of signs to a process of historical change, as new
things tend to be stylized, coded and eventually taken for granted. One example is the interpretation
of the swastika-symbol, which has been an important symbol for Hindus and Buddhists in India and
other Asian countries for many thousands of years, before it became used of one of the most hated
men on Earth and has since been highly stigmatized because of its association with Nazism.

Thoresen addresses a diagram to depict the constitution of musical signs, as presented in the next
figure (4.22). The three levels of articulation (sound-object, compound sound-patterns and form-
building-patterns) are represented to categorize different manifest aspects (signifier).

Signified: Primary semioses: Secondary semiosis/ Fixity of

(to be described in each case) Interpretation:
S
Signifier levels: E F0 Open interpretation
Causal Inference
Level 1 M F1 Conventional/habitual interpretation

Energy Substance Shape

I Connotation F2 Coded (or lexical) interpretation
O
Level 2 Comparison F3 Opaque interpretation (original meaning
S forgotten)
Energy Substance Shape
E
Level 3 S
Energy Substance Shape

Figure 4.22 - The constitution of musical signs 96

4.5 Sound-objects, harmonicities and dynamic forms

Three musical elements will be considered as primary signifiers in this exosemantic interpretation
of Geir Draugsvoll's performance of De Profundis; the consideration of character-relations between
sound-objects (L1), the consideration of harmonic color (L2) and the dynamic forms (L3) created by
the performer. The perceived meaning of these musical elements depends on whether one intends a

95 Thoresen, Exosemantic Analysis of music-as-heard, 3.

96 Ibid.
51
 spiritual interpretation, or simply a portrayal of the musical elements as gestures without a semantic
frame of reference. I intend to provide examples of both, though coded interpretations (F2) in
relation to spiritual symbolism will be of first concerns, as it is implied through the title of the piece
and the influential intentions from the composer's personal beliefs.

4.6 Exosemantic indications

The next model depicts the process of this artistic research.

SUBJECTIVE PRAGMATIC
REFERENCE REFERENCE

Music-as-heard Endosemantic Exosemantic Gubaidulina's

analysis interpretation spiritual references

Perceiving the music-as-heard is the groundwork to the next stage; endosemantic analysis of the
material. Both of these stages are reached and we are currently positioned at the starting point of the
exosemantic interpretation. This stage consists of connections between the endosemantic analysis
and the spiritual references of Gubaidulina. These references are exosemantic impulses and
indications based on the influence of Gubaidulina's spiritual world, introduced in her biographical
chapter.

4.7 Psalm 130

A further essential reference of exosemantic indications is the text of Psalm 130, which relates to
the title of the interpreted work. An exosemantic interpretation of a musical piece is certainly
conditioned by subjective references; therefore, this text may be used as a pragmatic reference and
ambition as it is targeted by the composer herself. The intention of interpretation in this context is
justified, in some measures, with the text as an authentic source of exosemantic indications.

52
Psalm 130 - New International Version (NIV)97

A song of ascents.

1 Out of the depths I cry to you, Lord;

2 Lord, hear my voice.
Let your ears be attentive
to my cry for mercy.
3 If you, Lord, kept a record of sins,
Lord, who could stand?
4 But with you there is forgiveness,
so that we can, with reverence, serve you.
5 I wait for the Lord, my whole being waits,
and in his word I put my hope.
6 I wait for the Lord
more than watchmen wait for the morning,
more than watchmen wait for the morning.
7 Israel, put your hope in the Lord,
for with the Lord is unfailing love
and with him is full redemption.
8 He himself will redeem Israel
from all their sins.

97Holy Bible, New International Version®, collected 22/04 at

https://www.biblegateway.com/passage/?search=Psalm+130.
53
 4.8 Exosemiotic analysis of De Profundis
The numbers inside the parenthesis indicate the seconds and minutes of the aural analysis.

[0' 02"]

##
Signifier: Primary semiosis Secondary semiosis Signified
Iterated stable sound CMPAR+INFER F2 Anxiety, Introversion
(L1)
Complex sound in CMPAR+CONNOT F2 Depths, Sin
low register (L1)
Oblique accel./rit. CMPAR F2 Sermoning
(L1)

[2"-58"]

Signifier: Primary semiosis Secondary semiosis Signified

Slightly brighter CMPAR + INFER F2 Desire of
harmonicity (L2) disentanglement
Increasing dynamic CMPAR + F2 Effort of calling/
tendencies (L3) CONNOT crying

[1" 01"] 

Signifier: Primary semiosis Secondary Signified
semiosis
Variable sound(L1) CMPAR + INFER F2 More extrovert,
Calling

[1" 01"-1" 15"]

54
 Signifier: Primary semiosis Secondary Signified
semiosis
Related tendencies CMPAR + INFER F2 Calling to the Lord,
(L3) More intensity

[1" 18"]

##
Signifier: Primary semiosis Secondary semiosis Signified

Recurring stable CMPAR + INFER F1 Back to the beginning,

sound-object (L1) Repudiation

[1" 27"-2" 29"]

Signifier: Primary semiosis Secondary semiosis Signified

Variable sound (L1) + CMPAR+INFER F2 More extrovert, calling
emphasized quicker to Lord
tendencies (L3)
Stable sound (L1), CMPAR+CONNOT F2 Renunciation
declining tendency
(L3)
Dyad (L1), consonance CMPAR+INFER F2 Light, Hope of
(L2) +CONNOT forgiveness
Gradual integral CMPAR+INFER F2 Hope and fear,
texture of both pitch +CONNOT Longing of
and clusters (L1)+(L2) redemption

55
 [2" 30"] ####
Signifier: Primary semiosis Secondary Signified
semiosis
Pitched CMPAR+INFER F2 Joy, Reverence
chord(triad)(L1) +CONNOT
[2" 38"]

##
Signifier: Primary semiosis Secondary semiosis Signified

Composite sound- CMPAR + CONNOT F2 Bird song, Morning

object (L1) +
Dissonance with chord
(L2)

[2" 30"-3" 53"]

Signifier: Primary semiosis Secondary semiosis Signified

Increasing tendency CMPAR + F2 Crying for mercy

(L2+L3) CONNOT
Complex texture in CMPAR + INFER F2 No redemption yet,
high register (L1+L2) Sinfulness

[3" 54"-4" 58"]

..
//

.# ### #/#### # 

Signifier: Primary semiosis Secondary semiosis Signified
Impulse + moderate CMPAR+INFER F2 Shivering, Whole
fast dynamic gait (L1) being waits
Sustained variable (L1) CMPAR+INFER F2 Wondering, Awe
Stable dyad + CMPAR+INFER F1 Calling, Tense,
moderate/middle Collapse
dynamic gait +
56
variable sharp onset
(L1)
[3" 54"-4" 47"]
 ####

Signifier: Primary semiosis Secondary semiosis Signified

Silence (L1) CMPAR+INFER F2 Abandoned, Waiting

+CONNOT
Shorter tendencies CMPAR+INFER F1 Careful, Indecisive
(L3)
Increasing tendencies CMPAR+INFER F1 Initiative, Eager
(L3)

.
### 
[4" 48"]

Signifier: Primary semiosis Secondary semiosis Signified

Stable energy + INFER+CONNOT F2 Calling, Collapse

impulse (L1)

[5" 05"-5" 27"]


#################.
### ####
##
Signifier: Primary semiosis Secondary semiosis Signified

Iterated homophony + CMPAR+CONNOT F1 Unified, Rushing

oblique ripple time
(L1)

Regular iterated pitch CMPAR+INFER F1 Persistent, Distressed

+ trills (L1)
Sustained melody+ CMPAR+INFER F1 Aspire, Eruption,
oblique ornaments + Collapse
sharp onset (L1)

57
 [5" 28""]
.
###
Signifier: Primary semiosis Secondary semiosis Signified

Recurring object in CMPAR+INFER F2 Continuing his calls

higher register: and collapses to the
Stable energy + Lord
impulse (L1)

[4" 48"-5" 35"]

Signifier: Primary semiosis Secondary Signified

semiosis
Longer tendency- CMPAR F2 Struggle for
lower model (L3) +CONNOT redemption

[5" 36"-5" 56]

#### # ### # ######
#### ###
Signifier: Primary semiosis Secondary semiosis Signified

Imitating melodic CMPAR+CONNOT F2 Repeating message to

patterns + trills (L2) the Lord, Sweating

Heterophony, trills CMPAR+INFER F2 Unrestrained,

(L2) Sweating
Rit. INFER+CONNOT F2 Dilapidation, Despair

[5" 57"-6" 19"]

### #########

58
 Signifier: Primary semiosis Secondary semiosis Signified
Composite complex CONNOT F1 Disorder, Untidiness
sounds (L1)
Iteration (L1) CMPAR+INFER F1 Distinctive, Focus
Accel. (L1) CMPAR+INFER F1 Unmistakable,
Targeted

[6" 20"]

### #
####
Signifier: Primary semiosis Secondary semiosis Signified
Major chord(L1) CONNOT F2 A sign of the Lord,
Belief, Hope
Melodic pattern (L1) CMPAR + CONNOT F2 Message, Agony
+ dissonance (L2)

[6" 42"]
# S
Signifier: Primary semiosis Secondary semiosis Signified

Complex CMPAR+INFER F2 Agony,

descending sound Disintegration
(L1)

[5" 35"-6" 50"]

Signifier: Primary semiosis Secondary semiosis Signified

Complex CMPAR+INFER F2 Peak of agony
harmonicity (L2)
Consonance (L2) CMPAR+CONNOT F2 Connection with the
Lord
Ends with CMPAR+INFER F2 Drained, Exhausted
complexity (L2)

59
[6" 55"-7" 27"]
##################
S
S
Signifier: Primary semiosis Secondary semiosis Signified
Unvoiced element (L1) CMPAR+CONNOT F2 Breathing, Left alone
Tone glissando (L1) CMPAR+INFER F2 Worried, Deserted
+CONNOT
Vibrating pitch (L1) CMPAR +INFER F2 Shivering, Lonesome
Stable pitch (L1) CMPAR +INFER F2 Precarious

[6" 55"-7" 27"]

Signifier: Primary semiosis Secondary semiosis Signified

Faint direction of CMPAR+INFER F2 Questionable,
tendencies (L3) Disoriented

[7" 50""]
########
Signifier: Primary semiosis Secondary semiosis Signified
Complex texture (L1) CMPAR +INFER F2 Pain

Pitched sound (L1) CMPAR+CONNOT F0 Echoed reflection

[8" 07""]

Signifier: Primary semiosis Secondary semiosis Signified

Directional tendency INFER+CONNOT F0 Prayer to the Lord
(L3)
Absence of CMPAR+INFER F1 Separation,
harmonicity (L2) Unknowing, Waiting
for the morning
[9" 45""]
60
 [9" 45""]

## #### #

Signifier: Primary semiosis Secondary semiosis Signified
Major chord + CMPAR+INFER F2 Hope, Passion
cluster (L1) +CONNOT
Iterated variable CMPAR+INFER F1 More extrovert,
sound (L1) Calling
Transformation from CMPAR+INFER F1 Discharged
chord to cluster (L2)

[9"45"-10"49""]

Signifier: Primary semiosis Secondary semiosis Signified

Prominent CONNOT F2 Blessings

consonance (L2) +
increasing tendencies
(L3)
Gradually increasing CONNOT F1 Expelled sins
clusters (L2) +
presence oriented
tendencies (L3)
Static consonence CMPAR+INFER F2 Assurance,
(L2) Fulfilment
Consecutive CMPAR+CONNOT F2 Brightness,
consonance and Gratification
dissonance (L2)

[10" 55"]
####
Signifier: Primary semiosis Secondary semiosis Signified

Composite sound- CMPAR + CONNOT F2 Bird song, Morning

object (L1) +
Dissonance with chord
(L2)
61
[10"50""-11"30""]

Signifier: Primary semiosis Secondary semiosis Signified

Persistent harmonicity CMPAR+INFER F2 Unfailing love,
(L2) Redemption,
Slight fusion of CMPAR F2 Brightness, Bliss
dissonance (L2)

[11" 20"-11' 40"]

########
###

Signifier: Primary semiosis Secondary semiosis Signified

Rit. + textural CMPAR+INFER F2 Resting, Becoming
integration (L1) one with the Lord

4.9 Conclusion regarding the semiotic interpretation

The work appears to form a kind of narrative line, where the play between harmonic colors and
sound-characters conducts an essential outline for interpretation, since both elements operates as
perceivable dichotomies. Signified indications are also highly determined by the interpretational
performance. The segments of form-fields reveals three chapters of framework, where the
endosemantics of the story suggest a conflict between states of iterated energy and complex
textures, versus sustained energy and consonant harmonies. Proceeding one step further above the
interpretation of endosemantic structures, one could reasonably interpret these exosemantic
indications and impulses.
The next page depicts a collection of the most distinctive signified indications of the
performance with sentence- and form-fields.

62
 4.10 De Profundis (Geir Draugsvoll): Signified indications and fields

Depths, Sin Desire of disentanglement Calling to the Lord, More intensity Light, hope of forgiveness Joy, Reverence Crying for mercy

Sermoning Back to the beginning, Repudiation Renunciation Hope and fear, longing of redemption Bird song, Morning No redemption yet,
Sinfulness

[0' 02"] [1' 00"] [2' 30"]

A sign of
the Lord, Drained,
Distinctive, Belief, Exhausted
Shivering, Whole being waits Careful, Indecisive Calling, Collapse Persistent, Distressed Dilapidation, Despair Focus Hope

Wondering, Awe Calling, Tense, Struggle for Repeating message to Disorder, Unmistakable, Peak of agony,
Initiative, Eager Unified, Rushing
Collapse redemption the Lord, Sweating Untidiness Targeted Disintegration

[3' 54"] [4' 12"] [4' 27"] [4' 48"] [5' 06"] [5' 36"] [5' 57"] [6' 20"]

More
extrovert, Blessings Brightness,
Breathing, Separation, Unknowing, Unfailing love, Redemption,
Precarious Pain calling Gratification
Left alone Waiting for the morning

Worried, Questionable, Prayer to Hope, Passion Assurance, Bird song, Morning Resting, Becoming one with the Lord
Deserted Disoriented the Lord Discharged Fulfillment

[6' 55"] [7' 17"] [7' 50"] [9' 45"] [10' 21"] [11' 40"]

63
5 Method Part II
5.1 Terminology
These sections may provide information to the reader in order to comprehend the
terminology of the signs that occurs in the aural analyses of Sonate: Et Exspecto. This chapter may
serve as a continuance of the crash course in aural sonology intended in part one of the method
chapter, including a proposal for new sign-concepts.

5.2 Melodic fragments - level two

An emerging musical dimension of melodic fragments may be perceived in parts of Et
Exspecto. These perceived motions of sound-patterns are established from intervals in motion. They
are not limited to specific pitches and durations, nor are they necessarily heard as recurring pitch-
intervals. However, it is a criterion that a given degree in similarity of intervals are established, so
the listener may recognize it as an established recurring fragment of motion. I wish to propose a
creation of typology that may clarify these events.

Figure 5.1 - Fragment A

Fragment A represents a regular falling pattern of intervals that ends with a rising interval (fig. 5.1).
The sign could be applied to different intervals that fulfil the criteria of the illustration, which in this
context is perceived as an even direction for the listener (preferably diatonic or chromatic scales). In
Et Exspecto, this fragment is defined as a declining chromatic motion, followed by an increasing
chromatic interval. A bulging chord is illustrated underneath, articulated through the typology of
level one (spectromorphology). This sign indicates that each presented pitch of the declining
chromatic motion is held sustained, thus creating a texture of the fragment.98

Figure 5.2 - Fragment B

The second sign represents an oblique falling pattern of intervals (fig. 5.2). Opposed to Fragment A,
it is not perceived as an even direction; each note is repeatedly falling and rising. In Et Exspecto,

98The definition of a musical texture provides how the melodic, rhythmic and harmonic materials are
combined.
64
this oblique falling motion can be identified both as a falling whole-tone interval and a rising
chromatic-interval (Et Exspecto, 5th movement), or a larger falling interval (minor third, major third
or fourth) and a rising chromatic-interval (Et Exspecto, 2nd movement). Thus, each falling note
establishes a greater distance that is aurally perceived. This figure (5.2) does not involve a depiction
of a level-one bulging chord, and is perceived singularly as a melodic fragment.

Figure 5.3 - Fragment A inverted

The third sign represents an inversion of fragment A (fig. 5.3). In the analysis of Et Exspecto, it
represents an even rising pattern of close intervals that end with a falling close interval.

Figure 5.4 - Fragment B inverted

The fourth sign represents an inversion of fragment B: an oblique rising pattern of intervals (fig.
5.4). In the analysis of Et Exspecto, it represents a larger, rising interval, followed by a shorter,
falling interval.

Figure 5.5 - Fragment C

The fifth sign represents a falling pattern of two intervals (fig. 5.5). In Et Exspecto, this motion is
manifested as a chromatic interval (even motion), followed by a major third-interval which is
perceived as a higher leap.99

Figure 5.6 - Fragment C inverted

The sixth sign represents an inversion of fragment C (fig. 5.6): A rising pattern of two intervals, a
major-third motion followed by a chromatic motion (Et Exspecto).

99 A familiarreference to this melodic fragment could be the identical melodic leitmotif that often
characterize the works by Edvard Grieg.
65
 Figure 5.7 - Fragment D and inversion
The seventh sign represents a rising chromatic pattern of chromatic intervals (fig. 5.7), while the
eighth represents an inversion; a descending pattern of chromatic intervals (Et Exspecto).

5.3 Flux - level two

Thoresen situates flux as an endosemantic category, or the contextual meaning, arising
between opposites of flow and friction.100 This contextual meaning deals with the impression of
smoother flow or more friction in different musical dimensions of time structures. The examples
provided in Emergent Musical Forms are:

- transition from slower to faster rhythmical values

- from irregular to regular movement
- from staccato/marcato character to legato character101

The following signs are used for aural analysis of flux:

1) For use on the levels of object-fields and phrase fields:

stop more friction less friction flow

## #################################### ############################
####
###### ################ ###
Figure 5.8 - Flux (object-fields and phrase-fields)102
2) For describing the general character of a sentence-field or a form-field:

stop more friction less friction flow

## #################################### ############################
####
###### ########### ##### #####
Figure 5.9 - Flux (character of sentence-field or form-field)103

100 Thoresen, Emergent musical forms, 347.

101 Ibid.
102 Ibid.
103 Ibid, 348.
66
The signs may be interpreted as arrows pointing backwards (left), indicating friction, and arrows
pointing forwards (right), indicating flow.

Since the context of analysis in this part will focus on different examples of interpretations and less
on collectively larger forms, the analysis is limited to phrase-field considerations. In spite of the
analyses' lack of larger fields, the interpretation of general flux-character will in some examples be
provided. Also, the work Et Exspecto deals with great separation of phrases through silence, as well
as the oppositional large conjunctions of phrases. Therefore, a hermeneutic decision is made to
approach the consideration of fields as it is interpreted in the isolated examples. A flux character
description (fig. 5.9) will therefore be placed underneath the phrase-fields, while the first flux-signs
will be placed over the phrase-fields (fig. 5.8).

5.4 Enfold versus unfold - level two

As a distinction from the previous method of considering time structures of music (flux),
this contextual meaning is more intently related to harmonic, melodic and timbral dimensions.104
The help of other characteristics by Thoresen describes the general focus in this category, as the
terms enfold/unfold is not immediately obvious for the reader:

enfolded unfolded
enclosed open
sombre bright
clustered expanded
constrained released

Notation: m########

Figure 5.10 - Enfold versus unfold105

The arrow between the symbols suggests a transition or a movement towards change.
Thoresen situates several different musical dimensions that could be perceived as the enfold-unfold
effect:
- a minor tonality is more enfolded than a major tonality
- small melodic intervals are more enfolded than a higher ones
- a nasal instrumental timbre is more enfolded than a bright one
- voices moving in opposite directions towards each other are more enfolded than voices
moving in opposite directions away from each other

104 Ibid.
105 Ibid.
67
 - mediant-oriented harmony more unfolded than normal fifth and fourth relations within a
single tonal plan106

The author articulates the importance of interpretation in context and the characteristics
should not be taken dogmatically, indicating that the list of specific dimensions is not completed.
The music of Gubaidulina includes a broad harmonic spectrum, ranging from clear consonant
harmonies to more dissonant-colored chords, which will require new characteristics of
interpretation in regard to the effect of enfold-unfold. A perception of a dissonant major harmony
(that still is perceived as a major harmony) will be considered as brighter and unfolded in
opposition to a consonant minor harmony.

5.5 Concord versus discord - level two

This third and last applied method of contextual meaning concerns interpretations of
conflicts occurring in single musical dimensions, such as dissonant intervals or disturbances of
metrical functions.107 This sign can be highly relevant in the combination of enfold-unfold
interpretation, as it may articulate the difference between, for example, an enfolded-concord
harmony and an unfolded-discord harmony.

Concord Discord
#############

Figure 5.11 - Concord versus discord 108

106 Ibid, 348.

107 Ibid, 349.
108 Ibid.
68
5.6 Form-building processes and form-building transformations - level three

5.6.1 Form-building processes

Form-building processes is the description of play with patterns of similarity and contrast.
Traditional analysis of musical forms in Western classical music, has had a prevailing approach
towards «thematic form». The method of sonology prefers the term «form-building processes»,
since other genres, such as contemporary music or sound-based music, may not use themes in the
traditional manner. Still, it may be fruitful to describe relationships based on similarity and
contrast.109
Thoresen situates the traditional approaches on three relationships fundamental to form-
building processes: recurrence, variation and contrast. A representation may be established as
AA, AA’ and AB, suggesting relationships spanning from greater similarity to greater difference.
He further presents six degrees of similarity/dissimilarity which intend to clarify relationships with
more sufficient accuracy of form-building processes, especially in contemporary or sound-based
music.

Concepts Definitions Signs Expressions Traditional concepts

Recurrence Exact similarity  a ##a AA

An element is repeated (Recurrence)
exactly.

Slightly varied Greater similarity  a## a A A or A A’

recurrence An element is slightly (Recurrence or
varied and easily variation)
recognised.

Strongly varied Remote similarity  a# #a’ A A’

recurrence An element is much (Variation)
varied and not so easy
to recognize as the
same.

Related contrast / Very remote  a# #a’ AB

medium contrast similarity (Contrast)
The element is a# #b
perceived as a contrast,
yet as related.

Great contrast Dissimilarity  a# #b AB

The element is (contrast)
perceived as very
different, without any
evident relationship.

Unrelated contrast Strong dissimilarity  a ##b ?

The element is
perceived as entirely
unrelated.

109 Ibid, 447.

69
 Figure 5.12 Degrees of similarity / dissimilarity110

5.6.2 Typology of form-building elements

Musical form is perceived through the aural experience of relations between certain constituent
elements. Form-building elements are a descriptive tool in aural sonology that serves to characterize
the complexity of elements.
These elements are often established through melodic and rhythmical lines that are
perceived in the foreground layer(s).111 A definition of different layers in music shall be presented
before continuing the topic of form-building elements.

The ear is capable of perceiving several simultaneous layers of sounds and these layers may have
different functions.112 A foreground or background layer is a description of a musical orientation of
what the listener singles out as foreground or background, much like a viewer would regard in
visual fields. Thoresen situates examples in chapter seven (layers and their functions) where he
claims that the listener will prefer medium short sounds as foreground when they occur
simultaneously with long sounds. An intensive sound profile, vivid motion or significant changes
would easily be singled out as foreground opposed to others that don't. Form-building significance
may be obtained by musical textures, such as a chord or cluster. There is also a gradual transition
between line and texture, such as lines being superposed to appear like a texture.113
Therefore, the discourse of complexity of form-elements is applied both to lines (melodic and
rhythmic elements) and to textures.114 The next models depicts how the typology of form-building
elements is based on their complexity (fig. 5.13 and 5.14).

110 Ibid, 448.

111 Ibid, 453.
112 Ibid, 379.
113The term superposed is defined by placing something on or above something else, so that they coincide.
However, the term superimposed is defined by placing one thing over another, typically so that both are still
evident. First, the term superposed should suggest less conspicuous parts that acts simultaneously, so it may
be perceived as a combined texture. Second, the term superimposed should suggest a conflict between the
simultaneous parts, causing them to be observed as separate parts and thus creates an entirety that is more
external and alien.
114 Ibid, 454.
70
 MELODIC ELEMENTS, LINES TEXTURES

Complexity Integral Partitioned Integral Partitioned

     
Very complex

     
Relatively
complex

     
Moderately
complex

     
Relatively
simple

     
Very simple

Figure 5.13 Typology of form-building elements 115

The following examples of lines and textural definitions are stated by the author and may serve
useful in order to interpret how a listener may categorize the complexity of form-building elements
(fig. 5.14).

Complexity Lines (examples) Textures (examples)

Very simple elements Repetitive figures with one or a Single chords, monophony or basic
couple of pitches and even homophony.
rhythmical values such as very
simple accompaniment figures.

Relatively simple elements Articulated yet simple figures such as Heterophony, or homophony with
scales/passages or refined slight polyphonic elements.
accompaniment figures.

Moderately complex elements A classical, simple theme. A simple two-or three-part

polyphony.

Relatively complex elements Complex themes with great diversity Complex polyphony.
of pitch and rhythm.

Very complex elements Extremely asymmetric/irregular lines Accumulations in electroacoustic and

using a large number of values in an avant-garde music.
unpredictable manner.

Figure 5.14 Definitions and examples116

115 Ibid, 455.

116 Ibid, 454.
71
5.6.3 Defining textures
The next model shows the different musical textures, used as examples in the previous figure (5.6).

MONOPHONY

HETEROPHONY POLYPHONY

HOMOPHONY

Monophony is the simplest of musical textures. It consists often of a melodic pattern played or sung
by a single instrument or voice. Still, the term homophony is associated with the concord and
alignment between voices in the texture, compared to the term monody that speaks of a solely
soloistic role of the melody. The term monophony may therefore serve as both a single melodic line
either performed collectively (octaves) or unison.
Homophony is a texture where multiple parts (of different pitch) generally move in the same
rhythm and is also referred to as chordal music.
Heterophony represents multiple parts that use the same melodic material, but somewhat at
different times. In this context, any vertical alignment of intervals is coincidental and not important.
Polyphony means music with more than one part, where rhythmic distinction and
independence are the criteria for each part.117
The scale of complexity may to some degree be considered relative to the composition that
is being analyzed.118 This is an essential reminder for a listener approaching form-building elements
with hermeneutic intensions. A form-element, such as a classical theme, will often be presented in
its integral form, and then be broken down by being partitioned into smaller motives. One example
of this is the opening of the famous march from Prokofiev's opera The Love For Three Oranges:

117Todd M. McComb, "What is monophony, polyphony, homophony, monody etc.?", Medieval Music &
Arts Foundation, http://www.medieval.org/emfaq/misc/homophony.html (28.03.17).
118 Thoresen, Emergent Musical Forms, 454.
72
 MOTIVE A
 MOTIVE B PARTITIONING
   
THEME

Figure 5.15 Sergej Prokofiev, March - Illustration of form-building elements119

When a theme is partitioned, a form-building transformation may be observed. Thoresen presents

many different processes that may occur, such as simplification, complication, integration,
fragmentation et cetera. Any form-building transformation that occurs in the analyses of
Gubaidulina, will be reflected and explained. The reader is suggested to read more about form-
building transformations in chapter nine of Emergent Musical Forms or read a summary at the
website for further study.120
A form-segment may also appear distinctive, meaning that it sets it apart from other segments in
context. The analytic tool used to define a form-segment distinctive, is to consider the articulation
of the object. If it is strongly articulated, then the sign is marked with a horizontal line.

   
Figure 5.16 Articulated form segments of Prokofiev's example

The example of Prokofiev's march is more precisely illustrated with a distinctive interpretation of
the opening segment. If a different character of form-element appears unarticulated, it shall be
considered anonymously and will not be assigned a horizontal line.

119
The example illustrates a harmonic reduction of the orchestral score, originally arranged by Bjarke
Mogensen for solo accordion, bar 3-6.
120 www.auralsonology.com.
73
6 Et Exspecto
With the following chapter, I intend to provide knowledge concerning multiple
interpretations of the selected work. Unlike the extensive analysis of De Profundis, the aim of this
study is to compare shorter examples in order to illuminate different choices made by the
performers and how these choices are perceived through sonic and structural elements. This leads to
the question of how different interpretations may represent different metaphors. The material may
hence be interpreted exosemantically in search for a spiritual meaning. The analyses and
exosemiotic interpretations will be presented with selections from each movement (I-V) and include
chosen recordings of the following performers: Friedrich Lips (1992), Geir Draugsvoll (1995), Iñaki
Alberdi (2011) and myself, Andreas Angell (2015).121
A presentation of both Friedrich Lips and Geir Draugsvoll has been previously established,
thus a short introduction of the performer Iñaki Alberdi is provided in the next text.

6.1 Iñaki Alberdi

The Spanish accordionist completed his education under Friedrich Lips and Matti Rantanen
at the International Centre for Accordion Studies, the Gnessin Institute in Moscow, and the Sibelius
Academy in Helsinki. Alberdi has collaborated closely with different current composers, and
premiered works by Sofia Gubaidulina, Karlheinz Stockhausen, Luis de Pablo, Jesús Torres and
many other leading contemporary composers from Spain. He has currently published six recordings
and was nominated for the Gramophon Editor’s Choice Award for his monographic record on Sofia
Gubaidulina.122
I have chosen to not conclude thorough analyses of every performer's action in each
movement, but preferred to compare two interpretations with each other. The selection of
interpretive examples are:
1st movement, opening: Alberdi versus Angell, 1st movement, ending: Draugsvoll versus Lips.
2nd movement, opening: Angell versus Alberdi, 3rd movement, opening: Draugsvoll versus Lips.
4th movement, opening: Angell versus Lips. 4th movement, ending: Draugsvoll versus Lips,
5th movement, whole: Alberdi versus Lips.
My choices are not necessarily systematic, but they are selected interpretations I find

121 Sofia Gubaidulina, Friedrich Lips, ET EXSPECTO, 1992, Classical Accordion CD.

Sofia Gubaidulina, Iñaki Alberdi, Gubaidulina: Kadenza, 2011, EtCetera-Records.

122 Biography, MUSIESPAÑA, http://www.ialberdi.com/en/biography/ (30/04/17).

74
interesting to compare, as they could be very different. I will advice the reader to listen to the
assigned video link, as the text clarifies emerging musical forms which is heard and not easily seen
in the text itself (http://bit.ly/2prw7y4).
6.2 The title
The title Sonate: Et Exspecto refers to the second last line 'Et exspecto resurrectionem
mortuorum' (I look for the resurrection of the dead), in the Nicene Creed. In the Orthodox Church
the creed is usually called The Symbol of Fate and is widely used in Christian liturgy. In English,
the sentence is often translated as 'I look for the resurrection of the dead, and the life of the age to
come' (…, Et vitam venturi saeculi). The word creed origins from the Latin credo meaning "I
believe", and the meaning of The Symbol of Faith is 'bringing together', 'expression' or 'confession'
of the faith.123 The different endosemantic indications of Et Exspecto could be interpreted
exosemantically in context to this reference of the Nicene Creed.124
However, the exosemantic interpretation will be limited to the general character of each
performance and common semantic elements that occur in both performances. As the analysis
concerns parts of the sonata and not the whole, exosemantic references to the Nicene creed will
serve as an inspiration, though less emphasized as a structure of meaning.

I believe in one God, Father Almighty, Creator of He ascended into heaven

heaven and earth, and of all things visible and invisible. And is seated at the right hand of the Father;

And in one Lord Jesus Christ, the only-begotten Son of And He will come again with glory to judge the living

God, begotten of the Father before all ages; And dead. His kingdom shall have no end.

Light of Light, true God of true God, begotten, And in the Holy Spirit, the Lord, the Creator of life,

Not created, of one essence with the Father Who proceeds from the Father, Who together with the

Through Whom all things were made. Father and the Son is worshipped and glorified, Who
spoke through the prophets.
Who for us men and for our salvation
Came down from heaven and was incarnate In one, holy, catholic, and apostolic Church.

Of the Holy Spirit and the Virgin Mary and became man.
I confess one baptism for the forgiveness of sins.

He was crucified for us under Pontius Pilate,

I look for the resurrection of the dead,
And suffered and was buried;
and the life of the age to come.
And He rose on the third day, according to the Scriptures.

Amen.

123"The Nicene Creed", Orthodox Church in America, https://oca.org/orthodoxy/the-orthodox-faith/

doctrine-scripture/the-symbol-of-faith/nicene-creed (30/4/17).

124"The Nicene Creed", Greek Orthodox Archdiocese of America,https://www.goarch.org/-/the-nicene-creed

(30/4/17).
75
6.3.1 Aural Analyses: 1sth movement - opening
Performers: Iñaki Alberdi/Andreas Angell

Figure 6.1 - Alberdi 0'01''-0'47'', 2nd video, http://bit.ly/2prw7y4125

The figure (6.1) displays a certain play between reappearing clusters and air-sounds in
expansion. These elements are perceived as separate object-fields (object-field focus), as the air-
sounds are perceived with distinct articulation (illustrated with the sign gradual onset/swelled onset
on unvoiced sound-object). Distinct articulation is further perceived on the different brusque onsets
indicated in the analysis. The appearing character of the cluster is performed as bulging pitches
transforming into a texture (L1). The sign for spectral brightness is interpreted in this context to
illustrate register, and this specific example depicts a bright register for the texture (L1). The vertical
lines across the prolongation line indicate the marked reappearance of the sound-object.

Figure 6.2 - Angell 0'01''-0'56'', 3rd video, http://bit.ly/2prw7y4126

125Sofia Gubaidulina, Sonate Et Exspecto, Musikverlag Ulrich Schmülling (Deutschland), score, page 1, bar
1-5.
Page 1 refers to first page of notated score.
126 Ibid.
76
 In this figure (6.2), the play between cluster and air-sound are perceived as a combined
phrase-field (phrase-field focus); it may be heard as an aligned reflection of silence that the texture
leaves behind, as regards to its indistinctive character (illustrated as a faint tendency). Thus, the
relations between these sound-objects create a durable continuum. The cluster is heard in a brighter
register than the previous example, indicated by the sign for spectral brightness. The soft
articulation, passive appearance of sound-characters, less dynamic energy and joint tendencies are
different dimensions that create a reticent character compared to Alberdi (figure 6.1).

Figure 6.3 - Alberdi 0'48''-1'44'', 2nd video127

The appearing character of the minor chord (fig. 6.3) is performed with a similar bulging
character established by the previous complex textures (fig. 6.1). A chorale is presented and the
light-green/slight-yellow color indicates a prominent consonance of the harmonic fusion of
dichotomy (fig 6.3). Air-sounds are articulated and perceived as a separate object-field. A separation
point is perceived as a transition, with the sudden separation of the specific time-field. In this place,
a new sound-object occurs; the tritone interval.
This short appearance is heard with two energy articulations:
first) iterated, oblique flutter-time
 second) sustained, small-fast dynamic gait
The vertical lines across the prolongation indicate the marked reappearance of the cluster, and the
chords' change in pitch. The first articulation is identified as the 'quadruple bellow-shake', a known

127 Ibid, page 1, number 1, bar 6-15.

77
term for many classical accordion performers, which was introduced by Lips in his first
interpretation of this piece.128

Figure 6.4 - Angell 0'57''-2' 07'', 3rd video129

The minor chord is played with a similar character as the established cluster, not as a bulging
texture, but the cluster is briefly rounded off before the next onset of chords. As a result, small
spaces of clear consonance can be seen as yellowness in the light-green harmonic fusion (fig 6.4).
The air-sounds are interpreted in the analysis as an extension of the phrase-field, because of its
subtlety of emblematical silence or reflection that connects with the chorale. The third phrase-field
in the example is perceived as a static-decreasing tendency, in contrast to other phrase-fields. After a
noticeable silence, a sudden articulation of the tritone interval occurs and functions as a release
point to the listener. The tritone contains a rather different energy articulation compared to Alberdi's
performance (fig.6.3):
first) regular ripple-time
 second) large-fast dynamic gait
The first articulation is performed with a different technique (combination of regular bellow shake
and ricochet130) than the 'quadruple shake', creating a different energy character to the sound-object.

128 The quadruple-shake emerged from an intension from the composer, as she was searching for a different
iterated sound from the instrument, opposed to the regular bellow-shake. A proposition was established by
Lips, giving a new irregular sound-quality which was generated in five orders by the use of bellow; 1) Top
out, 2) Bottom out, top inn, 3) Top and bottom out, 4) Top inn, 5) Top out.

Friedrich Lips, The Art of Bayan Playing, (Karthause Schmülling Publications, 1991), 73.
129 Gubaidulina, Sonate Et Exspecto, page 1, number 1, bar 6-15.
130Bellow-Ricochet is heard as a rhythmic value of triplets, which is achieved by using the following steps
with the bellow: 1) Top out, 2) Top inn, bottom out, 3) Bottom inn.

Lips, The Art of Bayan Playing, 71.

78
Three large separations of silences is noticeable in Alberdi's performance, one after the elements of
cluster and air-sound is presented (fig 6.1), one before the start of the chorale (fig 6.3) and one
before the last choral line. However, four large separations of silences are perceived in Angell's
interpretation before and after each chorale-line (fig 6.4). These silences do not occur in the same
place of both interpretations, except for the silence before the last choral line.

6.3.2 Exosemantic Interpretation - 1st movement - Alberdi versus Angell

The chart depicts some common semantic elements first, possibly intrinsic to the composition itself.
Furthermore, the general character of each interpretation is treated as semantic indications that are
interpreted exosemantically.

Common semantic elements

Signifier Semiosis Signified->Signifier Semiosis Signified

Bright clusters (L1) CMPAR (F2) Lights CONNOT Looking up

(F2)
Air sounds (L1) CMPAR (F1) Breathing CONNOT Breeze
(F1)
Consonant chorale with INFER (F0) Mankind and light CONNOT Spiritual belief
clusters (L2) (F2)
Iñaki Alberdi

Darker sonorities, distinct CMPAR Extrovert CONNOT Earthly, Confident

articulation and object- +INFER (F1) (F2)
field focus
(L1)+ (L2)+ (L3)
Andreas Angell
Brighter sonorities, CMPAR Introvert CONNOT Ethereal, Humble
indistinct articulation and +INFER (F1) (F2)
phrase-field focus (L1)+
(L2)+ (L3)

79
6.4.1 Aural Analyses: 1st movement - ending
Performers: Geir Draugsvoll/Friedrich Lips

Figure 6.5 - Draugsvoll 2'01''-2' 27'', 4th video, http://bit.ly/2prw7y4131

A distinct progression of chords emerges towards the ending of the first movement (fig 6.5).
The analysis depicts increasing tendencies of sustained chords, with three exceptions of chord
impulses. The colors indicate the following harmonic process:
clear consonant  slight dissonances  stronger dissonances  slight dissonances
A faint directional tendency is indicated in the lower dynamic model.

Figure 6.6 - Lips 2'01''-2' 27'', 5th video, http://bit.ly/2prw7y4132

The analysis depicts a somehow reversed-interpretation in comparison to Draugsvoll's performance
(fig 6.5); decreasing tendencies of sustained chords, and three sustained chords with a marked
ending (fig.6.6).

131 Gubaidulina, Sonate Et Exspecto, page 2, number 3, bar 7-14 (ending before number 4).

Bar 7 represents the seventh bar of that page, not of the movement as a whole.
132 Ibid.
80
The colors indicate a similar harmonic process, with an interesting exception of the first harmony;
instead of a perfect minor chord (as heard in the example by Draugsvoll), it contains a high major
seventh.

Figure 6.7 - Score excerpt

The score itself depicts the major seventh (fig. 6.7), but that does not necessarily mean it should be
played. It could be a misprint or directly be regarded as a different harmonic interpretation rather
than a mistake, which could be tracked to other similar musical-elements in the piece, such as the
opening of the fourth movement:

Figure 6.8 - Score excerpt

As this movement opens with a perfectly consonant minor chord (fig 6.8), the previous motion
could be an interpretive choice to designate a stronger similarity to the opening of both parts.

81
 Figure 6.9 - Draugsvoll 2'27''-2' 43'', 4th video133
The last part of this example contains partly of the similar tritone-element heard in the end of the
opening movement. The analysis depicts the sound-objects as an articulated transformation from
iterated oblique flutter-time, to sustained middle-fast dynamic gait. The last event is three ascending
clusters, where the third has the longest duration and results in silence.

Figure 6.10 - Lips 2'45''-3' 05'', 5th video 134

The pulse categories are perceived differently; fig. 6.9 (Draugsvoll) depicts faster iterations and
gait, while the figure 6.10 (Lips) is perceived slower and more irregular. The duration of time
between the illustrated analyses (fig 6.9+fig.6.10) and the previous parts (fig 6.5+fig 6.6) is slightly
longer in the performance of Draugsvoll, while Lips' performance begins with a faster attacka.
Tendencies are also more connected (fig. 6.10) compared to Draugsvoll (fig 6.9), but in the end,
Lips choses to separate the dynamic gait of the stable-sustained pitch. The third variable cluster

133 Ibid, page 2, number 4, bar 15-23 (end).

134 Ibid.
82
 ends with a fermata (fig 6.10), oppose to the first example that results more quickly into silence (fig.
6.9).

6.6.2 Exosemantic Interpretation - 1st movement - Draugsvoll versus Lips

Common semantic elements

Signifier Semiosis Signified->Signifier Semiosis Signified

Dissonant chorale/Chord CMPAR (F2) Destruction of CONNOT Passion of Jesus

progression (L2) something sacred (F2) Christ's
Crucifixion
Iterated tritone (L1) CONNOT (F0) Evil

Geir Draugsvoll
Increasing tendencies, short CMPAR Determined CONNOT Inevitable force
chord-impulses and closing +INFER (F1) (F0)
variable cluster
(L1)+(L3)
Friedrich Lips
Decreasing tendencies, marked CMPAR Reserved CONNOT Painful
chord-gestures and closing +INFER (F1) (F2)
sustained cluster
(L1)+(L3)

83
6.5.1 Aural analyses: 2nd movement - opening
Performers: Andreas Angell/ Iñaki Alberdi

Figure 6.11 - Angell 3'22''-3' 40'', 6th video, http://bit.ly/2prw7y4135

Three melodic fragments, as well as its inversions, are heard in successive orders throughout the
first phrase of the second movement (fig 6.11). They are arranged in various heights that indicate a
relative distance of pitch-register. Fragment B and its inversions are identified as a high interval-half
tone structure (page 64-65). The figure depicts a motion of increasing and decreasing tendency for
each new fragment. The performance is perceived with consecutive motions of less friction/flow
that establishes a certain structure of object-fields. The next phrase-field consists of a chorale of
major-chords, perceived with calmer dynamics and a reduced motion of less friction/flow. The
contrasting musical elements is considered to shape a structure of question and answer; the question
is interpreted as enfolded (phrase-field one), as it represents melodic chromatic-patterns
(monophony), while the answer is interpreted as unfolded (phrase-field two), as it represents a
consonant chorale (homophony). The transition from irregular to regular movement creates the
perception of less friction in general flux-character. Noticeable silences mark a gap between these
musical elements.

135 Ibid, page 3, bar 1-3.

84
 Figure 6.12 - Alberdi 2'41''-2' 53'', 7th video, http://bit.ly/2prw7y4136
There are different factors that separates this interpretation (fig. 6.12) from the previous aural
analysis (fig 6.11): Firstly, both phrase-fields is performed at a faster rate compared to the previous
figure (6.11), which is illustrated (fig. 6.12) with the signs of fragments being smaller and object-
fields more compact (second phrase-field). Secondly, the motion of melodic fragments is perceived
as a united object-field (first phrase-field). Thirdly, less friction/flow is emphasized at the beginning
and end of both phrases. Fourthly, both tendencies are illustrated as presence-oriented and a gap of
silence is first provided after both phrase-fields.

Figure 6.13 - Angell 3'41''-4' 08'', 6th video 137

136 Ibid.
137 Ibid, page 3, bar 4-8 (ending before number 8).
85
A new fragment is perceived in the middle (fragment D), which also recurs at the end of the third
phrase-field (first phrase in figure 6.13). The phrase has expanded in terms of fragments, tendencies
and friction/flow.
Dynamic tendencies are still in a motion of increasing and decreasing, but are perceived with
stronger increasing intensions. The fourth phrase (second phrase in fig. 6.13) has further expanded
the dynamic energy and amount of object-fields, performed at a faster rate than before.

Figure 6.14 - Alberdi 2'54''-3' 13'', 7th video 138

The relation of faster and slower rhythmical values is more intricate (fig. 6.14), creating a vigorous
and irregular time-character (illustrated with flux). As such, the object-fields are perceived and
interpreted as two parts. The third tendency (first tendency in figure 6.14) is similar to the first
tendency of the movement (Fig. 6.12-Alberdi). The fourth tendency however (second tendency in
figure 6.14), is identified as an opposite interpretive solution compared to Angell's performance (fig.
6.13); the figure (6.14 - Alberdi) starts with strong dynamics and ends with smaller dynamics at the
remaining chord. While the other figure (6.13 - Angell) starts with smaller dynamics and ends with
strong dynamics at the last chord.

138 Ibid.
86
 Figure 6.15 - Angell 4'09''-4' 43'', 6th video139
A further expansion of fragments is seen in the fifth phrase-field (first phrase in fig. 6.15).
The directions of tendencies are similar to the third phrase (fig. 6.13-Angell), except for an
establishing initiative by ending with an increasing tendency (first phrase in fig. 6.15).
The figure (6.15) depicts an absence of the previous silences between the phrase-fields (fig. 6.11 and
fig 6.13 - Angell). Therefore, the sixth phrase-field (second phrase in fig. 6.15) is heard with a
quicker response illustrated as a stronger, decreasing tendency that dissolves in tempo (indicated by
more friction), and ends with an enfolded indication in parenthesis to highlight the sudden shift
from major-chords to a minor.

Figure 6.16 - Alberdi 3'14''-3' 39'', 7th video140

139 Ibid, page 3, number 8, bar 9 - page 4, bar 5 (ending before number 10).
140 Ibid.
87
The fifth phrase-field (first phrase in fig. 6.16) continues in a stable tendency, similar to previous
segments of melodic fragments (fig. 6.12 and 6.14 - Alberdi), that ends with a faint declining
tendency. The last note is perceived as rounded off (fig. 6.16). However, this faint declining
tendency (fig. 6.16) is the opposite choice of interpretation, compared to the initiative of an
increasing tendency performed by Angell (fig. 6.15). The fragments continue to be played faster
than Angell's example, again creating a perception of longer and fewer structures of object-fields.
The sixth phrase (second phrase in fig. 6.16) has a significant longer, stable tendency, and the
chords are played faster compared to Angell (fig. 6.15). Still, they are similar motions of
dissolvement aimed towards the remaining minor-chord (enfold).

6.5.2 Exosemantic Interpretation - 2nd movement - Angell versus Alberdi

Common semantic elements

Signifier Semiosis Signified->Signifier Semiosis Signified

Melodic fragments: Chromatics CMPAR Individual pain CONNOT Sermoning

and monophony (Enfold) (L2) +INFER (F2)
(F2)
Consonant chorale (Unfold) (L2) CONNOT Collective CONNOT Soothing
(F2) belief (F2) individual
pain
Expansion of musical elements CMPAR Increasing effort CMPAR+ Passion
(L2) + (L3) (F1) INFER (F2)
Third chorale as strong, CMPAR Certain, then CONNOT Hope that
decreasing tendency (L3) +INFER uncertain (F2) turns in to
(F2) torment
Andreas Angell
Frequent noticeable silences CMPAR Hesitant CONNOT Fragile
between fields, slower tempo +INFER (F1)
and frequent alterations of (F1)
increasing and decreasing
tendencies
(L1) + (L2) + (L3)
Iñaki Alberdi
Infrequent use of silence CMPAR Confident CONNOT Vigorous
between fields, faster tempo and +INFER (F1)
frequent presence oriented (F1)
tendencies
(L1) + (L2) + (L3)

88
6.6.1 Aural analyses: 3rd movement - opening
Performers: Geir Draugsvoll/Friedrich Lips

Figure 6.17 - Draugsvoll 0'01''-0' 20'', 8th video, http://bit.ly/2prw7y4141

The figure (6.17) depicts three different form-building elements of textures, as the first opening
element represents the partitioned half of the third element. A motion of chained form-elements is
perceived and illustrated as a group:

 =

 =

 =

Figure 6.18 - Motion of chained form-elements

141 Ibid, page 7, bar 1-13 (ending before number 14).

89
The first form-element (marked relatively simple) is rhythmically characterized by three articulated
sforzandi together with stable iteration of the complex texture (fig. 6.18).
In contrast of the previous consideration of melodic fragments, which was not limited to specific
pitches and durations, these elements are defined through its specific entirety.
The opening half of the second form-element (marked relatively simple) is characterized by the
successive change of pitch and two articulated accents, while the second half of the form-element
represents the consecutive change of pitch and impulse articulation.142
The third form-element (marked distinct, very simple) is characterized by an ascending cluster and
the other half is perceived as an irregular descending cluster.

The interpretation by Draugsvoll is heard without the articulated bellow-shake indicated in the score
(˥ - V).

Figure 6.19 - Lips 6'07''-6' 21'', 9th video, http://bit.ly/2prw7y4143

In this interpretation (fig. 6.19) the analysis does not separate the opening partitioned element with
silence, neither after the first motion of form-groups (united form-elements through the
prolongation line). What previously was identified as a relative simple element after the partitioned
opening is now defined as a very simple element; it is harder to distinguish the three articulated
sforzandi from the iterated stable object.

142 Consecutiveness situates the close succession of pitches without gaps, while successiveness is preferred to
illustrate a certain order. For instance; 1, 2 and 3 are consecutive numbers, while 1, 2 and 4 are successive
numbers.
143 Ibid.
90
 Figure 6.20 - Score excerpt

This may be caused by the performer's intention to achieve both the indicated bellow-shake and
tempo suggestion 'Presto' in the score (fig. 6.20), as this performance is played faster than the first
example. Tendencies of the two elements centered in the analysis (fig. 6.19), are heard as presence-
oriented and the form-elements are perceived as a transformation from the shaking texture (very
simple element) to the articulated texture (relatively simple element).

Figure 6.21 - Draugsvoll 0'21''-0' 50'', 8th video144

The second motion of form-groups (first chained motion in figure 6.21) continues with the three
form-elements in order, with slightly varied recurrence. The first change occurs in the second
relatively simple element, as it consists of an additional texture. The third motion (second motion in
fig. 6.21) consists of change in both relatively simple elements, as the first element changes in pitch
throughout its appearance. The second element continues to include an additional texture. The very
simple element is heard with exact similarity. The transition between the second and third motion
(first and second motion in fig. 6.21) is performed without the anticipated separation of silence
which was previously established (Fig. 6.17 and 6.21-Draugsvoll).

144 Ibid, page 7, number 14, bar 14 - page 8, bar 10 (ending before number 16).
91
 Figure 6.22 - Lips 6'21''-6' 47'', 9th video145
This example follows the same changes of form-processes and continues as presence-oriented
tendencies of the first elements, but with a slight, increasing tendency at its end (faint).
The chained motions of form-elements persists collectively with no silence between.

Figure 6.23 - Draugsvoll 0'51''-1' 27'', 8th video146

The elements continue to slightly vary but in a different manner: the third element appears as
partitioned from a lower pitch-register after its recurrence, making the chained motion of elements
expand further (fig. 6.23). The fifth motion (second in fig, 6.23) is perceived with the partitioned
element as expanded, as it consists of two additional textures.

Figure 6.24 - Lips 6'47''-7' 17'', 9th video 147

145 Ibid.
146 Ibid, page 8, number 16, bar 10 - page 9, bar 6 (ending before number 18).
147 Ibid.
92
The stable dynamic tendency is perceived louder than before (fig. 6.24), compared to previous
segments (fig. 6.19 and fig. 6.22 - Lips), indicated by a larger present-oriented figure.
Where the analysis of Draugsvoll's performance shows one exception of separated silences, the
analysis of Lip's performance illustrate an unhindered collection of tendencies.

6.6.2 Exosemantic Interpretation - 3rd movement - Draugsvoll versus Lips

Common semantic elements

Signifier Semiosis Signified->Signifier Semiosis Signified

Irregular descending cluster CMPAR (F1) Disruption CMPAR+ Submission

(L3) CONNOT
(F2)
Motion of chained form- CONNOT Entanglement-> CONNOT Sinful, Cry
elements (L3) (F2) Struggling-> Failed (F2) for help
effort
Extension of textures (L3) CMPAR (F1) Increasing effort CMPAR Passion
+INFER
(F2)
Geir Draugsvoll

Frequent noticeable silences CMPAR Focused CONNOT Powerful

between chained elements, +INFER (F1) (F2)
medium tempo and increasing
tendencies through chained
motions
Friedrich Lips

Connected motions of chained CMPAR Trembling CONNOT Afraid

elements, fast tempo and +CONNOT (F2)
presence oriented tendencies (F2)
through chained motions

93
6.7.1 Aural analyses: 4th movement - opening
Performers: Andreas Angell/Friedrich Lips

The fourth movement of the sonata may be considered the climatic conclusion of
anticipation, because of its sudden change from musical developments of separated parts, to a
greater and concentrated chorale that develops uninterrupted by other elements. Examples of
musical development of separated parts could be identified in the first movement with the cluster/
chord versus the air sounds, as well as the successive chords/chorale and the tritone interval, the
second movement with the melodic fragments versus the chorale and the third movement with the
iterated cluster (small range) versus the cluster glissandi (large range).

Figure 6.25 - Angell 13'38''-14' 09'', 10th video, http://bit.ly/2prw7y4148

148 Ibid, page 13, bar 1-8.

94
This analysis (fig. 6.25) depicts the duration of stable tendencies of each chord and its harmonic
color.149 The focus of this analysis is emphasized to illuminate relations between each chord of the
three-first phrase-fields of the movement. As this is intently related to harmonic dimensions, a
comparison of a different recording will only be made of the first phrase-field to illuminate
differences of dynamic and durational interpretation.
The first enfolded symbol represents the minor-chord and the sign indicating concord represents
clear consonance. It further transforms in to a dissonant major-chord, perceived as brighter and
unfolded. The first phrase-field is an apparent conflict between the concord minor (enfold) and
discord major (unfold) harmonies, which ends with clustered and enfolded textures in discord. A
flux character of less friction is interpreted in the analysis, as each tendency has limited suspension
and interruptions, thus providing a perception of a stable harmonic line, much like a harmonized
continuous melody.

Figure 6.26 - Lips 11'48''-12' 10'', 11th video, http://bit.ly/2prw7y4 150

This performance is faster (fig. 6.26), as the separated tendencies are shorter than the previous
analysis (fig. 6.25 - Angell). The indicated transformations (arrows) of enfold-unfold are articulated
as separated tendencies with suspension, providing a perception of more friction in flux character
(fig. 6.26).

149The depiction of harmonic colors is mainly kept for aesthetic purposes, as the signs for discord-concord
clarifies dissonant or consonant relations between the harmonic progression.
150 Gubaidulina, Sonate: Et Exspecto, page 13, bar 1-8.
95
 Figure 6.27 - Angell 14'09''-14' 43'', 10th video151

The second phrase-field (first phrase-field in fig. 6.27) summarize its previous motions from
concord-enfold to discord-unfold, concluding at a discord-enfolded harmony. The fourth harmony
however, is perceived as a consonant major chord (concord-unfold) that has not yet been presented,
before it moves further to a discord-enfolded harmony. In contrast of the first phrase-field (fig.
6.25), the last chord settles as a discord-unfolded harmony.

Figure 6.28 - Angell 14'43''-15' 08'', 10th video152

The third phrase-field (first phrase-field in fig. 6.28) marks the end of the first part in the fourth
movement. It starts with repeating the same four motions as the previous phrase-field (fig. 6.27) in
terms of contextual meanings. The harmonic dimensions develops, as it remains in unfolded major-

151 Ibid, page 13, bar 9-14 (ending before number 26).
152 Ibid, page 13, number 26, bar 15-23.
96
harmonies for the rest of the phrase. Further, it is the play between concord-discord of unfolded
textures that is expressed in the analysis. The end is established by the concord-unfolded harmony.

6.7.2 Exosemantic Interpretation - 4th movement - Angell versus Lips

Common semantic elements

Signifier Semiosis Signified->Signifier Semiosis Signified

Concord-minor CMPAR Prominent sorrow -> Longing hope

harmony to discord- +CONNOT (F2)
major harmony (L2)
Discord-major CMPAR Hope -> Sinfulness
harmony to discord- +CONNOT (F2)
minor harmony (L2)
Concord-major CMPAR Joy -> Despair
harmony to clustered +CONNOT (F2)
chord (enfold) (L2)
Discord-major CMPAR Hope -> Forgiveness
harmony to concord- +CONNOT (F2)
major harmony (L2)
Andreas Angell
Equal tendencies of CMPAR Uninterrupted CMPAR Patient
motions, more flow of +INFER (F1) +CONNOT
character (F2)
(L2) + (L3)
Friedrich Lips
Unequal tendencies of CMPAR Interrupted CMPAR Anxious
motions, more friction +INFER (F1) +CONNOT
of character (L2) + (L3) (F2)

97
6.8.1 Aural analyses: IV - ending
Performers: Geir Draugsvoll/ Friedrich Lips

Figure 6.29 - Draugsvoll 3'22''-3' 39'', 12th video, http://bit.ly/2prw7y4153

The analysis (fig. 6.29) illustrates the culmination of the fourth movement. Blackness indicates a
large range of clusters, performed as emphasized tendencies. The different heights of tendencies
indicate the perceptual separation of the accordion's manuals, where the left manual (bass-side) is
perceived with less dynamics (lower register of clusters) compared to the right manual (treble-side),
which is perceived with higher dynamics (higher register of cluster).
Though it might seem as an excessive notation of dynamic forms, it serves as a synopsis of how
these musical elements are interpreted. This interpretation uses a large amount of acceleration to the
alternation of clusters, ending with a longer duration on the last cluster (treble-manual).
The abrupt ending is perceived as a separated point (accent), ending the object-field.

153 Ibid, page 15, bar 5 (extended bar).

98
 Figure 6.30 - Lips 14' 39''-14' 56'', 13th video, http://bit.ly/2prw7y4154
This analysis (fig. 6.30) shows less than half of the clusters performed in the previous figure(6.29 -
Draugsvoll) and focuses less on rapid exchange between the textures. The peak of the faint
tendency is centered, oppose to the previous figure (6.29). The ending is very different, as the
clusters are played in the bass-manual and as a decreasing tendency (fig. 6.30). As the cluster
dissolves, silence is interpreted as a bridged positioning and the phrase-field is perceived as
enduring.

Figure 6.31 - Lips 14'57''-15' 24'', 13th video155

The analysis (fig. 6.31) illustrates the continuation of Lips' performance, as air sounds gradually
appear from silence. This creates a perception of phrase-field focus, as the air sounds reappear with
stronger tendencies (also seen as a slight yellow color in the spectrograph), thus creating a
developing continuum.

154 Ibid.
155 Ibid, page 15, number 30, bar 6-11 (end).
99
 Figure 6.32 - Draugsvoll 3' 39''-4' 00'', 12th video156
In this figure (6.32) the air sounds are perceived as a presence-oriented tendency in the lower
dynamic model, as they are not reappearing with significant stronger tendencies (also seen as a
slight yellow color in the spectrograph). The contrast of the previous abrupt ending of the loud
complex texture to the sudden change of air-sounds (fig. 6.29), establishes a perception of object-
field focus.
6.8.2 Exosemantic Interpretation - 4th movement - Draugsvoll versus Lips

Common semantic elements

Signifier Semiosis Signified->Signifier Semiosis Signified

Alternating clusters (L1) CMPAR (F2) Flashing lights CONNOT Superior force
(F2)
Air sounds (L1) CMPAR (F1) Breathing CONNOT Breeze
(F1)
Geir Draugsvoll

Quicker alternation of CMPAR Extrovert CONNOT Struggle

more textures, connected +INFER (F1) (F2)
motions of air sounds and
object-field focus
(L1)+ (L3)
Friedrich Lips
Slower alternation of less CMPAR Introvert CONNOT Pain
textures, noticeable +INFER (F1) (F2)
silences between air sounds
and phrase-field focus
(L1)+(L3)

156 Ibid.
100
6.9.1 Aural analyses: V - Whole
Performers: Iñaki Alberdi/Friedrich Lips

The final movement may be regarded as the epilogue of the sonata, as it brings closure to the work
after its conclusive fourth movement. In this context I wish to illuminate form-building elements
and processes of the movement as a whole, which is a dimension that has not yet been considered in
my endosemantic analyses of Gubaidulina. The last movement seems as an appropriate choice for
departure, not only being the shortest of all five movements, but because of its apparent enigmatic
structure. I have performed and heard this movement multiple times, often with the impression of a
continuous melodic framework that deviate through different imitating patterns.
Therefore, an exception is made to not restrict the analysis to exclusive examples of the
movement. As such, Iñaki Alberdi's performance as well as Friedrich Lips', will be analyzed to
clarify form-building elements of the movement and how these interpretations is perceived and
analyzed differently.

Figure 6.33 - Alberdi 0'00''-0' 08'', 14th video, http://bit.ly/2prw7y4157

The analysis (fig. 6.33) consists partly of melodic fragments and level one sound-objects. The signs
of spectromorphology are indicated with less opacity; it is perceived as supplements to the melodic
fragments and are not equally important for the perception of form-building elements (background
layer). Therefore, it is the melodic fragments that establish the criteria of emerging form-elements
and processes in this context (foreground layer).

157 Ibid, page 16, line-staves 1-2.

101
In contrast of the second movement, the melodic fragments appear less various and more recurrent.
One might consider the musical elements of this movement as 'fragments of fragments' that
previously has been established as more diverse. For instance, fragment C (page 65) never occurs in
the last movement and fragment B is reduced to a whole tone-half tone structure (page 64-65). The
sound-objects (L1) are identified as trills, cells (few rapid pitches) and cluster-glissandi.
The alternating orders of fragment A and B illustrated in the example (fig. 6.33) are
perceived as a basic idea, as it repeatedly will emerge throughout the movement in different
registers, similar to a rondo-form. The form-element is perceived as a relatively complex element,
with the first-five fragments indicating the first half and the last-four fragments indicating the other .

Figure 6.34 - Alberdi 0'09''-0' 20'', 14th video158

Further, a form-element is interpreted as a development and is perceived with a remote similarity to
the previous element (fig. 6.34). This development presents other fragments, such as the inversions
of the two-fragments of the B.I. (basic idea). Chromatic fragments (fragment D) are centered in the
analysis. The structure of fragments are intricate compared to the B.I., as a development of a theme
often is, but is still perceived as a relatively complex element; the fragments shaping musical lines
are not perceived irregular in an unpredictable manner. The first fragment of the B.I. appears thrice
in the end of the development, thus may be considered as an insisting play with the aural
expectation of the basic idea.

158 Ibid, page 16, line-staves 3-5.

102
 Figure 6.35 - Alberdi 0'20''-0' 28'', 14th video http://bit.ly/2prw7y4159
The B.I. is perceived in a higher register (with different supplementing sound-objects), establishing
a process of great similarity (fig. 6.35).

Figure 6.36 - Alberdi 0'28''-0' 38'', 14th video http://bit.ly/2prw7y4160

159 Ibid, page 17, line-staves 1-3.

160 Ibid, page 17, line-staves 3-5.
103
The development is varied compared to its previous appearance and represents a process of remote
similarity (fig. 6.36).

Figure 6.37 - Alberdi 0'38''-0' 46'', 14th video http://bit.ly/2prw7y4161

The B.I. is heard in a different pitch-register and clusters appear for the first time with stable energy
(fig. 6.37).

Figure 6.38 - Alberdi 0'46''-0' 53'', 14th video http://bit.ly/2prw7y4162

161 Ibid, page 18, line-staves 1-2.

162 Ibid, page 18, line-staves 3-4.
104
The development is significantly shorter than its previous appearances (fig. 6.38).

Figure 6.39 - Alberdi 0'54''-1' 01'', 14th video http://bit.ly/2prw7y4163

The B.I. is slightly shortened, as the last fragment is withdrawn (fig. 6.39). The trills are perceived
with an oblique pulse, as it forms an intermediary category between the regular pulse and irregular
pulse.

Figure 6.40 - Alberdi 1'01''-1' 13'', 14th video http://bit.ly/2prw7y4164

163 Ibid, page 18, line-staves 4-5.

164 Ibid, page 19, line-staves 1-3.
105
This development is larger in duration compared to the previous, but excludes the use of the first
fragment (and its inversion) established by the B.I. (fig. 6.40). It may thus be regarded as a further
reduction of motions.

Figure 6.41 - Alberdi 1'14''-1' 26'', 14th video165

The example of analysis depicts both elements of B.I. and D., as the duration of both form-elements
is shorter than previous establishments (fig. 6.41). The B.I. continues to lack its original last
fragment, before a development occurs.

Figure 6.42 - Alberdi 1'26''-1' 38'', 14th video166

165 Ibid, page 19, line-staves 3-5.

166 Ibid, page 20, line-staves 1-3.
106
The B.I. is perceived as partitioned, as the fourth fragment in the analysis repeats the previous
fragment in a higher register (fig. 6.42). The opening part of the B.I. then reoccurs in a different
register, before it further evolves into a new development.

Figure 6.43 - Alberdi 1'38''-1' 47'', 14th video167

A seemingly apparent B.I. occurs, but the remaining half is partitioned to one fragment alone (fig.
6.43). The fragment is thus perceived as a reduction of complexity (moderately complex element).
These elements are repeated exactly (except for level one-characters).

Figure 6.44 - Alberdi 1'47''-1' 59'', 14th video168

The development is reduced and perceived as a moderately complex element, then recurred (fig.
6.44). The partitioned first half of the B.I. appears and repeats in similar motions. A new

167 Ibid, page 20, line-staves 3-4.

168 Ibid, page 20, fifth staff line - page 21, first staff line.
107
development occurs with remote similarity, with similar reduced complexity.

Figure 6.45 - Alberdi 2'00''-2' 07'', 14th video169

The B.I. occurs in its integral form and could be considered the movement's coda, as this
designation differ from the development of partitioned form-elements and refer to the piece's main-
theme (fig. 6.45).

Figure 6.46 - Alberdi 2'07''-2' 18'', 14th video 170

The following sequence is identified by many partitioned occurrences (fig. 6.46). The first
representation is the fully partitioned half of the B.I. The second is reduced to only the first
fragment of the B.I., and is perceived with relatively simple complexity. The third element is
extended to two fragments, before it returns and concludes to the first fragment again. A process of

169 Ibid, page 21, line-staves 1-3.

170 Ibid, page 21, line-staves 3-4.
108
liquidation occurs as the element transforms to a larger complex texture.

Figure 6.47 - Alberdi 2'18''-2' 31'', 14th video 171

The complex texture departs and an air-sound is presented as an unvoiced complex sound, which is
also considered a very simple form-element (fig. 6.47). Therefore, the analysis illustrates a related
contrast of the form-building processes. The air-sound marks the end of the sonata's final
movement.

Figure 6.48 - Alberdi - Collection of form-elements

The figure (6.48) depicts the collection of form-building elements and processes of this contextual
analysis. The main structure may be regarded as an intermediate framework between variation-form
and rondo-form, as the material is repeated in discreetly altered forms.
The first line indicates five different relations between the basic idea and an occurring development.
The second line indicates five chained motions, where the three-first involve processes of
partitioning and reduction of complexity. The second-last chained motion is perceived as a
dissolution of the basic idea to the remaining texture, and the last process indicate the air-sound as a
separated element.

171 Ibid, page 21, fourth staff line.

109
 Figure 6.49 - Lips 15' 25''-15' 52'', 15th video, http://bit.ly/2prw7y4172
We will now switch to a radically different interpretation; the recorded performance of the man who
interpreted it first. Lips' interpretation of the movement is roughly twice as fast as Alberdi's
recording and it establishes a character of accumulated sounds rather than a coherent play between
melodic fragments (fig. 6.49). However, some melodic fragments are perceived as it emerges
through prominent articulation, where the performer plays legato (and not to rapid). Other
indications of level one-signs is assigned where sound-patterns are perceived as vague or
submerged by its reverberation.
The first form-element is perceived as very complex, as it reflects the extremely asymmetric
and irregular lines that is used in an unpredictable manner. The sign for accumulation represents the
perceived conflict of irregular sound-objects. The compound-sound objects represent a solitary
deviation from accumulation (or supplementary trills). The variable complex-sounds represents
cluster glissandi, similar to the previous example of analysis (Alberdi).
The first form-element depicts nine melodic fragments amongst the different variations of
accumulated sounds, as it is emphasized in articulation (legato). The transition to the next form-
element is perceived with a ritardando, marking the end of the first designation.

172 Ibid, page 16 - page 17.

110
 Figure 6.50 - Lips 15' 52''-16' 13'', 15th video173
The second form-element is perceived with a remote similarity as it is much varied from the
previous (fig. 6.50). The music continues to form a dense landscape of sound-patterns, but without a
distinct appearance of melodic fragments.

Figure 6.51 - Lips 16' 13''-16' 21'', 15th video174

The third form-element is significantly shorter than previously established form-elements
(fig. 6.51).

173 Ibid, page 18 - page 19, third staff line.

174 Ibid, page 19, third staff line-page 20, first staff line.
111
 Figure 6.52 - Lips 16' 22''-16' 41'', 15th video 175
The fourth form-element directs the pattern of sounds towards the lower register (fig. 6.52).
The ending is heard as a descending solitary pattern of sounds with recurring low-pitched trills,
followed by a declining tempo that results in short impulses and a brief sustained pitch.

Figure 6.53 - Lips 16' 42''-16' 57'', 15th video 176

The ritardando settles on a long sustained pitch that transforms into a texture (fig. 6.53).
The texture quickly decreases in dynamics and merge into reverberated silence. The last form-
element of air sound increases quietly from the reverberated silence, and thus may be regarded as
related and connected to the motion of form-elements.

175 Ibid, page 20 - page 21.

176 Ibid, page 21, fourth staff line.
112
 Figure 6.54 - Lips - Collection of form-elements
The figure (6.54) depicts the collection of form-building elements and represents a compressed
form-structure compared to Alberdi's interpretation (fig. 6.48). The last textural form-elements is in
this context perceived as related and connected (fig. 6.54), unlike Alberdi's performance where they
are perceived separately. This similar dimension relates to the analyses of the first and fourth
movement, where air-sound were either perceived as an object-field focus or phrase-field focus with
the cluster. The consideration on this matter may to some seem peculiar and one could disagree, but
my opinion is that the connection with 'silence' between musical elements, especially in this
enigmatic style of music, constitute a significant difference of perceiving motions of musical
elements.

6.9.2 Exosemantic Interpretation - 5th movement - Alberdi versus Lips

Common semantic elements

Signifier Semiosis Signified->Signifier Semiosis Signified

Trills, cells and variable/ CMPAR Incidents CONNOT Passing lights

stable clusters (L1) +INFER (F1) (F2)
Melodic fragments CMPAR Softness CONNOT Soothing
perceived with articulate +CONNOT (F1) (F1)
legato (L2)
Closing melodic pattern to CMPAR Coagulation CONNOT Rest
larger cluster (L2) +INFER (F1) (F2)
Iñaki Alberdi

Emphasized focus of CMPAR (F2) Breeze CONNOT A succession of

sound-patterns, slower (F0) images passing
tempo and relative through the mind
complex form-elements during sleep
(L2)+(L3)
Friedrich Lips

Emphasized focus of CMPAR (F2) Vigorous wind CONNOT A terrifying dream

sound-objects, faster tempo (F0) in which the
and very complex form- dreamer
elements experiences feeling
(L1)+(L2)+(L3) of helplessness

113
7 Critical Reflections

This chapter intents to reflect on the attainments that this thesis has provided, and what it has
not, with a critical consideration of the apprehended material.
7.1 Introduction
This thesis developed from a concern with the degree to which distinct sonic and structural
aspects are drawn from the perception of music-as-heard, and how these elements occur from
recorded performances. The specific focal point of my inquiry was the explorations of emerging
gestalts through performances and interpretations of the selected works by Gubaidulina. This was
due to my ambition to explore musical dimensions as heard, to illuminate a certain knowledge that
would not be attained by a traditional analysis of the score. However, the obtained insight through
the use of aural sonology is limited to its designated purpose, which is the categorization of sound
and sound-patterns in to three levels of articulations.
First I intend to present a summary of my research regarding the extensive analysis of De
Profundis, and a reflection of the compared interpretations by performers in examples of Et
Exspecto.

7.2 Summary of my research

The timbral transfigurations of sounds and sound-patterns in De Profundis are an important
characteristic of endosemantic relations in the music and exosemantic representation of symbolic
metaphors. The transfigurations are expressed in directions between dichotomies of sound-objects
(L1), such as the lowest sonorities to the highest ( ##  ## ), the iterated energy articulation to
the sustained ( ### ###), the stable sound spectrum to the variable ( ### /), the clustered
pitches to the 'unvoiced' textures ( ###  ) and the unified sound-objects to monophony ( ##
+ .### ## ).
The harmonic transfiguration (L2) from complexity to consonance ( ### .###), seems to
characterize the musical structure as a whole; the transformation is established through the first
form-field, which connects exosemantic associations of 'depths' and 'sinfulness' to 'morning' and
'hope'. The second form-field is perceived as a transformation from dissonance to further complex
sound-textures, with a sudden change to consonance at its very end, which connects exosemantic
associations of 'pain' and 'struggle for redemption'. The third form-field is perceived with
monophony and a lack of harmonicity that ends with a conflict of consonant and complex textures,
where consonance triumphs as a remaining harmony, which further connects exosemantic
associations of 'waiting', 'praying', and finally, 'forgiveness'.
114
 The transfiguration of frequent, increasing dynamic forms (L3), is perceived as a connected
structure through the performance of Geir Draugsvoll, which connects exosemantic associations of
transforming from 'the depths' to 'the heavenly'. The interpretation seems to fit the descriptive
subtitle of Psalm 130 by "New International Version"; A song of ascents.177

Dichotomy plays an equally significant role in the analyses of Et Exspecto, but in the three-
first movements, sound-elements are perceived opposed and separated towards each other and less
as a transfiguration of timbre. The play between these separated dichotomies are identified through
the first movement as clusters and chords ( ###+ .###) versus the unvoiced texture (  ), the
dissonant chorale ( .###) versus the iterated tritone ( ### ). Opposed dichotomy in the second
movement is identified as the monophonic, chromatic melody (  ) versus the consonant chorale
( .###). In the third movement, dichotomy is identified as the iterated complex texture ( ###)
versus the sustained glissandi ( /) .
The fourth movement however, consists of an extended transformation of a chorale ( .###)
to the culmination of alternating clusters ( #####). The sound-objects in the fifth movement is
identified either as continuous melodic fragments with ornaments ( #### ) or as an accumulation
of sounds (###) that results in an unvoiced sound object (  ).
The different interpretations by the performers showed to a large extent the different
possibilities of interpreting the material, as seen in the aural analysis. Still, the listener seemed to be
left with a certain general character of interpretation-strategies by all performers. The unités
sémiotiques temporalles present a description of kinetic anaphones with a potential for organizing a
musical discourse, as an effort to apprehend elements of musical endosemantics.178 These categories
seem relevant to apply to these general characters of interpretation-strategies.
The interpretation of my performance was characterized by indistinct energy articulations,
which established a reticent character. An exosemantic interpretation of this character, could be
'drifting', where a description of this is 'an image of a boat that, having lowered its sails or stopped
its motor, continues to drift thanks to its acquired speed'.179
However, Alberdi's performance was characterized by distinct energy articulations, which
could be interpreted exosemantically as something that is 'trying to start'. A description of this

177Holy Bible, New International Version®,

https://www.biblegateway.com/passage/?search=Psalm+130 (22/04/17).
178 Thoresen, 307.
179 Unités sémiotiques temporelles quoted in Thoresen, 307-309.
115
semantic aspect, is 'as if something is trying to get on its way'.180
Draugsvoll's interpretation of the selected examples was characterized with an often increase
in tendencies of musical elements, which could be interpreted exosemantically as a 'protraction',
which is described as 'stretching under tension, creating a feeling of expectation'.181
Friedrich Lips' performance was characterized by a faster tempo and pulse, which in this
context could be interpreted exosemantically as 'heaviness', that associates with 'the impression of a
difficulty to be overcome, one that bars an energy insisting on moving ahead'.182
These expressive characters of semantic elements, emerging through the performers
interpretation of Et Exspecto, could indicate a connection to different aesthetics and traditions.

7.3 Expanding sonology

In this process, I have acquired the use of the sonological method, which requires a
comprehension of the coherent framework established by Thoresen and further apply these ideas in
new contexts. The endeavour of expanding these concepts can be considered in three parts:

1) Established signs in new contexts

Parts of the illustrated analyses represents established signs from sonology that constitutes a
different purpose or use than its original intentions, such as:

- Signs of spectromorphology situated in parenthesis constitutes the framework of occurring sound-

objects (L1), rather than an extensive level one-analysis. In this context, these illustrated sound-
characters depicts the distinct relations between iterated and sustained energy, as well as pitched and
complex sounds in the music of Gubaidulina.183

- Vertical lines across the prolongation line (showing sustained articulation in Et Exspecto, 1st
movement), represents a recurrence or change of pitch that does not interfere with the perceived
character of the sound-object (L1). In segments where musical elements are sustained extendedly in
time, these short vertical lines may facilitate the apprehension of recurrences or changes.184

180 Ibid.
181 Ibid.
182 Ibid.
183 Applied in the analysis of De Profundis.
184 Applied in the analysis of Et Exspecto, 1st movement.
116
- Depictions of the increasing dynamic tendencies are applied to illustrate the emerging tension
between sound-objects and textures even though they are separated by significant silences.185

2) Parts of Aural Sonology that has not yet been used

The semiotic-model for exosemantic interpretation has not yet been used in artistic research, other
than the author himself. Furthermore, I am the first person to execute an exosemantic comparison of
different interpretations through the semiotic model.

3) New developments of signs

I have attempted to develop new signs to illustrate distinct relations of sound-patterns (L2), that
seems relevant to the selected works by Gubaidulina.
The first model is the considerations of harmonic color, and how these textural
transfigurations emerge between consonance, dissonance and complex harmonicity.
The second model is the considerations of melodic fragments, and how sound-patterns could
be perceived as separate gestures throughout a continuous motion.

7.4 Intension of this artistic research

My main concern of this thesis is to apply a tool that provides, to some extent, clarity to the
interpretation done by the performer. This method will prove to be helpful for performers that are
studying the works, in order to listen and explore established interpretations, or even their own
recorded performances. By getting acquainted to reductive- and taxonomic listening, the music may
be approached with a useful expedient providing the performer with a different perspective of
reflection.

7.5 A look in to other publications

Although this project involves a partial consideration of symbolic interpretation, it certainly
is limited to the reconstruction created by the applied methods of aural sonology. A more traditional
analysis of the music with the focus of pitch would provide other contents of symbolic indications
to my research. In De Profundis, one may observe how the pitch moves from the deepest register
towards the highest, which may conventionally be interpreted as 'out of the depths' towards 'heaven'.
Other musical symbolism may be acquired in regard to De Profundis, such as the chorale reference
founded on baroque rhetoric that may establish an association to the Christian belief system and to

185 Applied in the analysis of De Profundis and Et Exspecto, 4th movement.

117
Johan Sebastian Bach, which Gubaidulina was greatly inspired of, as he also dedicated his entire
work to God.186 By interpreting the chorale and the development of pitch, one may find images that
confront associations of human being and the earth, with heavenly and divine.
In an essay by Julie Hirzbergerová named 'Because it is breathing!', a further discourse on
symbolism in Gubaidulina's music is situated. The work Seven Words for violoncello, accordion
and strings from the year 1982 centers on the theme of the crucifixion of Jesus Christ, as it is a
reference to his seven last words on the cross.187 Because of its time during the former Soviet
Union, the title was printed under the neutral name Sonata.188
The composer uses different symbolic metaphors on various levels in this work, such as
musical and graphic symbolism.

Figure 7.1 - Score Excerpt, Sieben Worte

The standing axe of the cross is seen horizontally through the directions orbiting the note A, either
going upwards or downwards, always returning to the A note, forming the crossing axe.
In the scholar publication "Musical contents and symbolic interpretation in Sofia Guabaidulina's
Two Paths: A dedication to Mary and Martha", Young-Mi Lee illustrates how the cross is
interpreted through melodic motions:

Figure 7.2 - Two occurrences of the melodic cross189

186 The inspiration of Bach can easily be recognized, as Gubaidulina wrote a string quartet in 2002 with the
title Reflections on the theme B-A-C-H.
187 The words can be found in the first four books of the new testament according to St. Marcus, St. Matthew,
St. Lucas and St. John.
188 Julie Hirzbergerová, "Because it is breathing! The accordion in the music on sacred themes" (Austria), 4.
189
Lee, Musical contents and symbolic interpretation in Sofia Guabaidulina's Two Paths: A dedication to
Mary and Martha, 60.
118
The first example (a) (fig. 7.2) illustrates a similar melodic motion as the excerpt of seven words
(fig. 7.1). The second example (b) illustrates how a longer interval may represent the standing axe
of the cross. Lee argues that the symbol of the cross appears in several of Gubaidulina's works.190
In De Profundis, these melodic cross-motifs could be assigned to parts of the chorale:

Figure 7.3 - Score excerpt, De Profundis191

The melodic cross is identified at the second half of the bar line, as a chromatic motion of major-
chords (fig. 7.3).
Further claimed representations of symbolism in Sieben Worte is the holy Trinity, where the
accordion represents God the Father, cello the Son-Jesus on the cross, and strings the Holy Spirit.192
Hirzbergerová further describes times where both solo instruments fuse into one voice, creating an
emphatic monologue, which is completed by the strings playing the role of the narrator, the
Evangelist.

Figure 7.4 - Score excerpt, Sieben Worte

190 Ibid, 57.
191 Gubaidulina, De profundis, page 12, fourth staff line.
192 Hirzbergerová, "Because it is breathing! The accordion in the music on sacred themes" (Austria), 4.
119
A visible representation of the cross is seen in the score (fig. 7.4).
Gubaidulina indicates her use of symbolic elements in the program note of the work "Two
Paths: Music for Two Solo Violas and Symphony Orchestra":

Naturally, music doesn’t convey these metaphysical stimuli to us literally and directly. That
isn’t its job. It is, however, capable of creating a metaphor, a kind of comparison concealed
from the concrete. For example, sounds moving in different directions, motion upwards or
downwards, already can constitute a sufficiently definable metaphor of two differing
psychological directions, two paths into the unknown forest of the perpetual variety of
life.193

Still, my attempt to interpret exosemantic metaphors within a critical consideration of musical

perception, rely on the context of which the semantic elements are associated. A common
association is that the clusters are intense, evil or sinful opposed to its dichotomy, major-chords,
which often is associated with 'rest', 'good' or 'forgiving'.
If these semantic elements should be interpreted in a different context, for instance, during
World War II in Europe, they may signify a complete different association. The persistent use of
non-Jewish Western classical music initiated by the Nazis, such as Beethoven, Wagner and Anton
Bruckner, created a new context where major-harmonies, heroic and triumphal rhythm and musical
characters, were to many associated with fear, marching soldiers and the death of millions.
However, serialism as a style directed to the intellect of the listener; it was deprived of the
emotional values that traditional classical music conveyed, such as the lack of 'beautiful' melodies,
major-chords and designated rhythms. Set in this context, a cluster could be interpreted as 'good'
and 'hope', and the structure of spiritual symbolism in Gubaidulina would be reversed.
On a further look upon the artistic research of Lee, the publication bases its research on a
detailed analysis of the score:

Gubaidulina achieves a remarkable timbral transformation in variation V. The tutti, the

undulating chordal motion by vibraphone, sustained celesta, and muted viola, represents a
shimmering celestial image. Crotales, chimes, and tam-tam add diverse metallic tone colors to

193
Gubaidulina quoted in Young-Mi Lee,Musical contents and symbolic interpretation in Sofia
Gubaidulina's 'Two Paths: A dedication to Mary and Martha", 4.

120
 this surreal resonance. The three-time entrances of the other strings, also muted and contoured
by a crescendo-decrescendo fragment, magnify the expressive timbral richness in the passage.194

The quotation, which is situated out of its context, describes both endosemantic relations in the
music (such as 'timbral transformation', 'sustained notes') and exosemantic associations
('remarkable', 'surreal'). My concerns with associating the musical elements with entities beyond its
own material is that it is not implied in the music itself.

7.6 Last words

My theoretical approach does not include this departure of analysis and interpretation as
seen in the publications of Lee and Hirzbergerová, both in terms of emphasis of pitch-structures
closely related to compositional style and historic references. These are obvious symbolic elements
intrinsic to the composition, that somewhat lacks in my analysis and interpretation of illuminating
symbolism. An extensive analysis including these reflections could be fruitful, especially the
explorations of spiritual dimension that relates to the compositional style.
An illustration of perceived pitch and use of register was withdrawn from my analysis of De
Profundis, as I felt other semantic elements expressed a similar indication of exosemantic
symbolism. Furthermore, an exosemantic interpretation of symbolic notation in the score is also
neglected in my thesis, along with other metaphysical symbols, such as the image of the open
bellow of the accordion, which could be associated with the symbol of 'the rib of Christ', or the
performers exhaustive effort of performing physical demanding parts of the piece, that could
symbolize the pain for redemption. These symbolic metaphors belong to a semiosis of open
interpretation, or it is 'justified' as a stated reference indicated by the composer. I argue that these
indications belong to an external dimension of the music as heard.

However, these dimensions do not provide much insight to me as a performer, as it does not
provide any details concerning the interpretation behind the performance. The comprehensive study
of performance practice is important, not exclusively for the benefit of other practitioners, but also
for music-historians and musicologists that searches a deeper understanding of the performers role
in the music. In traditional analyses, musical qualities seem to manifest itself as a written score and
do not provide an understanding of how these qualities emerge through interpretations of the
sounding music. This knowledge is crucial in order to comprehend aesthetics in present time of
different traditions and cultures.

194 Ibid, 39.

121
 I argue that the aural analysis provides a larger understanding of sonic and structural aspects
that a traditional analysis of the score could not. The visual aesthetics of the sonology analysis is an
important factor, that provides the analyst a visual understanding of the structural framework of
gestalts in a sounding musical work. Even though the knowledge is limited to the designated
methods of sonology, and other elements intrinsic to the composition itself could be left out, each
approach should not necessarily exclude the other. In future research, aural analysis could be
combined with a traditional analysis of the composition, in order to point out sounding functions
and gestalts of the music and the interpretation as heard.

122
Bibliography

Askew, Caroline M. «Sources of inspiration in the music of Sofia Gubaidulina: Compositional

aesthetics and procedures». University of Huddersfield, 2002..

Cramer, Alfred. Musicians & composers of the 20th century. Gubaidulina-Sofia. Salem press, 2009.

Encyclopedia Britannica, s.v. "causal inference".

https://www.britannica.com/topic/causal-inference (06.05.2017)

Friedrich, Kevin. «Interview of Friedrich Lips». Accordions Worldwide, 1999. http://

www.accordions.com/interviews/lips/lips2.shtml (07.05.17)

Greek Orthodox Archdiocese of America. "The Nicene Creed",

https://www.goarch.org/-/the-nicene-creed (30/4/17).

Gubaidulina, Sofia. De Profundis. 1978. Karthause-Schmülling Musikverlag,

—.. Sieben Worte fúr Violoncello, Bajan und Streicher. 1982. Sikorski.

—. Sonate: Et Exspecto. 1985. Musikverlag Ulrich Schmülling.

Holy Bible, New International Version.

https://www.biblegateway.com/passage/?search=Psalm+130 (22/04/17)

Kurtz, Michael. Sofia Gubaidulina, translated by Christoph K. Lohmann. Indiana University, 2007.

Lee, Young-Mi. Musical contents and symbolic interpretation in Sofia Gubaidulina´s Two
Paths: a dedication to Mary and Martha. Phd. School of The Ohio State University, 2007.
https://etd.ohiolink.edu/pg_10?0::NO:10:P10_ACCESSION_NUM:osu1185466134 (11.05.17).

Lips, Friedrich. The Art of Bayan Playing. Edited by Ulrich Schmülling. Karthause Schmülling
Publications, 1991.

Lukomsky, Vera. “The Eucharist in my fantasy: Interview with Sofia Gubaidulina”. Tempo 206,
1998. https://www.jstor.org/stable/945505?seq=1#page_scan_tab_contents

McComb, Todd M. "What is monophony, polyphony, homophony, monody etc.?", Medieval Music
& Arts Foundation, http://www.medieval.org/emfaq/misc/homophony.html (28.03.17)
123
Medić, Ivana. «Gubaidulina, misunderstood». The Open University United Kingdom, 2012.
http://www.doiserbia.nb.rs/img/doi/1450-9814/2012/1450-98141200014M.pdf (11.05.17).

Music For Accordion."Bio: Fredrich Lips".

http://www.musicforaccordion.com/boutique/inform/lips/lips.htm (5/4/17)

Orthodox Church in America. "The Nicene Creed", https://oca.org/orthodoxy/the-orthodox-faith/

doctrine-scripture/the-symbol-of-faith/nicene-creed (30/4/17).

Oxford Dictionary of English, s.v. "endo", https://en.oxforddictionaries.com/definition/us/endo-

(15.03.17).

Pro arte international mangement. "CV: Geir Draugsvoll".

http://www.proarte.no/dra/draugsvoll.htm (10.05.17).

Schmelz, Peter J. «Review of Sofia Gubaidulina». Notes. Second Series(Vol. 65, No. 1), 2008.

Smith, David Woodruff. "Phenomenology". Edition by Edward N. Zalta . The Stanford Encyclopedia of
Philosophy, 2016. https://plato.stanford.edu/archives/win2016/entries/phenomenology/.

The Academy of Natural Sciences of Drexel University."Butterfly Life Cycle".

http://www.ansp.org/explore/online-exhibits/butterflies/lifecycle/ (14/03/17).

Thoresen, Lasse. «Exosemantic Analysis of music-as-heard, Meaning and Meaningfulness in

Electroacoustic Music». Electroacoustic music studies network, 2012.
http://www.ems-network.org/IMG/pdf_EMS12_thoresen.pdf (05.04.17)

—. Emergent Musical Forms: Aural Explorations. Studies in Music of the University of Western
Ontario, 2015.

Vera Lukomsky. “Sofia Gubaidulina: “My Desire is Always to Rebel, To Swim Against the
Stream!” Perspectives of New Music, 1998.
https://www.jstor.org/stable/833574?seq=1#page_scan_tab_contents

124
Discography

Alberdi, Iñaki. Komp Sofia Gubaidulina. "Et Exspecto". Gubaidulina: Kadenza. EtCetera-Records,
2011.

Angell, Andreas. Komp. Sofia Gubaidulina. "Et Exspecto". Unpublished, Norwegian Academy of
Music, 2015.

Draugsvoll, Geir. Komp. Sofia Gubaidulina. Silenzio / De profundis / Et exspecto / In

Erwartung. BIS Records, 1995.

Lips, Friedrich. Komp. Sofia Gubaidulina. ET EXSPECTO. Classical Accordion CD, 1992.

125
Appendices

Link to videos of aural analyses: http://bit.ly/2prw7y4

A CD with the following videos is added with the physical copies of the thesis, located in the library
of the Norwegian Academy of Music.

- Video 1 : Geir Draugsvoll. De Profundis.

- Video 2: Iñaki Alberdi. Et Exspecto (1st movement).
- Video 3: Andreas Angell. Et Exspecto (1st movement).
- Video 4: Geir Draugsvoll. Et Exspecto (1st movement).
- Video 5: Friedrich Lips. Et Exspecto (1st movement).
- Video 6: Andreas Angell. Et Exspecto (2nd movement).
- Video 7: Iñaki Alberdi. Et Exspecto (2nd movement).
- Video 8: Geir Draugsvoll. Et Exspecto (3rd movement).
- Video 9: Friedrich Lips. Et Exspecto (3rd movement).
- Video 10: Andreas Angell. Et Exspecto (4rd movement).
- Video 11: Friedrich Lips. Et Exspecto (4rd movement)
- Video 12: Geir Draugsvoll. Et Exspecto (4rd movement)
- Video 13: Friedrich Lips. Et Exspecto (4rd movement)
- Video 14: Iñaki Alberdi. Et Exspecto (5th movement)
- Video 15: Friedrich Lips. Et Exspecto (5th movement)

126