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Why we Don’t Drive to Dvořák FAST Composition and Musical Analysis Why we Don’t Drive to Dvořák FAST Composition and Musical Analysis Matthew C. Lane Matthew C. Lane

Why we Don’t Drive to Dvorák FAST Composition and Musical

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Page 1: Why we Don’t Drive to Dvorák FAST Composition and Musical

Why we Don’t Drive to DvořákFAST Composition and

Musical Analysis

Why we Don’t Drive to DvořákFAST Composition and

Musical AnalysisMatthew C. LaneMatthew C. Lane

Page 2: Why we Don’t Drive to Dvorák FAST Composition and Musical

ForwardForward

• Began using FAST during M.Mus. at Université de Montréal

• Lighter side to the application of FAST

• Countering the estranged artist theory

• Composition is guided by analysis of existing perceptually successful music

• Began using FAST during M.Mus. at Université de Montréal

• Lighter side to the application of FAST

• Countering the estranged artist theory

• Composition is guided by analysis of existing perceptually successful music

Page 3: Why we Don’t Drive to Dvorák FAST Composition and Musical

Function Analysis:Doesn’t it require a function?

Function Analysis:Doesn’t it require a function?

• Music has a function

• Create drama

• Drama implies continuity

• Different styles achieve this in different ways

• Dance/Disco music: 8-bar pattern

• Classical period form: contrasting second ending

• Pop music: structure

• Jazz music

• Music has a function

• Create drama

• Drama implies continuity

• Different styles achieve this in different ways

• Dance/Disco music: 8-bar pattern

• Classical period form: contrasting second ending

• Pop music: structure

• Jazz music

Page 4: Why we Don’t Drive to Dvorák FAST Composition and Musical

Why some forms should be dramatic, but aren’t alwaysWhy some forms should be dramatic, but aren’t always

Page 5: Why we Don’t Drive to Dvorák FAST Composition and Musical

Does all music seek the same dramatic goals?

Does all music seek the same dramatic goals?

• Classical - maximum drama

• Pop - moderate drama

• Muzak - low (but existent) leval of drama

• Classical - maximum drama

• Pop - moderate drama

• Muzak - low (but existent) leval of drama

Page 6: Why we Don’t Drive to Dvorák FAST Composition and Musical

Symbiotic relationship between analysis and

composition

Symbiotic relationship between analysis and

composition• Analysis of precedents before creation

• Learning about effective music requires knowing the function and the why’s towards it

• Assumed function: create drama (test)

• Partial FAST gives us an objective test of the utility of an element of the music

• Analysis of precedents before creation

• Learning about effective music requires knowing the function and the why’s towards it

• Assumed function: create drama (test)

• Partial FAST gives us an objective test of the utility of an element of the music

Page 7: Why we Don’t Drive to Dvorák FAST Composition and Musical

Bach Fugue in C from WTC 1

Bach Fugue in C from WTC 1

Page 8: Why we Don’t Drive to Dvorák FAST Composition and Musical

Analysis and FASTAnalysis and FAST• Some tools with a hidden function based

approach:

• Harmonic analysis

• Shenkarian analysis

• Pitch class set analysis

• Constant paradigm shift creates need for FAST

• Much of 20th C dedicated to music without perceptual drama, and FAST diagrams help us spot why very quickly.

• Some tools with a hidden function based approach:

• Harmonic analysis

• Shenkarian analysis

• Pitch class set analysis

• Constant paradigm shift creates need for FAST

• Much of 20th C dedicated to music without perceptual drama, and FAST diagrams help us spot why very quickly.

Page 9: Why we Don’t Drive to Dvorák FAST Composition and Musical

Function-based thinking and the problem with modern classical

music

Function-based thinking and the problem with modern classical

music• Function awareness

• Disenchantment with modern music: it doesn’t have a perceptible function.

• Composers should convey their function

• Listeners should be “Function-Aware” when choosing music

• Is classical music’s function still relevant?

• Function awareness

• Disenchantment with modern music: it doesn’t have a perceptible function.

• Composers should convey their function

• Listeners should be “Function-Aware” when choosing music

• Is classical music’s function still relevant?

Page 10: Why we Don’t Drive to Dvorák FAST Composition and Musical

How I use FASTHow I use FAST• Starting from a musical “seed”

• Alternate functions on a smaller scale

• Get from A to B

• Create tension, reduce tension

• Increase/Reduce speed/orchestration/dynamic

• Other pieces may require slightly different functions.

• Starting from a musical “seed”

• Alternate functions on a smaller scale

• Get from A to B

• Create tension, reduce tension

• Increase/Reduce speed/orchestration/dynamic

• Other pieces may require slightly different functions.

Page 11: Why we Don’t Drive to Dvorák FAST Composition and Musical

How I use FASTHow I use FAST

Page 12: Why we Don’t Drive to Dvorák FAST Composition and Musical
Page 13: Why we Don’t Drive to Dvorák FAST Composition and Musical
Page 14: Why we Don’t Drive to Dvorák FAST Composition and Musical

Advantages of using FASTAdvantages of using FAST

• Everything connected to a “seed” idea, promoting continuity

• One process can serve several higher order functions: more effecient pieces

• Justification for ideas (useful in academia)

• Prevents superfluous ideas from entering a piece

• Everything connected to a “seed” idea, promoting continuity

• One process can serve several higher order functions: more effecient pieces

• Justification for ideas (useful in academia)

• Prevents superfluous ideas from entering a piece