Gestalt-Factors of Cohesion and Segregation

Beat Furrer: Nuun

Submitted as a writing example for the application to the Doctor of Music in Composition degree
Northwestern University
Bienen School of Music

December 2010

Daniel R. Dehaan

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Beat Furrers Nuun (1995-96), for two pianos and orchestra, is founded upon a
compositional rhetoric informed by the Gestalt-Factors of Cohesion and Segregation presented in
James Tenneys MetaHodos.1 In this Tenney presents the two main factors that the
cognitive process relies upon when determining the cohesion or segregation of musical
structures.
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The Factor of Proximity is stated by Tenney as follows:
!
!
!

in a collection of sound-elements, those which are simultaneous or contiguous will !t end to form
clangs, while relatively greater separation in time will produce segregations other factors
being equal.

The perception and auditory function of the first impact chord of Nuun, relies on upon
Tenneys Factor of Proximity. The opening statement is abrupt and startling and the sonority of
the first chord forces the listeners ear into a new sonic world. The chord is constructed of all
interval classes and spans from the first octave in the contrabass to the fifth octave in the
pianofortes. (figure 1)
Figure 1

(filled in note-heads show unsustained pitches, whole-notes represent sustained pitches)

!
The sound created can be simplified to two elements, the impact of the first chord and
the orchestrated resonance of that chord. The chord (figure 1) strikes following a completely
vertical sixteenth-note rest. This choice of notation produces an effect on the psychology of
the performer, which in turn affects the physical interpretation and manner of execution. The
result is a greater initial charge, or forward direction, creating the sense of more potential
energy.
!
The sound created by the first chord is reminiscent of Grarde Griseys composition
Partiels (1975). Grisey uses a technique metaphorically referred to as instrumental additive
synthesis. In Partiels, Grisey selects component frequencies of a pedal low E1 on a trombone
and re-synthesizes it by use of the ensemble. Furrer, borrows from Grisey this idea of masking
the full ensemble under one perceivable sound by introducing all of his instruments within the
same macro-timbral impact. This is exactly The Factor of Proximity, because of Furrers
unification of the first chord with the resonance that grows out of it, the perception of the
listeners ear is manipulated. A strong association is made between the impact of the chord and

Tenney, James. META - HODOS* and META Meta - Hodos: a Phenomenology of 20th-century Musical Materials and an
Approach to the Study of Form. Lebanon, N.H: Frog Peak Music, 2000. Print.
1

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Gestalt-Factors of Cohesion and Segregation!

the material that follows, creating the perception of the proceeding material to be an extension
of the initial sound. This impact chord is what Tenney would refer to as a clang, in an article2,
Tenney seeks to show how it is that the listener perceives the musical structures.
!
!
[] it is the occurrence of a local maximum in interval magnitudes which determines
!
clang-initiation. An interval is simply a difference, and whether this is a difference in
!
starting-times, or pitch, or intensityor any other attribute of soundis not what is
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important. Rather, it is relative differences (in any parameter) that seem to be crucial.
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We live in a universe of change, but whether a particular change marks the beginning
!
of a new temporal gestalt-unit or simply another "turn" in the shape of the current one
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depends not only on its absolute magnitude, but on the magnitude of the changes which
!
precede and follow it.
For the listener all elements are of equal value, and perception is based upon the amount of
change weighed against the amount that is unchanged. Furrer creates a unified sound through
maintaining a greater amount of sameness from the impact chord to the extended resonance.
!
The second factor is The Factor of Similarity, which according to Tenney is as follows:
!
!
in a collection of sound-elements (or clangs), those which are similar (with respect to values in
!
some parameter) will tend to forms clangs (or sequences), while relative dissimilarity will produce
!
segregationother factors being equal
A gestalt sequence relies upon the memory of the listener. Whether it is imbedded in the
conscious or subconscious only alters the levels of perception on macro or micro elements. A
gestalt sequence is very similar to the concept of a clang but a gestalt sequence tends to be longer
in duration (relying more on the subconscious memory). Furrer applies this factor in two
forms, the first as the resonance of the impact chord, and the second as macro-scale timbral
blocks.
Figure 3.1

Figure 3.1

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Figure 3.3

Temporal Gestalt Perception in Music, James Tenney, Larry Polansky; Journal of Music Theory Vol. 24, No.
2 (Autumn, 1980), pp. 205-241 Published by: Duke University Press on behalf of the Yale University
Department of Music Stable URL: http://www.jstor.org/stable/843503

Dehaan 3

Gestalt-Factors of Cohesion and Segregation!

!
The resonance of the impact chord is constructed of an intricate woven polyphony, each
individual line is built on intervals derived from the first chord (Figure 3.1-3.3). By keeping a
high degree of parametric-similarity from the impact to the proceeding resonance (i.e.
register-placement, instrumentation, intervallic relationship, etc.) the gradually shifting
gestalt-sequence is not perceived to change until Furrer introduces sudden shifts from one
timbral block to another, the second form of The Factor of Similarity.
Figure 4

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This sudden shift from one timbral block to another relies upon retroactive perception3 ,
where the listener realizes the change in parameter only through the memory of the preceding
gestalt sequence. Each timbral block maintains a high degree of internal parametric-similarity,
at the moment that a shift from one timbral block to the next occurs there is a local maximum

3Jason

!
!
!
!
!

Eckardt, in talking about his use of compositional parameters to emphasize segmental conception states,
The change in speed between one regular rhythm and another, as well as the shift from
regularity to irregularity or vice-versa, may only be perceived retroactively. The temporal space between
two rhythmically contrasting segments that are regular and irregular may be construed as a continuation
of the former gesture until the latters rhythmic identity is recognized.

Eckardt, Jason. "Surface Elaboration of Pitch-Class Sets Using Non-pitched Musical Dimensions. Perspectives of
New Music Winter 43.1 (2005): 120-40.

Dehaan 4

Gestalt-Factors of Cohesion and Segregation!

in interval magnitudes, 4 a clang. In a retroactive comparison of the sound materials, prior to

and after the moment of the shift, the ear perceives a segmentation of the materials based
upon the rapid parametric change.
!
One example (figure 4) of this is between timbral block-X (mm. 41 - 45) and timbral
block-Y (mm. 46 - ). Timbral block-X, emphasizes an E-flat minor triad against and E-natural
minor triad (figure 5.1), orchestrated out in a similar fashion to the resonance of the first
chord (figure 5.2). Timbral block-Y is orchestrated dramatically thinner than block-X. The
most present sound is the high pizzicato strings, supported by quick, whirling clarinets (figure
5.3) The immediate parameter shift from the dense timbre of block-X to the sparse timbre of
block-Y is what contributes most strongly to the segmentalization of the two into distinct
blocks. Within the clangs, gestalt sequences, and timbral blocks, Furrer use both pitch and
timbral parameter to create the macro-form of the work which is derived from the Shepard
Tone concept.
Figure 5.1

Figure 5.2

Figure 5.3

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A Shepard Tone creates the auditory illusion of a constant ascending pitch. Furrer
creates this illusion acoustically through the slow but steady ascension of both pitch and
timbre. This is most clearly summarized in measures 259 - 271. The section begins with a
dropping glissando timpani roll, out of which grows the two pianofortes. In the low octave the
pianos percussively reiterate the low A from the impact chord, this time paired with a B
natural. Upon striking a D5 in the right hand of piano 1, what had been a gradual process
over the duration of the composition prior to measure 259, becomes condensed into a less
memory intensive gestalt sequence. The pitch content rapidly rises from the piano low A1 to the
flutes A6. A similar timbral shift occurs at a slightly slower rate (figure 6). The combination of
all three of these parameters (pitch, instrumentation, and dynamics) serve to create the gestalt
sequence of a sound rising deceptively higher.
!
In this moment Furrer puts into use the two factors of Proximity and similarity to secure a
manner in which the listener will perceive the music. The Factor of Proximity informs Furrers
choice in two ways. The first to condense the macro-scale concept of Nuun into one gesture to
activate the listeners retroactive perception, and solidify (whether consciously or
subconsciously) the Shepard Tone illusion of the entire work. The second to enforce the

!
!

Temporal Gestalt Perception in Music, James Tenney, Larry Polansky; Journal of Music Theory Vol. 24, No.
2 (Autumn, 1980), pp. 205-241 Published by: Duke University Press on behalf of the Yale University
Department of Music Stable URL: http://www.jstor.org/stable/843503

Dehaan 5

Gestalt-Factors of Cohesion and Segregation!

perception of the three parameters of the gesture to all begin with the timpani roll and
pianofortes and transform to the concluding; upper winds, crotales, and high pizzicato strings.
Figure 6
Pitch Content: (A1,B1)--------------------(A1- A6)----------------------------------------------------(E6 - A6)

low timp.
roll

Flute
(upper)

---------->

---------->

---------->

---------->

---------->

---------->

Oboe
(upper)

---------->

---------->

---------->

---------->

---------->

---------->

---------->

Clarinet
(upper)

---------->

---------->

---------->

---------->

---------->

Trumpet
(mid)

---------->

---------->

---------->

---------->

---------->

---------->

Horn
(mid)

---------->

---------->

---------->

---------->

---------->

Basson
(low)

---------->

---------->

---------->

Trombone
(low)

---------->

---------->

---------->

pianos (low
reg.)

---------->

(mid. reg.)

---------->

(high)

---------->

---------->

---------->

---------->

---------->

Crotales
(low)

---------->

(mid)

---------->

(upper)

---------->

---------->

---------->

---------->

---------->

xylophone
(mid)

---------->

(upper)

---------->

---------->

---------->

---------->

(mid)

---------->

(upper)

---------->

---------->

Violin
Tremolo

---------->

Violin Pizz.
(upper)

---------->

---------->

---------->

Viola
Tremolo

---------->

------------->

Viola Pizz.
(upper)

---------->

---------->

---------->

Cello
Tremolo

---------->

---------->

Cello Pizz.
(upper)

---------->

---------->

---------->

---------->

---------->

marimba
(low)

Bass
Tremolo

Dynamics: (pp)--------------------------------------------------------(mf)--------------------------------(ff)------------(pp)

The Factor of Similarity informs Furrers orchestration decision, as the perception of change is
weighed against the degree of change, Furrer morphs the ensembles timbre by small degrees
to emphasize the overall continuity.
!
In Nuun, Furrers compositional decisions and underlying organization are informed by
the Gestalt-Factors of Cohesion and Segregation to encourage the perception of formal musical
structures. There is still much study needed in the field of the perceptual organization of
music. However, through the work of composer Beat Furrer, and several of his
contemporaries, the ground work is being laid for a vast and fruitful new compositional
rhetoric in which the artist can work more knowledgeably with and against the cognitive
processes.