JAVS Fall 2024

Figure 5: one bow change, zoomed in. The frequency inside the circle shows a fade from light to dark grey, with one slight “bump” in the frequency between 8.6 and 8.7 seconds. That “bump” indicates the bow change.

This first transition is considered seamless because one new parameter is introduced to the music at a time: 1. Rhythmic accelerando 2. New harmonics added one-by-one 3. Tempo accelerando to double-stop harmonics 4. Double-stop harmonics to stopped pitches These parameters are not introduced in isolation, but instead are superimposed onto each other, creating a sense of gradual build. As the rhythm accelerates throughout the first three systems, new harmonics are added. Then, as the tempo accelerates in the fourth system, the harmonics turn into stopped pitches due to the increase in left-hand finger pressure. Constant throughout the introduction of each parameter is one

long crescendo from pppp to ff . The superimposition of musical parameters amidst a constant crescendo exhibit how Murail conceives of links between musical elements over time, as expressed by the quote below:

In the domain of durations, it is easy to organize the appearance of elements in terms of functions (number of functions on the axis... time on the axis) with simple functions, it is possible to generate many types of rallentandi or accelerandi by making them more complex, superimposing and adding functions, one can discover many sorts of fluctuation which can be used

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Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024