Lars-Gunnar Bodin's 'Anima': Intervallic Symmetry as Metaphor for A Cybernetic Age
Howard Jonathan Frederics · University of Michigan Library Repository · 2000
The rise to prominence of electroacoustic music has raised important philosophical and ethical issues for composers, many of whom have felt compelled to find a unique path toward reconciling inherent contradictions of new modes of music production Inextricably tied to industrial automation technology, tools of electroacoustic composer have, according to German critical theorist, Herbert Marcuse, led to the progressive enslavement of man by a productive which perpetuates struggle for existence and extends it to a total international struggle which ruins lives of those who build and use this apparatus (Marcuse 1991). Thus, as Marcuse might argue, electroacoustic composers are now faced with daunting task of transcending repressive forces of a technological society by instead using that society's tools as a liberating force. Acousmatic composers such as Francis Dhomont, Claude Schryer and Denis Smalley have developed new methods for semiotic coding through use of non-pitch-based sonic metaphor. By employing recognizable sounds or by codifying an abstract structural language based on spectral morphology of gestural shapes, they have enhanced potential for deriving musical as well as symbolic extramusical meaning from their respective works. Indeed, in reference to its semiotic use of recognizable everyday sounds, Dhomont defines acousmatic music as the art of mental representations triggered by (Dhomont 1995). Schryer's interest in acoustic ecology, wherein sound explore relationships among art, technology and sonic environments, leads him to view that artists can become a conduit of our collective memory and help us better understand our acoustic environment, which we rarely actually hear. Thus, sound artist can propose new associations, acoustic games, poetic metaphors and pose fundamental questions about coexistence of electronic technology and ecology (Schryer 1998). Schryer's belief in existence of a collective sonic memory suggests a parallel with noted psychologist, Carl Jung's notion of collective unconscious. Similarly, his concerns for social and environmental impact of producing art with aid of technology mirror those of Marcuse. Smalley, on other hand, defines a set of abstract archetypal sonic shapes which may be applied toward time-variant spectra (Smalley 1986). In doing so, Smalley builds upon ideas concerning sonic typology which were first espoused by Pierre Schaeffer (Schaeffer 1966). Few electroacoustic composers, however, have exploited discreet pitch relationships as a primary source of poetic metaphor. Perhaps this trend can best be explained by very nature of medium, which has afforded composers possibility of exploring timbre as a primary structural and semiotic determinant. Similarly, most music theorists through their training in logical positivist tradition have, until relatively recently, largely discounted symbolic and interpretive modes of analysis, favoring a more strictly quantitative approach. The use of both quantitative a n d interpretive modes of analysis offers promise for electroacoustic composers seeking a rational basis for expression of subjective poetic ideas, while suggesting a more balanced model for theoretical study. The composer, Lars-Gunnar Bodin employs abstract musical structures and technological tools towards humanistic goal of reflecting, reconciling and transcending political, social and psychological challenges posed by modern society. An examinination and metaphoric interpretion of his use of intervallic symmetry, most notably in his piece for mezzo-soprano and computer-generated vocalise, Anima (1984), suggests links to ideas of both Marcuse and Jung. Jung's concepts of anima and animus -the emotional or 'female' and intellectual or 'male' parts of human unconscious psyche or soul, which, according to Jung, must be integrated within realm of conscious mind -can be compared to Marcuse's views on social alienation and repression of individuality through misapplication of so called 'rational' technology under industrialized capitalism (Marcuse 1991). Bodin's interest in programmatic and literary themes from cybernetics, as well his interest in revolutionary politics are first revealed in his early text-sound works from 1960s and 1970s. These ideas are symbolized not only by his choice of texts, but through his use of evolving form, symmetrical pitch structures,ostinati and through his choice of sound processing techniques. According to Bodin extra-musical basis of Anima is derived, in part, from Sven Fagerberg's essay collection, The Bronze Horses, which concerns itself with struggle within individual to come into reconciliation with his or her anima, or true essence (Bodin 1990). In Eros and Civilization, and The One-Dimensional Man, Marcuse criticizes technology as an instrument of capitalist exploitation that, in name of 'rationality' has alienated people from their 'true selves.' Indeed, a detailed analysis of pitch, timbre and texture in Bodin's Anima shows that its large-scale musical form, symmetrical pitch content, and shifting dialectic between voice and tape parts mirrors ideas espoused by Fagerberg, Jung and Marcuse.