Varèse - Generative Cell and Symmetrical Operations

GCMR100099.
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Contemporary Music Review

Vol. 23, No. 1, March 2004, pp. 1744
Interaction Between the Generative

Cell and Symmetrical Operations in
Varses Octandre
Eli-Eri Moura
The first part of this paper presents a comparative study of three authors (Chou Wen-
chung, J. D. Anderson and J. W. Bernard), who based their works, to different degrees, on
Varses words about his own music. Despite their common basic reference, the authors
arrived at different conclusions concerning the guiding principles in Varses compositions.
This was partly due to the open quality of the composers comments. Without attempting
to utilise Varses terminology, and employing a rather pragmatic approach, the second
part discusses a passage of Octandre, where two compositional devices, pointed out by the
above mentioned authors, interact determining the pitch organisation of the piece: the
generative cell and symmetry.
Keywords: Edgard Varse; Octandre; Generative Cell; Symmetrical Operations in Music
To reveal a new world is the function of creation in all the arts, but the act of creation
defies analysis. (Edgard Varse, 1967b, p. 204)
Part 1
If examined from a strictly technical point of view, Varses comments on his work tend
to be metaphorical and analogical rather than analytical, as he preferred describing and
comparing, rather than analysing and explaining. Direct references to or descriptions
of the technical aspects of his musical language are not found in any of his writings.
Instead, he referred to them using terms such as sound masses, expanding planes,
collision, penetration, repulsion, transmutation, sound projection, and crystallisation,
among others, which do not belong in traditional musical vocabulary. The following
quotations are some examples of his remarks containing such terms.
(1)
When new instruments will allow me to write music as I conceive it, the movement
of sound masses, of shifting planes, will be clearly perceived in my works, taking the
ISSN 0749-4467 (print)/ISSN 1477-2256 (online) 2004 Taylor & Francis Ltd
DOI: 10.1080/0749446042000204518
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18 E.-E. Moura
place of the linear counterpoint. When these sound masses collide, the phenomena
of penetration or repulsion will seem to occur. Certain transmutations taking place
on certain planes will seem to be projected onto other planes, moving at different
speeds and at different angles. In the moving masses you would be conscious of their
transmutations when they pass over different layers, when they penetrate certain
opacities, or are dilated in certain rarefactions. (E. Varse, 1967a, p. 197)
(2)
There will no longer be the old conception of melody or interplay of melodies. The
entire work will be a melodic totality. (E. Varse, 1967a, p. 197)
(3)
We have actually three dimensions in music: horizontal, vertical, and dynamic
swelling or decreasing. I shall add a fourth, sound projectionthat feeling that sound
is leaving us with no hope of being reflected back, a feeling akin to that aroused by
beams of light sent forth by a powerful searchlightfor the ear as for the eye, that
sense of projection, of a journey into space. (E. Varse, 1967a, p. 197)
(4)
Conceiving musical form as a resultantthe result of a processI was struck by what
seemed to me an analogy between the formation of my compositions and the
phenomenon of crystallization. (E. Varse, 1967b, p. 203)
(5)
There is an idea, the basis of an internal structure, expanded and split into different
shapes or groups of sound constantly changing in shape, direction, and speed,
attracted and repulsed by various forces. The form of the work is the consequence of
this interaction. Possible musical forms are as limitless as the exterior forms of
crystals. (E. Varse, 1967b, p. 203)
(6)
Although the intervals between the pitches determine the ever changing and
contrasted volumes and planes, they are not based on any fixed set of intervals
such as a scale, or series, or any existing principle of musical measurement. They
are decided by the exigencies of this particular work. (quoted in Cowell, 1955,
p. 372)
This unique terminology was the common basic reference in the following three
analytical approaches to Varses music, briefly reviewed and compared here.
Chou Wen-chung: Varse: A Sketch of the Man and His Music

In this article, published in Musical Quarterly in 1966, Chou Wen-chung cites some
passages of Intgrales and Dserts to exemplify typical Varesian procedures. The
composer himself commented on the procedures in texts such as those quoted under
(1) and (5) above. Chou examines the pieces in light of Varses terminology.
According to his interpretation, the ideabasis of the internal structure (see
quotation (5) above)in Intgrales is present in the passage stated by the C trumpet
in bar 10. Isolating the pitch-classes of this idea, the author forms the set {D,A ,B ,G,
F }. Then, he creates five subsets of three notes each, in which the intervallic content
Contemporary Music Review 19

as defined by the pitches given, is statable in any vertical permutation or linear order-
ing (Chou, 1966a, p. 158):
I = {A ,B ,D}, II = {F ,G,B }, III ={F ,G,A }, IV = {D,G,A }, V = {G,A ,B }1
The formation of sound masses is based on these groups. For example, groups I and
II originate two distinct sound masses heard throughout the first section of the piece:
the vertical sonorities played by piccolos and B clarinet (A5,E 6,B6), and trombones
(C3,E3,C 4) respectively. Besides derivation from specific subsets, other factors are
cited as defining and characterising the distinct layers of sound masses: spatial place-
ment (register), independent dynamic organisation and timbre.
The idea in bar 10 is also referred to as the expanding plane of the first section of
Intgrales. In the article Open rather than bounded, Chou (1966b, p. 3) suggests that
when an idea is expanded, sound masses are originated: Sound masses seem to emerge
out of the expansion of an ideathe basis of an internal structureinto the sonic
space. From this, one may observe that by expansion the author means basically the
process of verticalisation, or registral distribution of the idea.
Transmutation is related by Chou to a kind of variation or transformation that
changes the attributes of the sound masses. He cites an inversion of group II, at bar 25,
as an example of such a process (which can be seen in Figure 12): [it] suddenly activates
Figure 1 Transmutation in Intgrales, bb. 2527, According to Chou.

20 E.-E. Moura
Figure 2 Collisions in Intgrales, b. 36, According to Chou.
three versions of the third group . . . which emerge and collide with each other in quick
succession, in mm. 2629 (Chou, 1966a, p. 159).3
From this passage, one may infer transmutation also affects in some way the
surrounding context provoking the appearance of new sound masses and/or their
displacement.
Not explicitly stated, the phenomenon of collision seems to be registral and/or
temporal encounter of sound masses. Figure 2 is an example of how Chou illustrates a
series of collisions of sound masses shaped out of the third, fourth and fifth groups.
Penetration and repulsioncited as the possible result of collisionare not
explained. Chou (1966b, p. 3) states that when . . . sound-masses collide, the inter-
action tends to bring about penetration, during which certain attributes of one sound
mass are transferred to another. However, these attributes are not specified.

Symmetry is cited once by Chou. It occurs in a passage of Dserts (bb. 4145) in
which two sound masses are merged through symmetrical expansion. However, this
subject is not discussed further; the mention of it being limited to this sole example.
According to Chou (1966a, p. 161), the succession of the processes defined above
accounts for the immense sense of growing organism in the entire score [Dserts] and
illustrates Varses concepts of sound as living matter.
John Davis Anderson: The influence of scientific concepts on the music and thought of
Edgard Varse
In his doctoral dissertation, Anderson (1984) attempts to demonstrate a philosophical
and practical relationship between some scientific concepts and Varses music. First,
he examines writings by and about Varse. Then, two analyses of Octandre are
presented: the first, aiming to discover both the actual processes involved and the
degree to which they are consistent with Varses aesthetic principals [sic] (Anderson,
1984, p. 7); the second, applying Varses terminology. Finally, the author relates some
Varesian procedures to scientific fundamentals.
Based on the several points of view reviewed in the beginning of the thesis, Anderson
proposes a working aesthetic model of how Varses music functions. The main
premises are: (a) it is founded upon the conceptions that sound has inherent intelli-
gence and will, and that music itself is capable of functioning in three-dimensional
space; (b) vertical and horizontal material is derived from the same sourcesgerminal
cells which are in constant process of variation; (c) timbre works as an agent of
delimitation (Anderson, 1984, p. 4041).
The author applies these ideas to the analyses of Octandre. In the first, where
standard analytical technique and terminology is used, he mentions the descending
chromatic tetrachord in bar 1 as the basis for the entire compositonthe germinal cell,
which resembles Chous idea. Following Babbitt (1966, pp. 1517), he extracts the two
possible different trichords from this figure: {Gb,F,D }, presented in the piece by spatial
proximity; and {G ,F,E}, presented by temporal proximity (Anderson, 1984, p. 46).
According to Anderson, these trichords were used by Varse without regard to
temporal or vertical ordering and were freely transposed. Their intervallic content
functions as a generating device, originating chords and linear material. Concerning
the analysis itself, it is mostly dedicated to locating and classifying such cells throughout
the piece. In addition, emphasis is given to the sectional aspect of the work.
In the second analysis of Octandre, Anderson defines the terms projection, sound
mass, expanding plane, transmutation, collision, penetration, attraction and repul-
sion, and points out particular parts of the piece that exemplify them.
Based on quotation (3), he associates the concept of projectiona term not defined
by Chouwith the enormous crescendi of some single chords which occur in passages
of periodic rhythm and at endings of sections of Octandre (as in I, b. 15; II, bb. 8081;
III, bb. 3338). Such configurations represent Varses illusion of sound departing on
a journey (Anderson, 1984, p. 77).
22 E.-E. Moura
Three chief criteria are cited by Anderson to identify sound masses (as cited in
quotation (1)): timbre, articulative-rhythmic-dynamic similarity, and interior inter-
vallic consistency. Chou used roughly the same criteria. The distinction between
Andersons and Chous arguments lies solely in the different degree of emphasis put on
each characteristic of sound masses. While Chou emphasises the interval content,
Anderson finds the timbre their most important feature. Apart from this, their inter-
pretations are the same. Figure 3 illustrates two contrasting sound masses, and Figure
4 shows sound masses separated in time as pointed out by Anderson.
Concerning the term expanding plane, Anderson applies two different meanings to
Figure 3 Contrasting Sound Masses in Octandre I, b. 18, According to Anderson.
Figure 4 Sound Mass Separated in Time in Octandre I, bb. 1921, According to Anderson.

it. In the first part of his dissertation, he cites quotation (2) to draw the following
conclusion:
Most sound-masses are constructed by the verticalisation of previous material.
Pitch-classes or intervals which constitute a melody or plane are often reorchestrated
and sounded simultaneously as a chord or sound-mass. . . . Planes are capable of
evolving into masses and vice versa. . . . Varse terms this process the expanding
plane. (Anderson, 1984, pp. 3334)
This conclusion is basically the same as Chous. However, in analysing Octandre,
Anderson defines expanding plane by taking the literal sense of the word: range
expansion, or widening of melodic lines, apparently without direct connection to the
germinal cell. The example given by the author is the second part of the initial oboe
solo in the first movement (bb. 610), where the range is extended to G6. Yet a third
sense is given to the term planewithout the adjective expanding. He applies the
word to certain one-note lines found throughout the piece which, according to him,
help the musics continuity, as they link different sound masses or rhythmic events (an
example cited is C6, played first by the B clarinet, and then by the oboe, in Octandre
I, bb. 2632).
Concerning transmutation (from quotation (1)), Anderson and Chou also express
basically the same opinion. The former states: Sound masses do not remain constantly
stable, but are subject to variation. Varse terms his process transmutation (Ander-
son, 1984, p. 81). However, he does not specify what kinds of variations can possibly
occur.
Regarding the other terms of quotation (1), the two authors have different views. In
contrast to Chou, Anderson flattens out the phenomena of penetration and collision
resulting in the invasion of one sound mass on the registral boundaries of another.
However, a distinction is made between the two concepts. In penetration, a single pitch
breaks into the registral limits of a sound mass, while in collision several do so. Chou
interprets Varses (1967a, p. 197) wordsWhen these sound masses collide the
phenomena of penetration or repulsion will seem to occurmore strictly and
attributes to the specific term penetration a more general sense: the transference of
certain attributes of one sound mass to another.
According to Anderson, as a result of penetration or collision, attraction4 or repul-
sion may occur, depending on whether the pitches of the sound masses subsequently
move toward a common or a distinct register. Two passages cited by the author are
illustrated in Figure 5 (penetration resulting in attraction) and Figure 6 (penetration
resulting in repulsion).
Anderson concludes his dissertation by establishing analogies between some of the
Varesian processes described above, and some theories in physics which were formu-
lated in the first decades of the twentieth century (e.g. relativity, quantum).
24 E.-E. Moura
Figure 5 Penetration Resulting in Attraction in Octandre I, b. 18, According to Anderson.
Figure 6 Penetration Resulting in Repulsion in Octandre II, bb. 3740, According to

Anderson.
Jonathan Walter Bernard: The music of Edgard Varse

Bernards The music of Edgard Varse (1987) was the first full-length book on Varses
music. Its first part is devoted to exploring the influences of three aesthetic trends

(Cubism, Futurism and Expressionism) on Varses work, while the main body deals
with Bernards theory concerning Varses compositional method.5
Like Chou, Bernard begins his approach by citing quotation (1). The author suggests
that the composer actually considered space in a physical sense when he described
events such as movement of sound masses, collision, penetration, repulsion, etc. In
order to explain how this physical space is translated into musical space, Bernard first
calls attention to Varses concerns on the vertical dimension of music. These are not
only reflected in the composers own music, but also in his remarks on a kind of
melodic line, which is not horizontal but vertical (L. Varse, 1972, p. 211). The author
concludes: If the vertical dimension has primary status in Varses musical frame of
reference, then the partitioning of vertically defined space takes on crucial significance
(Bernard, 1987, p. 41).
Next, Bernard takes quotation (6) to refer to an apparently self-generating method
of composition that allows order to emerge from within. This method is related to
Varses analogy to the process of crystallisation, where the growth through orderly
expansion of a minimum of an idea, cell-like in nature [is emphasised] (Bernard, 1987,
pp. 4243). While this part of Bernards analysis resembles Chous and Andersons
concepts of idea and germinal cell, his conclusion differs essentially from their
approaches. He cites quotations (4) and (5) to suggest that the initial idea is not
necessarily anything more than a point of departure. . . . Having appeared once, the
initial event may never be heard again (Bernard, 1987, p. 43).
Based mainly on these two premisesthe partitioning of vertically defined space as
a fundamental factor in Varses music, and the existence of a mechanism originating
continual change throughout this spaceBernard creates his method to approaching
Varses works. Fundamental is the view of the tempered pitch system as a neutral
arrangement of semitones, where criteria of absolute size and distance are pertinent.
In this context, two maxims of set theory are discarded: octave and inversional equiv-
alence. Finally, he presents the principle behind the manipulation of events (as
described in quotation (1)) that ultimately provides the continuum of change in
Varses music: symmetry.
Bernard classifies symmetry into two principal kinds, which can work either in a
simultaneous, or in a partial way: (a) mirror, where two segments mirroring each
other have one or two pitches as an equidistant centre; (b) parallel, which displays two
or more segments with the same adjacent intervallic ordering from the lowest pitch to
the highest.
In Bernards point of view, while symmetrical procedures describe on the simplest
level individual formations, an extension of their principles can describe larger contexts
as instances of process. In his theory, this process is carried out by four basic operations,
namely projection, rotation, expansion and contraction. They are designed to be
applied both singly and in combinationthe first is related to parallel symmetry, and
the others to mirror symmetry.
Projection is basically spatial transposition: the transference of a pitch structure
from one spatial location to another over time (as in Dserts bb. 2930, between the
26 E.-E. Moura
pitches of timpani and brass).6 Despite the fact that both Bernard and Anderson cite
quotation (3) as a reference, their conclusions about this term are completely different.
As mentioned above, Anderson related projection to the crescendi of some chords.
By rotation Bernard means inversion in a literal sense (as in Intgrales b. 151,
between the chord played by the trumpets and horn, and the chord played by the
trombones).
In expansion, the outer pitches of a structure migrate in contrary motion, by the
same number of semitones, to a new location in the chromatic spectrum. Bernard does
not relate this term to Varses expanding plane, which is interpreted by Chou as the
verticalisation of previous materials, and by Anderson as the widening of the range of
a melodic line. However, Bernards expansion resembles very closely the example of
Dserts given by Chou, where two sound masses are merged through symmetrical
expansion. Contraction is defined as the opposite of expansion.
According to Bernard (1987, p. 57), the confluence of processes suggests the occur-
rence of the phenomenon referred to by Varse as penetration of one sound mass by
another. In another source, Bernard (1981, p. 18) states:
Analytical complications often result when the musical fabric splits and the process
of transformation proceeds in two or more different directions. When the disparate
structures produced by such fragmentation reunite in a single structure, penetration
may be said to occur.
A divergence in interpretation is again apparent. In Bernards view, penetration is

defined at a structural levelconfluence of processeswhereas in Chous and
Andersons views, it is defined at a more superficial level: transference of certain
attributes of one sound mass into another, and invasion of a single pitch from one
sound mass into another.
In order to account for internal details, Bernard applies trichords that are connected
by certain operations, and grouped under what he calls a constellation. In coherence
with the rest of his approach toward external dimensions of structures, these internal
operations are undertaken because of spatial considerations. Accordingly, from a basic
form, say, [3][8] (to use his own example and labelling), present in a trichord such as
{G 4,B4,G5}, derivative forms called unfolding are created by replacing the inner note
in an outer position, symmetrically related to the lower or higher note:
[3][11]:{E 4,G 4,G5}, and [8][11]:{G 4, G5,D 6}. In a third derivative form, infolding,
the inner note serves as symmetrical centre to an outer note which moves into the
chord: [3][5]:{B4,D5,G5}.
In actual application, the symmetrical aspects of these operations remain only on an
abstract level. This is due to the fact that only the absolute intervallic content is consid-
ered in the relationship between trichords. Trichords of the same constellation may be
found in different spatial locations (transpositions), cancelling the realisation of their
inherent symmetrical properties. In any case, this is not a contradiction in Bernards
approach, as his major concern in using these trichords is related to the measurement
of intervallic consistency throughout Varses works (Bernard, 1987, p. 77).

Leaving aside the question of influences on Varses thought (science versus art), one
can observe that the approaches of Chou and Anderson coincide in many ways, while
Bernards approach seems to move in a different direction. In fact, the divergence
begins in how the words of the composer are taken into account.
The former attempt to explain Varses terminology in a rather literal way, and to
identify instances in the scores which illustrate the terms. Bernard, using the same
sources, does not take Varses terms literally, and limits himself to drawing two basic
conclusions: (a) the relevance of the vertical dimension and its partitioning; (b) the
existence of a process of continual change in the sonic space.
Regarding terms such as expanding plane transmutation projection, collision,
penetration, repulsion and attraction, it seems that Chou and Anderson take Varses
words as the very descriptions of compositional processes and generating mechanisms.
Accordingly, they set forth to find events that could be depicted in those terms, and
cited isolated passages as evidence. They did not identify the underlying principles. For
example, in their conception of the phenomena of transmutation, collision, penetra-
tion, repulsion and attraction, these are responsible for the movement and transfor-
mation of sound massesand this movement and transformation can also be regarded
as taking part in the generating processes of the music. However, the definitions they
present for the phenomena lack theoretical support. One may ask what, besides the
composers arbitrary will, makes the sound masses behave as described. Varse suggests
that there are various forces that are responsible for their movement (quotation (5)).
However, Varse did not explain what he meant by forces, nor did Chou and Anderson
attempt to define them.
Bernard did not specify or explain these terms, except for projection.7 Rather, he
seemed to consider Varses terminology as a metaphorical way of referring to the
musical results, or to the more superficial levels of the music. Accordingly, he under-
took the task of finding the generating mechanisms that led to the production of those
results. The compositional devices and procedures suggested by him are to some degree
all related to the principle of symmetry.
28 E.-E. Moura
Part 2
Below are some observations on the compositional procedures and their practical
application in the first 15 bars of Octandre. There is no attempt to apply Varses
terminology. The goal is to show how two of the principles described above interact in
order to function as generating devices, and subsequently to determine the pitch
organisation of the piece. These principles are the idea or the germinal cell
(mentioned by Chou and Anderson), and symmetry (studied by Bernard).8
Observations on Compositional Procedures

The descendent tetrachord at bar 1 of Octandre will be called the generative cell and
the trichords derived from it (as pointed out by Babbitt and Anderson), cell 1 and cell
2 (as shown in Figure 7).9 The way the pitches of these cells are spatially (registrally)
realized is of fundamental relevance. Considering cell 1, one can extract the following
dispositions from the first four bars (see Figure 8).
Dispositions a, b and c represent the three possible registral combinations of the
pitches of cell 1, if one arranges two pitches adjacently in the higher register and
displaces the remaining an octave in the lower register (as shown in Figure 9). With the
inverse operation, i.e. arranging two pitches adjacently in the lower register and
Figure 7 Cells 1 and 2: Octandre I, b. 1.
Figure 8 Octandre I, bb. 14.
Figure 9 Dispositions a, b and c.

Figure 10 Registral Combinations of Cell 1 (Type 1).
Figure 11 Registral Combinations in Octandre I, b. 10.
displacing one an octave in the higher register, one will obtain a complete set of six
such registral combinations (see Figure 10). To make this clearer, this kind of spatial
organisation of cell 1 will be called type 1.
It can be noted that all of these registral combinations of cell 1 appear systematically,
without regard to the pitch ordering, throughout Octandre. For instance, at bar 10,10
the initial statement of the oboe (bb. 14) is recapitulated by the flute, the B clarinet
and the trumpet in a contracted and overlapped form. In this recapitulation a different
combination (chosen among the possible six) is used for each cell of the oboe line (as
seen in Figure 11).
Cell {B 4,A 5,A5} (shown in black note heads in Figure 11) has also an equivalent
cell in the opening passage of the piece, if one takes into account the pitches G 4 (b. 4)
30 E.-E. Moura
Figure 12 Cell Bb4-Ab5-A5 in Octandre I, bb. 46.
Figure 13 Registral Combinations of Type 1 in bb. 14 (a) and m. 10 (b) of Octandre I.
Figure 14 Spatial Organizations of Cell 1: Type 2 (a), Type 3 (b) and Type 4 (c).
and A4 (b. 5) in the oboe, and B 3 (b. 6) in the B clarinet (see Figure 12). Exceptionally,
in this case both cells display the same registral combination: b1.
Figure 13 shows the registral combinations in the two passages.11 All the combina-
tions of type 1 are present, except for c2, which appears later in the first movement.
Other spatial organisations of cell 1 occur in Octandre. Types 2, 3 and 4 are shown in
Figure 14. The spatial organisation type 2 is also present in the initial statement of the
oboe (x in Figure 8). It appears less frequently than type 1 in the first movement, but
its appearance is noticeable in other parts of the work as in the opening of the second
Figure 15 Spatial Organization Type 2 in Octandre II, bb. 24 (Piccolo).
Figure 16 Cells 2 in Octandre I, bb. 2627.
movement (see Figure 15). Types 3 and 4 play a structural role in the first fifteen
measures of the piece, as will be shown below.
Concerning cell 2, its most frequent spatial organisations are the same as its basic
referential sets (see note 9). An example of their appearance is found at bars 2627 of
the first movement (Figure 16).
The reason for emphasising these types of spatial organisations is that they reflect
the organising principle that underlies all the work: symmetry. Symmetry is defined
here as reflectionthat is, the result of turning a figure around a linear axis, which is
called the axis of symmetry. Because of the characteristics of the tempered pitch system,
an axis of symmetry can comprise one single note or an m2-dyad. Taking F4 and E4F4
as centres of symmetry, for example, the dyads in Figure 17 represent the simplest
forms of reflection. More complex symmetrical formations are possible through the
superimposition of these dyads.
From cell 1, types 2, 3 and 4 are visibly symmetrical, and type 1 exhibits a property
that will be called potential symmetry. Type 1 is not symmetrical by itself, but depends
on the sum of two registral combinations (a1 and a2, b1 and b2, . . .) to achieve
symmetry. The two spatial organisations of cell 2 are symmetrical in relation to each
other.
32 E.-E. Moura
Figure 17 Symmetrical Dyads Around the Axes F4 and E4F4.
One can say that Octandre is made of a sequence of symmetrical formations whose
pitches may be simultaneous (forming single chords) or spread out in time (forming
diverse configurations). Some of these symmetrical formations determine large-sale
structures, which serve as a frame for the pitch organisation of sections. Outer notes
may also determine the registral and/or temporal boundaries of these sections.
Among the use of other devices, spatial organisations type 3 or 4 of cell 1 play these
structural roles in Octandre. Other symmetrical formations, such as cell 2 and types 1
and 2 of cell 1, determine the small-scale structures of these sections or areas. They
establish the immediate the next step, fulfilling the spatial and temporal vacuum
within the large-scale structures. The confluence of the large and small-scale struc-
tures implies or results in the following features: (a) various centres of symmetry
(axes) may be found in a determined section or area of the piece (sometimes, even in
a single chord), with each axis bearing a different degree of importance in the section
where it appears; (b) the pitches originated by the processes of symmetry may serve as
an axis for new symmetrical formations; (c) the missing pitches of certain apparently
incomplete symmetrical formations may be found either before or after the location
of their axes.
Some other features can be observed in this symmetrical system. One of them is
what can be called implicit symmetry, in which the pitch-classes above the axis are
identical to the pitch-classes under it. The simplest formation exhibiting this property
is an octave divided by two tritones. Some other instances involving a major number
of pitches are shown in Figure 18. Implicit symmetry is basically used by Varse in order
to change registral activity and displace the range of influence of some axes within the
sections. Because of its implicit symmetry, the tritone may be considered the most
important articulative agent in Octandre.
In each area of the piece, emphasis is given to one of the cells. The most frequent
one is cell 1, and the most repeated kind of spatial organisation is type 1. Emphasis is
also given to certain transpositions of the cells, which makes possible the focus on
Figure 18 Implicit Symmetry.
certain regions of the chromatic spectrum in each area of the piece, according to the
tonal plan of the composer. In general, two cell 1s whose pitch-classes are separated
by tritons work together. They are, in some way, related to each other within the
sections or at the articulative points of the piece. These related cells represent an
extension of the idea of the tritones as articulative agents in Octandre. Figure 19 (both
a and b) show two instances where such related cells appear.
Spatial organisation type 1 was said to exhibit the property of potential symmetry.
As an extension of this idea, one can establish a potential axis for each pair of the
registral combinations of type 1. The aforementioned related cells result from the
symmetrical expansion of these potential axes (Figure 20).
These procedures account for the building up of a compositional system in which
the total chromatic is flexibly cycled. It is important to mention that they do not
function as an end to themselves, but as a means to realise musical ideas that emerge
in the superficial structure of the work. An example of such superficial structure is the
passage at bar 15, clearly designed to be one of the pivotal points of the first
movement (in this passage, all the instruments participate and the total chromatic is
reached for the first time; a large amount of tension is subtly released as the first most
dense sonic mass of the piece is followed by a single descending line played by the
bassoon).
Application
The pivotal point at bar 15 in Octandre delineates the end of the first important section
of the piece. This section can be divided into two subsections, which, in turn, can be
separated into smaller areas.
The first subsection (A) extends from bar 1 to the end of bar 8 where B 4 appears.
The second subsection (B) goes from B 4 of bar 8 to the point of bar 15 where the note
A3 is presented by the bassoon (with this note the pivotal point reaches the total
chromatic).12 In this way, one can say that B 4 in bar 8 represents the articulative point
of the section and belongs to the two adjacent subsections.
34 E.-E. Moura
Figure 19 Related Cells: (a) in Octandre I, bb. 89; (b) in Octandre I, b. 20.
Figure 20 Potential Axis/Related Cells.
Each subsectiion is characterised by the presence of a specific symmetrical configu-

ration, which determines its large-scale structure. Figure 21 shows the large-scale
structure of subsection A.13 It is built up by cell 1s spatially organised according to type
3. The axis of this symmetrical configuration is A4.
It is noticeable that the highest pitch of this configuration (G6) crosses the
mentioned boundaries of subsection A. This kind of procedure is found frequently in
Figure 21 Large-scale Structure of Sub-section A: Octandre I, bb. 59.
Figure 22 Large-scale Structure of Sub-section B: Octandre I, bb. 1015.
the piece. The crossing pitch may or may not take part in the symmetries of the
neighbouring section. In this case, the presence of G6 is important to complete the
symmetry of the first chord of bar 11 (which will be discussed later). But after this
point, it is suppressed and does not appear again.
The symmetrical configuration that determines the large-scale structure of sub-
section B is more complex (Figure 22). It is built up by two superimposed cell 1s
spatially realised according to type 4. The adjacent outer notes of these cells (C4 in the
horn and B4 in the bassoon at bb. 1113) are stated simultaneously and form an M7-
dyad, which can be regarded as a provisional axis of the configuration. With the two
next notes of the bassoon at bar 13 (F 3 and F3), the actual centre of the symmetrical
configuration is reached. As in the former case, one of the outer notes of the configu-
ration crosses the boundaries of its section, this time the lowest note (B 1).
The pitch-classes of this axis (F and F) also represent the potential axes of the related
cells of the two superimposed cell 1s that frame subsection Bs large-scale structure
(Figure 23).
36 E.-E. Moura
Figure 23 Related Cells of Large-scale Structure (Sub-section B).
Figure 24 Articulative Point/Related Cells: Octandre I, bb. 89 (Oboe).
Some transpositions of cell 1 play a more prominent role than others within the
section. For example, the cell whose pitch-classes are B , B and C, is emphasised in
subsection B (it is present in both internal and large-scale structures), while it is hardly
found in subsection A. Its presence in the articulative point at bars 89 signals the
beginning of subsection B. It is also noticeable that there is a confluence of two related
cell 1s in this articulative point of the section (Figure 24).
Another feature that characterises the two subsections and signals the referred
articulative point as their border is the use of the spatial organisation of the cells. At
the close of subsection A, the cell 1 from the beginning of the piece appears again, now
presenting the symmetrical pair of combination a1, which is combination a2 (Figure
25). This procedure reflects what happens from this articulative point to as far as the
pivotal point at bar 15; that is, all the cells formerly presented are repeated with their
spatial organisation changed (examples of these procedures will be presented in the
discussion of the small-scale structures).
The study of the rhythmic and proportional aspects of the piece is outside the scope
of this paper. However, it is interesting to note the existence of a possible temporal
symmetry working together with the spatial symmetries in this section of the piece.
Figure 25 Registral Combinations a1 and a2: Octandre I, bb. 1 and 8.
Figure 26 Temporal Symmetry in Octandre I, bb. 115.
The middle point of subsection A coincides with the attack of the axis A4 by the oboe
at bar 5. In subsection B, the provisional axisC4 in the horn and B4 in the bassoon
at bars 1113 represent the centre of the temporal symmetry in this section. The point
where this dyad is formed (attack in bar 11), and the point where it is undone (bar 13
where the bassoon abandons B4 to reach F 4 and F4), are equidistant to the two
boundaries of subsection B. B 4 at bar 8 (oboe), marked by a contrasting dynamic,
functions as a common (neutral) point where the two subsections intercept each other.
Figure 26 shows some aspects of this temporal symmetry in more detail.
The lacunas left by the described large-scale structures are filled by small-scale
structures. These are also determined by symmetrical formations projecting cells 1 and
2 of the generative cell. Comments on the most important of these symmetrical
formations are below in a summarised form.
Bars 14: taking into account the potential axes of the cells 1 of the initial generative
cell (bb. 13) and its transposition (b. 4), the complete chromatic range can be said to
be implied in this area. The first five potential axes represent the five pitch-classes of
the large-scale configuration of subsection A (Figure 27). The last potential axis (F ) is
the point of departure to reach A4 (the principal axis of the subsection) at bar 5. The
one before the last (G) serves as an axis for the local symmetry. Three cells 2, as well as
smaller symmetries, appear in the context (Figure 28).
Bars 69: at bar 6, E5 in the oboe is a result of implicit symmetry, if one takes B 3
in the B clarinet (to which it is related by tritones) as the local axis (Figure 29). Not
taking into account the notes of the large-scale structure, only four pitch-classes appear
in this area (b. 6 to B in b. 8): E, D , D and F. Together with the pitch-classes of the
large-scale structure (excluding G ), they form two pairs of related cells (Figure 30).
At bars 89, two related cells determine the articulative point of the section:
38 E.-E. Moura
Figure 27 Potential Axes Projected in the Large-scale Structure.
Figure 28 Local Symmetries in Octandre I, bb. 46.
Figure 29 Implicit Symmetry in Octandre I, bb. 56.

Figure 30 Related Cells: Octandre I, bb. 68.
Figure 31 Simultaneous Symmetries in Octandre I, bb. 811.
{F 4,F5,E4} and {B 4,C5,B5}. As already mentioned, the first presents the symmetrical
pair of the registral combination presented by its equivalent cell in bar 1. However, its
pitches also participate in the local symmetries of the area. There are two simultaneous
symmetries working in this passage. The axis of one is E5, and the axis of the other is
F5F 5. E5, which also works as an important axis for formations of subsection B, is
already present in the context of the passage. F5F 5, whose pitch-classes coincide with
the axis of the large-scale structure of subsection B, is located ahead at the second chord
of bar 11 (see Figure 31).
Bars 1015: the two formations at bar 11 (beat 1/beat 4) have two different sources.
The second (beat 4) is the result of implicit symmetry, used in this case to change the
register of its pitches. The dyad FF does not belong to the symmetrical formation.
It is the axis of symmetry in bars 78 as mentioned above (see Figure 32). The first
chord of bar 11 is an apparently incomplete formation. Having A5A 5 as axis, its
other side is found earlier in the articulative point (shown in Figure 33). The registral
combinations (type 1) of the cells in bar 10 have already been discussed. Most of the
pitches of this passage are also related to the first symmetrical formation of bar 11
(Figure 34).
At bar 13, the pitches F 4 and F4 in the bassoon represent the axis of the large scale
structure of subsection B, as already mentioned (see Figure 22). B 5 in the B clarinet
is related to the second symmetrical formation of bar 11 in the way shown in Figure 35.
G5 in the trumpet can be considered as an axis of the two preceding axes, and E5
40 E.-E. Moura
Figure 32 Implicit Symmetry in Octandre I, bb. 811.
Figure 33 Apparently Incomplete Symmetrical Formation in Octandre I, bb. 911.
Figure 34 Pitches Related to the First Symmetrical Formation of b. 11: Octandre I, bb. 1011.
Figure 37 Local Symmetry at End of Sub-section B: Octandre I, bb. 1315.
(also in the trumpet) as the reappearance of the axis of the second chord in bar 11, as
illustrated in Figure 36. The superimposition of F4 (bassoon) and E5 (trumpet) at the
end of bar 13 implies a new axis (B4B 4), which will serve as the centre of the last
symmetry of subsection B (shown in Figure 37). It is important to note that the
42 E.-E. Moura
Figure 38 Related Cells in Sub-section B.
Figure 39 Registral Combinations of Type 1: Octandre I, bb. 1115.
pitch-classes of the main axes of subsection B (E,F,F , B , B, C) form a set which

corresponds to two related cells 1 (see Figure 38). Similar to what happens at bar 10,
all described symmetries (from b. 11 to b. 15) create cell 1s, spatially organised
according to type 1. The six registral combinations of type 1 are distributed among
the cells (as shown in Figure 39).
The devices and procedures studied here are found throughout Octandre,
determining its pitch organisation. In interacting, the generative cell and the symmet-
rical operations not only function as generating mechanisms, but also serve to establish
the basis of a system to unify and organise the composition.
Notes
[1] It is noticeable that among the nine possible subsets of cardinality 3 from the idea
{D,A ,B ,G,F }:[0,1,2,4,8], Chou applies only five in his analysis: [0,2,6], [0,1,4], [0,1,2], [0,1,6]
and [0,1,3].
[2] This figure, as well as numbers 26, present musical reductions I made myself. They intend to
either clarify some of the arguments exposed by the authors or exemplify passages cited by
them.
[3] At first, Chou seems to regard each of his groups as a generic interval collection (like a set type
in set theory), to which any set related by inversion is identical in terms of interval content.
Accordingly, sound masses should be drawn from the groups without reference to any quali-
fication. However, at this point, he qualifies inversion as transmutation.

[4] This term is probably taken from quotation (5).
[5] Diametrically opposite to Andersons points of view (science as the major influence), Bernard
sees in the visual arts of around the time of the First World War the main sources of influence
on Varses aesthetic views.
[6] Partial projection is also possible: the outer boundaries of the formations are preserved while
the internal details are not.
[7] The term penetration is also used by Beranrd. However, it is not referred to as a process, but
as a confluence or result of processes.
[8] Only the principles are taken, not their developments by these authors. With respect to
symmetry, Bernards approach is not used here.
[9] The basic referential sets for these trichords are shown in Figure 40. They represent the four
possible combinations of the four initial pitches of the piece (the generative cell), taken three
at a time, and accomplish two conditions: scalewise ordering; and registral organisation
resulting in the two smallest possible interval contents between the adjacent pitches. Any given
three-note configuration is said to be cell 1 or cell 2 if it coincides with one of the basic sets
shown in Figure 40 or with one of their transpositions, independently of the pitch ordering.
[10] Bars given without allusion to the movement they belong, refer to movement I.
[11] The cell E5,D 5,D5 is the only one that does not belong to this kind of registral organisation.
Its specific type is discussed later.
[12] It is important to mention that, while the pivotal point is present in the superficial structure
of the work (thus clearly perceived by the listener), the other points of division that are
mentioned here belong to the deep structure of the piece (thus not necessarily perceived by
the listener). The presented segmentation (section, subsections, areas) is offered here in an
attempt to clarify this deep structure.
[13] In the following examples the notation of rhythm, dynamics and articulation are omitted.
Some indications are given to clarify the context of the passages in Figure 41.
Figure 40 Basic Referential Sets for Cell 1 and Cell 2.
Figure 41 Signs Used in the Examples.

44 E.-E. Moura
References
Anderson, J. D. (1984). The influence of scientific concepts on the music and thought of Edgard Varse
(Doctoral dissertation, University of Northern Colorado). Ann Arbor, MI: University Micro-
films, (UMI No, 8418115).
Babbitt, M. (1966). Edgard Varse: A few observations of his music. Perspectives of New Music, 4(2),
1422.
Bernard, J. W. (1981). Pitch/register in the music of Edgard Varse. Music Theory Spectrum, 3, 125.
Bernard, J. W. (1987). The music of Edgard Varse. New Haven, CT, and London: Yale University Press.
Chou, W. (1966a). Varse: A sketch of the man and his music. Musical Quarterly, 52(2), 151170.
Chou, W. (1966b). Open rather than bounded. Perspectives of New Music, 5(1), 110.
Cowell, H. (1955). Current chronicle. Musical Quarterly, 41(3), 370373.
Varse, E. (1967a). New instruments and new music. In B. Childs & E. Schwartz (Eds.), Contemporary
composers on contemporary music (pp. 196198). New York: Holt Rinehart.
Varse, E. (1967b). Rhythm, form and content. In B. Childs & E. Schwartz (Eds.), Contemporary
composers on contemporary music (pp. 201204). New York: Holt Rinehart.
Varse, L. (1972). Varse: a looking-glass diary (Vol. 1). New York: W. W. Norton.

Varèse - Generative Cell and Symmetrical Operations

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fm Page 17 Wednesday, April 28, 2004 3:34 PM

Contemporary Music Review

Interaction Between the Generative

Keywords: Edgard Varse; Octandre; Generative Cell; Symmetrical Operations in Music

Chou Wen-chung: Varse: A Sketch of the Man and His Music

Contemporary Music Review 19

Figure 1 Transmutation in Intgrales, bb. 2527, According to Chou.

Figure 2 Collisions in Intgrales, b. 36, According to Chou.

Contemporary Music Review 21

Figure 3 Contrasting Sound Masses in Octandre I, b. 18, According to Anderson.

Contemporary Music Review 23

Figure 5 Penetration Resulting in Attraction in Octandre I, b. 18, According to Anderson.

Figure 6 Penetration Resulting in Repulsion in Octandre II, bb. 3740, According to

Jonathan Walter Bernard: The music of Edgard Varse

Contemporary Music Review 25

A divergence in interpretation is again apparent. In Bernards view, penetration is

Contemporary Music Review 27

Observations on Compositional Procedures

Figure 7 Cells 1 and 2: Octandre I, b. 1.

Figure 8 Octandre I, bb. 14.

Figure 9 Dispositions a, b and c.

Contemporary Music Review 29

Figure 10 Registral Combinations of Cell 1 (Type 1).

Figure 11 Registral Combinations in Octandre I, b. 10.

Figure 12 Cell Bb4-Ab5-A5 in Octandre I, bb. 46.

Figure 13 Registral Combinations of Type 1 in bb. 14 (a) and m. 10 (b) of Octandre I.

Contemporary Music Review 31

Figure 15 Spatial Organization Type 2 in Octandre II, bb. 24 (Piccolo).

Figure 16 Cells 2 in Octandre I, bb. 2627.

Figure 17 Symmetrical Dyads Around the Axes F4 and E4F4.

Contemporary Music Review 33

Figure 18 Implicit Symmetry.

Figure 20 Potential Axis/Related Cells.

Each subsectiion is characterised by the presence of a specific symmetrical configu-

Contemporary Music Review 35

Figure 21 Large-scale Structure of Sub-section A: Octandre I, bb. 59.

Figure 22 Large-scale Structure of Sub-section B: Octandre I, bb. 1015.

Figure 23 Related Cells of Large-scale Structure (Sub-section B).

Figure 24 Articulative Point/Related Cells: Octandre I, bb. 89 (Oboe).

Contemporary Music Review 37

Figure 25 Registral Combinations a1 and a2: Octandre I, bb. 1 and 8.

Figure 26 Temporal Symmetry in Octandre I, bb. 115.

Figure 27 Potential Axes Projected in the Large-scale Structure.

Figure 28 Local Symmetries in Octandre I, bb. 46.

Figure 29 Implicit Symmetry in Octandre I, bb. 56.

Contemporary Music Review 39

Figure 30 Related Cells: Octandre I, bb. 68.

Figure 31 Simultaneous Symmetries in Octandre I, bb. 811.

Figure 32 Implicit Symmetry in Octandre I, bb. 811.

Figure 33 Apparently Incomplete Symmetrical Formation in Octandre I, bb. 911.

Contemporary Music Review 41

Figure 35 Octandre I, bb. 1013.

Figure 36 Octandre I, bb. 1113.

Figure 37 Local Symmetry at End of Sub-section B: Octandre I, bb. 1315.

Figure 38 Related Cells in Sub-section B.

Figure 39 Registral Combinations of Type 1: Octandre I, bb. 1115.

pitch-classes of the main axes of subsection B (E,F,F , B , B, C) form a set which

Contemporary Music Review 43

Figure 40 Basic Referential Sets for Cell 1 and Cell 2.

Figure 41 Signs Used in the Examples.

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