Finding Musical Structure by Jimmy Axelsson

The aim of this master’s project is to gain a better understanding of form in electroacoustic music composition, and to apply this knowledge in studio-based work as well as in compositions for acoustic instruments. The following research questions was asked: What methods and strategies are used to create form in electroacoustic music? What approaches to form can I use in my electroacoustic compositions to obtain logical and structurally coherent musical results? What approaches to form in electroacoustic music can I use in my compositions for acoustic instruments and in mixed media works? To reach the aim and answer my research questions an extensive theory chapter have been made that include theory about Macro, meso, sound object and microform, Spectromorphology, Organizing form, Algorithmic and generative processes, Moment form, and Fibonacci sequence and the Golden Section proportions. The method chapter describes how the analysis of form is made, which are based on spectromorphology. Interviews with composer of three of the analysed pieced have been conducted, and strategies employed for composing my own pieces is also presented. The result chapter include my form analysis and reflections of four electroacoustic works together with information gathered during my interviews and the five pieces that I have composed during this project, two electroacoustic pieces, two acoustic pieces for symphony orchestra and one mixed media composition for piano and tape. Those pieces are presented with analysis of form and how I have composed the pieces. In the discussion are my research question answered together with more insights and reflections that I gotten from doing this master’s project.

Chapter 7 Conclusion

In my master’s project have I read about theory regarding form in electroacoustic music,

moment form, generative processes, Fibonacci sequence and the Golden Section proportions,

spectromorphology and notation of electroacoustic music. I’ve created my own aural method

based on spectromorphology for form analysis, and analysed four electroacoustic

compositions, and interviewed 3 of the composers that wrote the pieces I’ve analysed.

During this project I composed five pieces, two electroacoustic pieces, two acoustic pieces for

symphony orchestra and one mixed media composition for piano and tape. These five pieces

have been analysed and reflected on the form in both the macro and meso layer. In my

discussion chapter do I answer my research questions, along with other thoughts and insights

I’ve gathered during this project.

From doing this project I’ve increased my understanding of form and working in a studio

environment. I’ve gotten new tools to work with when composing by using Freeform to create

form notation of my pieces while composing. This gives me the ability to get a bird’s eye

view of the form and the composition process, resulting in making the workflow easier and

faster.

Tip

Tip

Jimmy Axelsson - Finding Musical Structure - 2025