Musicologica Olomucensia

1. Musical tectonics is concerned with the basic principles of the construction of musical compositions.
2. Tectonic structures. By this term I understand a musical entity which is, at least in the area of a single musical element, hierarchically constituted on the foundation of basic tectonic principles; that is, its identity conforms with regular laws applying to musical periodicity (in some cases identifiable similarities) and contrast. Tectonic structures are temporally divided (horizontally). Their division simultaneously or concurrently is absolutely exceptional (vertical structures).
2.1 I define the term "music" in the broadest sense as also an art, the material of which are sounds in the broadest sense, as long as they are without lexical meaning.
3. System of tectonic structures. We divide tectonic structures first into (a) independent and (b) tectonic seeds, embryos (or, possibly, components). Both of these create a system which is comprised of a row of degrees. The fundamental openness of this system in both directions is, of course, assumed to have practical limits.
3.1 The internal organization of individual tectonic degrees:
1. Simple - can be of two or three parts, both then either of the type inauthentic (for example, AA) or authentic, and that either open (for example, AA) or closed (for example, ABA).
2. Compound transient - a temporary stage between simple articulation and unambiguously composite. Can be four-part (relatively exceptionally) and five-part.
3. Compound unambiguous - all types from six-part on up. Between individual degrees of independent and non-independent tectonic structures there are intermediate degrees. These are compound transient structures. Aside from this exist also contracted and broadened structures of specific degrees.
3.2 Basic member elements. By this term I designate the parts of which the whole of a structure is directly composed. It is not desirable to be very many of them. The ideal number is two or three, maximally five, absolutely exceptionally four; there should never be more.
Conditions for the intersubjectively applicable connection of a greater amount of subordinate parts with a smaller amount of basic member elements must be objectively given in a tectonic structure:
a) Contrasts and dividing lines between these must be more pregnant that between those which are within those basic parts.
b) In most cases the time scope of the individual basic member parts should be mutually commensurable. Otherwise there threatens the danger of a collapse of the hierarchical tectonics of the entirety of the structure.
3.3 The relationship of tectonic structures to traditional musical forms: Traditional formal schemata (f. sonata, rondo, and the like) ensure a hierarchical construction of a composition only in the case that there is, at the same time, an implementation of some type of tectonic structure. A tectonic structure provides this surety, on the other hand, even when no traditional type of formal scheme is implemented. We can define "traditional musical form" as a crystallization of come tectonic principle within a certain area and period. In this direction, therefore, tectonic structures are superior to traditional musical forms.
As for universality, the relationship is dual:
a) Tectonic structure is a relatively general term, for example:
A closed three-part structure of the fourth degree could correspond to the form of a sonata, a more complex rondo, or various combinations of the two.
b) Musical form is a relatively general term, for example, a sonata form could correspond to various types of structure of the fourth, or even fifth degree; for example a sonata form with exposition, development, recapitulation, a second development, corresponding to a four-part structure of the fourth degree, or also a two-part structure of the fifth degree of the inauthentic type.