Roger Smalley: Moment Form and Formal Structure in <i>Monody</i> (1971–1972)

In 1974 Roger Smalley (1943–2015) described Karlheinz Stockhausen’s Moment Form theory as ‘the only really new, linguistically independent and therefore generally applicable formal concept to have arisen since 1945.’ This article examines Smalley’s writings that extrapolate the principles and techniques of Moment Form. Finding further expression in Smalley’s own constructivist compositions, these principles can be summarized as a non-hierarchical approach towards material and form, an acceptance and non-coercive approach to diverse materials, and a prioritization of material over system. Each of these principles can be understood as endorsing the global principle of polyvalency. As a case study, the formal structure of Smalley’s Monody (1971–1972) for piano with live electronic modulation will be rendered analytically accessible by applying these principles to an investigation of archival sources including early drafts, compositional sketches, revised performance scores, and BBC recordings of early performances given by the composer. This will build on previous analyses by Christopher Mark and Lindsay Vickery providing new insight into the work’s evolution and Smalley’s constructivist compositional process.<br/><br/>