Dissertation Index

Author: Lippus, Urve

Title: Linear Musical Thinking

Institution: University of Helsinki

Begun: September 1992

Completed: April 1995


A Theory of Musical Thinking and the Runic Song Tradition of Baltic-Finnish Peoples.

This is a study of linear musical thinking based on analyses of the Baltic-Finnish folk song tradition, known as the so-called runic (or Kalevala) song. The introductory chapter discusses the concept of linear music and the need for adequate analytic tools. The two main chapters deal with the two aspects of musical structure in runic song, rhythmic thinking and melodic thinking. In each of those chapters, the models for analyzing early melodies, and recent research in music history, perception, and ethnomusicology.

Repeated patterns comprised of long and short elements are considered as the basis of rhythmic organization in runic melodies, and I provide a list of rhythmic patterns appearing in the melodies. Melodic thinking, in its turn, is described in terms of (1) tonal material, (2) tonal structures, (3) and syntactic structures.

The runic song tradition is here considered as a specimen of linear musical thinking. We concentrate on its more universal characteristics and stress its structural parallels with European medieval music and other similar traditions.

Keywords: melodic analysis, music-psychology, music-theory, ethomusicology, rhythm, scales, runic song, Baltic-Finnish, Kalevala


1. Introduction
1.1. The Problem
1.2. What is Linear Music?
1.3. Linear and Harmonic Musical Thinking -- Two- Versus Three-
1.4. The Baltic-Finnish Runic Songs
2. Rhythmic Thinking
2.1. General Theoretical Background

2.2. An Excursion into the History and Philosophy of Musical Notation
2.4. Musical Rhythmic Patterns and Verse Prosody
2.5. Patterns and Binary Opposition in Medieval Rhythm Theory
2.6. Rhythm Rules for the Runic Song I: Rhythmic Patterns
2.7. Rhythm Rules for the Runic Song II: Elaboration and Transformation
of Rhythmic Patterns
2.8. Conclusions
3. Melodic Thinking
3.1. General Theoretical Background
3.2. Medieval Modes as Models of Pitch Relationships
3.3. Studies of Pitch Organization in Ethnomusicology and Music
3.4. Transcription and Analytic Concepts
3.5. Pitch Organization -- Scales
3.6. The Analysis of Tonal Structures
3.7.Syntactic Functions of Melody Segments
3.8. Syntactic Structure of Melody and Tonal Hierarchy
4. Conclusions


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