Instruments from an Instrument: Schaefferian ‘Instrumental Analysis’ and Berio's Sequenza V for Solo Trombone

Abstract

Schaeffer's analyses demonstrate unequivocally the intention to generalize his research originating from studio-based experiences and apply its principles to all music, instrumental or electroacoustic. Schaefferian theory acknowledges that the studio environment and its practices challenge the instrument's status. However, the materiality of sound still encourages (and perhaps even demands) an elaboration and assimilation of instrumental thought rather than its outright rejection. The three elements of Schaefferian ‘instrumental analysis’: ‘timbre’, ‘registers’ and ‘play’ can transcend physical source and action. This article uses Schaefferian ‘instrumental analysis’ to investigate the multi-instrumental potential of a solo instrument: the trombone in Luciano Berio's ‘Sequenza V’. The ‘genre’ for Schaeffer clarified the tension between the general ‘timbre’ displayed by an instrument and the particular ‘timbre’ of each individual sound. The ‘genre’ groups sounds together on the basis of common perceived characteristics. Thus, an instrumental ‘timbre’ can comprise many distinct ‘genres’ each with its own registers.