Abstract
The objective of this work is the discovery and analysis of teleological strategies, i.e. the ways in which music that is not tonal-oriented finds points of orientation, how it is structured around them and directed towards them as formal supports. A modernist composition Octandre by Edgar Varèse which is composed of seven wind instruments and double-bass will serve as an analytical sample. An important element of the composition is the use of sound masses as basic building units, whose expressive meaning is within the general character of the sound, and not in the concrete melodic content. Seemingly, the relevance of individual pitches is minimized, which could indicate the possible statics and absence of goal-oriented movement. However, the analysis has discovered an orientation towards certain goals, as well as the crucial importance of parameters of pitches during the process of their realisation. By tracking these processes, as well as by analyzing the sets from which the sound masses of the work are built, it will be concluded that the analyzed work rests upon advisedly elaborated compositional strategies that make its course targeted.
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