Dissertation - World Federation of Music Therapy

This profile – or map of the’ inner morphology’ of the Bach movement – is based on
the same procedures as the Brahms analysis:
• Phenomenological description of the movement (see Table 8.6)
• Analysis of the musical form (auditory and visual, consulting the score)
• Mood Analysis (using Hevner’s ”Mood Wheel”)
• Analysis of the image potential.
The profile with cues makes it clear that there is a certain ambiguity of form, even if
the structure is ternary ABA’. The ‘closing formulas’ do not correspond with the
formal division in three main sections. This means that there are no really prominent
transitions in this very stable and rather predictable music, the only element of tension
inviting to some elaboration in the imagery is the third theme (c) with its energetic
gestures and close interaction of the soloists. Even if there is a basic narrative ABA’
pattern, seen from a formal point of view, this pattern is weakened by the stability of
the mood and the sequencing of the same themes and motives throughout the piece.
The Intensity Profile may be compared with the digitized waveform profile of the
recording:
Figure 8. 7 Digitized wave-form profile of J.S. Bach: Double Concerto, 2nd
movement
The DW-profile shows clearly differences as compared to the Brahms movement:
This is not a very ‚profiled’ piece of music! The ‚climax’ (WHERE??) is clearly
identified at the same point as in the Intensity Profile, and like in the Intensity Profile
there is no clear indication of the formal structure. A very significant difference is the
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