Zygonic and not zygonic analysis. Two views at Mozart's Sonate

The article discusses aspects of the zygonic theory of the British researcher Adam Ockelford, used to analyze the first movement of Mozart's sonata K.333. The theory is based on the principles of structuralism and cognitive linguistics, as well as the principles of American set theory. Okelford thinks that between the discrete features of the musical texture “perceptual musical spaces” of mental nature can form. When perceiving the properties of sound matter, a listener can (albeit inadvertently) establish connections between repeating discrete features of musical space. Repeating the values of different parameters shows that one value imitates another and, therefore, comes from it. Such relationships are called Ockelford “zygonic” (from the Latin. “Zygon” - clamp, yoke). Therefore, the principle of repetition is the basis of zygonic relationships. Zygonic analysis arises on the basis of the theoretical concept of this theory. It includes points of search for structural features of any type based on imitation, as well as determining the status of the identified relationships for the listener. The application of this analysis to Mozart's sonata is of some research interest. However, in the course of the analysis, it becomes clear that its main component comes down to structure relations. Ockelford examines the connection between appoggiaturas of different types, pitch similarity between motives, determining the zygonic relationships he seeks. He concludes that the aesthetic value of K.333 can ultimately be attributed to the perfect fusion of structure and content, integrated through zygonic relationships. The author of this article offers his non-zygonic analysis of the same sonata, since he considers the British researcher's approach methodologically narrowed. The author of the article takes into account the level of thematic identity and the entire acoustic text of the first movement of the sonata. The author suggests three levels of material derivation (identity, variable repetition, latent repetition), examined the relationship of identity and contrast throughout the form, the derivation of the main motives and the exact repetition of both smaller units of the text and its large sections, taking into account the aspects of perception. Thus, the author shows how individual units of text are integrated into a large form, and how the development process is organized on their basis in the distribution between identity and difference. And this means that the possibility of understanding the material is changing. Indeed, the perception of thematic identity requires from the listener not only a feeling of derivation, which can arise at an unconscious level (which is already enough for a zygonic theory), but it is a meaningful perception of musical connections at a distance that provides repetition of different levels.

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