Abstract
The hypothesis underlying this study, is that works of the western musical tradition using simple non-developmental procedures, are at their best capable of producing profound and enduring musical experiences. The study focuses on non-developmental music of the Twentieth Century, in particular, works by Erik Satie, Arvo Pärt, and Francis Poulenc.
The body of the thesis is divided into two parts. Part I begins with an explication of the ideas which have shaped the critical approach; the presentation of a perspective on the nature of the musical experience; and a description of the analytic method which has been adopted. Having defined the approach, the non-developmental style is differentiated from the developmental style in terms of its procedures and its temporal structure. This is achieved by analysing a developmental work 'in action', and contrasting this with an abstract account of a work using non-developmental procedures: conclusions are then drawn on those things which define developmental and non-developmental processes.
In Part IT, selected works of non-developmental music are analysed in detail, using a processive form of analysis which reflects the way in which music moves through time. The analyses reveal some of the ways music can be effectively organised using nondevelopmental procedures. Consideration is given to what is characteristic, distinctive, and powerful in the design and sentiment of the music examined. The thesis concludes with a bringing together of ideas about what is engaging, enduring and unique in nondevelopmental music, with some thoughts on possible limitations of the style and matters for further study.