* Sakata's analysis of Haydn's The Creation is taken from his dissertation "Between Cosmic Oppositions: Analyses of Pansori and Haydn." This introduction is the original one from the dissertation and has been left unchanged in order to offer context for the Haydn analysis.

1. Quoted by Elaine Sisman, "Haydn, Shakespeare, and the Rules of Originality," in HHW, p. 3. The original quote is from Georg August Griesinger Biographische Notizen über Joseph Haydn, trans. Vernon Gotwals (Leipzig, 1810; Madison: University of Wisconsin Press, 1963), p. 24. Haydn was describing to Griesinger his experiences as head of the orchestra at Esterháza.
2. John Rajchman, The Deleuze Connections (Cambridge, Massachusetts: MIT Press, 2000), p. 138. In Deleuzian thought, "anorganization" refers to a plan or plane of composition that is neither organized nor disorganized. Such a plan(e) is a multiplicity and consists of an aggregation of singularities (i.e., non-definable, fuzzy energies, intensities, magnitudes). Singularities are not identities (i.e., definable entities). Whereas an organized plan is made up of identities and a disorganized plan involves a disarray of identities; an anorganized plan is an open assemblage of singularities.
3. Michel Foucault, "What is Enlightenment?," from The Foucault Reader, ed. Paul Rabinow (New York: Pantheon, 1984), p. 32-50.
4. Harmony, counterpoint, rhetorical analysis, theme-based formalisms, notions of orchestration which are not based on actual sonic properties of instruments (including mimesis), linear evolution (including Schenkerian analysis), set theory, agency theory, etc.
5. PHC, p. 1.
6. In The European Magazine and London Review; for October 1784, German critics are quoted, as remarking that Haydn was "the inventor of a new musical doctrine...introducing a species of sounds totally unknown to that country [i.e., Germany]." From "An Account of Joseph Haydn, a Celebrated Composer of Music," quoted in A. Peter Brown, "The Earliest English Biography of Haydn," Musical Quarterly 59 (1973), p. 343.
7. Griesinger, p. 63
8. Friederich Blume, Classical and Romantic Music: A Comprehensive Survey, "The Orchestra and the Classic Concept of Sound," (New York: Norton, 1970), p. 79.
9. Example 1 is a spectrographic photo of the First Recitative-Chorus as performed by conductor Eugen Jochum and the Bavarian Radio Orchestra and Chorus (Phillips Classic: 426 651-2, 1966). The spectrographic photos of this performance (Examples I-III) were made at the Malcolm S. Morse Memorial Sonic Analysis Laboratory of New England Conservatory in 1996 and 2002. My appreciation to Robert Cogan for his kind permission, and to Colin Homiski and Peter Evans for their assistance in creating these images.
   
   A note on reading the spectrographic photos: As in Part I, audible space is displayed vertically (registers [octave designations] are given on the far-left vertical axis); clock time horizontally. The visible spectrum – fundamentals with overtones – is created by vocal/instrumental activations (energy appearing as horizontal, diagonal, and vertical lines).
   
   
10. As in Part I, the linguistic terms sparse and rich are used to describe, respectively, the relative spectral sparseness (i.e., relative lack of energy activation) and the relative spectral richness (i.e., relative abundance of energy activation) of a sonic event in context with surrounding events.
11. That is, while a violin, without mute, sounding at a given softness, produces 21+ partials; the same violin, with mute, produces only 3 partials. The reduction of partials for the viola, cello, and bass follow similarly.
12. On the local level, Haydn's choice of the clarinet is also significant: its spectral emptiness (the omission of even-numbered partials) prepares, in sensation, for Raphael's next utterance concerning the earth as "void" ("leer").
13. Karl Schumann, recording notes, The Creation (Phillips Classic: 426 651-2, 1966), pp. 8 and 12.
14. James Webster, "The Creation, Haydn's Late Vocal Music, and the Musical Sublime," in HHW, p. 66.
15. Letters in braces refer to corresponding details designated on spectrographic photos.
16. See SD: 374-375 concerning choral effect and its affective nature.
17. From E5 and higher the flute is played by "overblowing": that is, altering the angle of the air column in combination with an increase in wind-pressure.
18. Concerning acoustical beats, see SD: 370-374.
19. According to Lyndesay G. Langwill, while the contrabassoon's origin goes back as far as the 16th century, its use in orchestral settings was quite rare throughout the 16th-18th centuries. Prior to The Creation, Haydn used it only once – in The Seven Last Words (1786). He also used it in The Seasons. Langwill also claims that in Continental Europe, Vienna seems to have been one of the few cities that had access to contrabassoons during the late 18th century. There are written records of a number of events in England as to when contrabassoons were actually employed during the 18th century: most of them seem to have involved concerts of Handel's music (1727: Hymn for the Coronation, 1740: L'Allegro, 1749: Firework Music, 1784: the first Handel Commemoration in Westminster Abbey, 1787: the Fourth Handel Festival). When Haydn attended the 1791 Handel Festival at Westminster Abbey, on his trip in the early 1790's to London, one wonders whether he heard any works by Handel including contrabassoon? See Lyndesay G. Langwill, The Bassoon and the Double Bassoon: A Short History of Their Origin, Development, and Makers (London: Hinrichsen, n.d.), pp. 28-32.
20. That is, on the pitches that Haydn has set them.
21. The trumpets and trombones have a more extreme energy concentration in their upper spectral regions than the French horns, which have a more equally dispersed energy throughout their "well-balanced spread of partials" [SD: 355].
    
22. To date, spectrographic analyses have only studied the tenor trombone (its formant region is 200-1,500 Hz [see ITC: 73]) and the bass trombone (Meyer does not give precise measurements, but only states that the formant region is "shifted a little to lower frequencies in comparison with the tenor trombone, but the whole characteristic formant series of the trombone remains"). [APM: 47-48]. It is likely that the alto trombone's formant region would extend higher than 1,500 Hz.
    
23. Until further spectral analysis is conducted, the bass trombone's G2 is an exception. According to Meyer, the bass trombone's formant region extends lower than 200 Hz, but he does not offer a specific frequency. [APM: 47] The G2 might lie within the bass trombone's formant region.
    
24. The formant region for the [I] vowel is register 7. See Robert Cogan, The Sounds of Song: A Picture Book of Music for Voice (Cambridge, Massachusetts, 1999), p. 132.
    
25. APM, p. 16.
    
26. For further details concerning the acoustical mechanics of masking see SD: 375-385 (including examples of positive utilizations of masking) and APM: 16-17.
    
27. SD, p. 380.
    
28. Arnold Schoenberg, "Problems of Harmony," in Style and Idea: Selected Writings of Arnold Schoenberg, ed. Leonard Stein, trans. Leo Black (New York: St. Martins Press, 1975; Berkeley: University of California Press, 1977), p. 274. [Author's italics]
    
29. Metastability refers to a condition which can be understood through calculation but which is neither wholly stable nor unstable. It is dependent on the "shifting" or "mobile" relations of stable and unstable states, and therefore totally relative to conditions external to itself. This term is taken from 20th century atomic theory. See TPU, p. 286-287.
    
30. Gilbert Simondon, "The Genesis of the Individual," in Incorporations, ed. Jonathan Crary and Sanford Kwinter, trans. Mark Cohen and Sanford
    Kwinter (New York: Zone, 1992), p. 296-319.
    
31. Ibid., p. 305.
    
32. See Victor F. Weisskopf, Knowledge and Wonder: The Natural World As Man Knows It (Cambridge, Massachusetts: MIT Press, 1962), pp. 48-66.
    
33. John Milton, Paradise Lost, ed. Edward Le Comte (New York: Penguin, 1961).
    
34. Griesinger, p. 63. Perhaps coincidentally, Haydn's contemporary and admirer, Pastor Johann Karl Friedrich Triest, echoes similarly (and more forcefully) that: "The most important thing, however – I state this brazenly – is the almost complete lack of genuinely musical German poets, i.e. poems that not only have a beautiful, really poetic content and form, corresponding to the essence and aim of the art of music, but also are distinguished by the careful choice of sonorous, singable words." Johann Karl Friedrich Triest, "Remarks on the Development of the Art of Music in Germany in the Eighteenth Century (1801)," in HHW, p. 394. Italics original.
    
35. HTC, p. 79.
    
36. Cogan, ibid., p. 134.
    
37. Letters in braces refer to corresponding details on Example III designated by the same letter.
    
38. Where the missing spectral activity should have been located (with proper diction) is circled on Example III: {a}. The dotted line indicates what the sound shape would have been if vowels were correctly enunciated. The solid line indicates the sound shape as performed.
    
39. Note that the descending perfect fourth on "Tiefe" (Eb3-Bb2) is inverted in the cellos and double basses (Bb1/2-Eb2/3). This ascending gesture is then picked up by the violins' rising Eb major triad in registers 3-4 and the sopranos augmented version of this Eb major chord, also register 4) in mm. 17-18. This melodic/spatial inversion (evocatively matched by the harmonic "inversion" from Eb minor to Eb major) is the beginning of the local sound shape as well as the evolution towards light.
    
40. Of course, the role of the cellos and double basses descending to the bottom of registers 2 and 3 (Eb2/3-D2/3-C2/3) in these measures must also be noted, as well as Haydn's choice to retain Raphael's bass presence throughout the chorus passage.
    
41. As in mm. 27-30, the abundance of superposed fundamentals and overtones of chorus/strings in this passage produces acoustical beats and the warmth of choral effect. The slight pulsation of beats, the strings' portato eighths, and language sound compounds (i.e., the simultaneity of different phonemes) seem to evocate the image of the surface of water being ever so slightly ruffled by an invisible source. Like in mm. 27-30, this superposition of sonic elements also risks the danger of masking. Haydn avoids this problem by having the strings play portato articulation ("Shortening potential masking tones") and having the strings play eighths ("Moving potential masking tones"). Once again, his solution brings together semantic utterance and coloristic essence.
    
42. HTC, p. 23.
    
43. This sound shape is not fully realized: the performers' softness and darkening (mispronunciation) of the acute and complex [e] vowel from "es" is revealed on the spectrographic photo. Where the missing spectral activity should have been located (with proper diction) is circled.
    
44. Haydn's employment of the higher (brighter) of male voice types for Uriel and the lower (darker) bass for Raphael, further contributes to the contrast between realms of light vs. darkness.
    
45. Could it be that after such an extensive continuity of repetitions that the strings' lone pizzicato chord and the following silence in m. 25 are so unexpected and effective?
    
46. I have counted simultaneous enunciations as a single instance (e.g., each word in the choral passage"...Wasser; und Gott sprach: Es werde Licht, und es ward Licht" is counted as an individual enunciation).
    
47. Gilles Deleuze, Cinema I: The Movement-Image (Minuit: 1983), pp. 33-35.
    
48. Karl Geiringer, Haydn: A Creative Life in Music (New York: Norton, 1946; Berkeley: University of California Press, 1968), p. 167.