spectromorphology(8-15)

8/13/2019 spectromorphology(8-15)

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space, heir behaviour, their motion and growth pro-cesses, nd their relative functions in a musical con-text. Although the detail of spectromorphologicaldescriptionmay sometimesnot be easy o follow, par-ticularly without an extensiveexperienceof electroac-ousticmusic repertory, it is far from being an esotericactivity. Spectromorphological thinking is basic andeasily understood in principle because t is foundedon experience of sounding and non-soundingphenomena outside music, a knowledge everyonehas there is a strong extrinsic intrinsic link. In thissensespectromorphology derives from a common,shared, natural base which provides a framework forthe individual, cultural works of electroacousticmusic. Discovering and defining the natural link isimportant for composer-listener communicationbecausenew musical 'languages' (if such a thing isreally possible) or significant shifts in language arenot created n a vacuum, but must have some sharednatural-cultural basis f they are to make sense o list-eners.No rationale or theory has to be worked outin advance of language shifts, but ultimately theworkings of any 'new' languagemust be explicable.As a result, not only can we help explain how andwhy electroacousticmusic is as it is, but we can alsohave a means of articulating problems when we reactbadly to a particular work (and there are plenty ofelectroacousticworks which are unrewarding). Thisis all the more important for a music which is soclosely allied to a means of production computersand technology whose role is mysterious andunknowable to most listeners,particularly since radi-tional, instrumental and vocal gesture are oftenabsent or not immediately apparent.Spectromorphology, therefore, in starting from adecoding of perception, s an attempt to make collec-tive senseof a wide range of individual electroacous-tic musics created since the birth of the medium inthe 1950s.REFERENCESAgawu, V. K. 1991.Playingwith Signs: Semioticner-pretationof ClassicMusic. Princeton:PrincetonUniver-sityPress.Bachelard,G. 1994 edn. The Poeticsof Space.Translatedby Maris Jolas.Boston:BeaconPress.Barrire, .-B.1991.ntroduction.n J.-8. Barrireed.)Letimbre,mtaphoreour la composition,p. l1-13. Paris:IRCAM/Christ ian ourgois.Bayle,F. 1993.Musiqueacousmatique:ropositions . . pos-itions.P aris'.NA-GRM /Buchet/Chastel.Cadoz,C. 1991. imbre et causalit.n J.-8. Barrire ed.)Le timbre,mtaphore our la composition, p.1746.Paris: RCAM/Christian Bourgois.Chion, M. 1983.Guidedesobies onctres.aris:Buchet/Chastel/INA-GRM.Chion, M. 1991.L'art des sons.fixs u la musique on-utement.Fontaine:EditionsMetamkine/Nota-Bene/Sono-Concept.

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Cogan, R. 1984. New Images of Musical Sound. Cambridge:Harvard University Press.Delalande, F. (no year). Analyse muscleet conduitesderception; "Sommeil" de Piene Henry. Parts INA-GRM.Duchez, M.-E. 1991.L'volution scientiflquede la notionde matriau musical. In J.-B. Barrire (ed.) Le timbre,mtaphore pour la composition, pp.47 81. Paris:IRCAM/Christian Bourgois.Emmerson, S. 1986. The relation of language to materials.In S. Emmerson (ed.) The Language of ElectroacousticMusc, pp. I 7-39. Basingstoke:Macmillan Press.Erickson, R. 1975. Sound Structure in Music. Berkeley:University of California Press.Lerdahl, F. 1987.Timbral hierarchies. n S. McAdams (ed.)Musc and Psychology: A Mutual Regard. ContemporaryMusic Review2(1): 135 60.McAdams, S., and Saariaho, K. 1985. The qualities andfunctions of musical timbre. In Proc. Int. ComputerMusic Conf. 1985,pp.367-14. San Francisco: ComputerMusic Association.McAdams, S. 1993. Recognition of sound sources andevents. In S. McAdams and E. Bigand (eds.) Thinkingin Sound: The Cogntive Fsychology of Human Audition,pp. 14G98. Oxford: Clarendon Press.Manoury, P. 1991.Les limites de la notion de "timbre". InJ.-B. Barrire (ed.) Le timbre, mtaphorepour la compo-stion, pp. 293 300.Paris: IRCAM/Christian Bourgois.Meyer, L. B. 1973. Explaning Music: Essays and Explo-rations. Berkeley and Los Angeles: University ofCalifornia Press.Nattiez, J.-J. 1990.Music and Discourse:Towardsa Semiol-ogy of Music. Princeton: Princeton University Press.Risset, J.-C. 1978. Hauteur et timbre des sons. In IRCAMReports ll78.Risset, J.-C. 1991. Timbre et synthsedes sons. Tn -T.-B.Barrire (ed.')Le timbre, mtaphorepour la composiion,pp. 239-60. Paris: IRCAM/Christian Bourgois.Roy, S. 1994.Analyse fonctionelle et implicative d'OmbresBlanches.In A. Vande Gorne (ed.) Frangois Bayle: par-cours d'un compositeur, Lien, revue d'esthtique musi-cale, pp. 134-9. Ohain: Musiques et Recherches.Schaeffer, P. 1966. Trait des objets musicaux. Paris: Seuil.Smalley,D. 1986.Spectromorphology and structuring pro-cesses. n S. Emmerson (ed.) The Language oJ Electro-acoustic Music, pp.61 93. Basingstoke: MacmillanPress.Smalley, D. 1991a. Acousmatic music-does it exist? InA. Vande Gorne (ed.) Vous avez dit acousmatique?Lten,revue d'esthtiquemusicale, pp.2l-2. Ohain: Musiqueset Recherches.Smalley, D. 1991b. Spatial experience n electro-acousticmusic. In F. Dhomont (ed.) L'Espace du son 2, Lien,revue d'esthtiquemusicale,pp. 1214. Ohain: Musiqueset Recherches.Smalley,D. 1992.The listening magination: listening n theelectroacousticera. In J. Paynter, T. Howell, R. Ortonand P. Seymour (eds.) Companion to ContemporaryMusical Thought, Vol. 1, pp.514 54. London:Routledge.Smalley,D. 1993a.Can electro-acousticmusic be analysed?In R. Delmonte and M. Baroni (eds.)Atti del Secondo


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