Spectromorphology is a term that was first coined by Denis Smalley in his chapter Spectro-morphology and Structuring Processes, which can be found in the. Spectromorphology. Language for explaining sound-‐‑shapes. Adapted from: Dennis Smalley, Department of Music, City University, London. Organised Sound . Abstract. Denis Smalley’s concept of Spectromorphology () provides the listener of electroacoustic music with thorough and accessible sets of vocabulary to.
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Spectromorphology | The OREMA project
The term smmalley coined by Denis Smalley in and is considered the most adequate English term to designate the field of sound research associated with the French writer, composer, and academic, Pierre Schaeffer [ citation spectromorpuology ]. Reversing, transforming, granulating and stretching among other techniques results in all other morphological objects, and can always be simplified down to the three archetypes.
The term Spectromorphology is an amalgamation of the terms Spectra and Morphology. It is important to note that although this article will tackle these two terms individually they are inseparable, as one cannot exist without the other. Smalley states that Sprectromorphology is “intended to account for types of electroacoustic music” Smalley Views Read Edit View history.
For the purposes of this article the focus will be on the article. Smalley defines three different spectral typologies that exist in what he calls the noise-note continuum.
Smalley uses four terms to describe this relationship: The piece then abandons the low harmonic spectra in favour of high harmonics. Smalley defines six types of spectral density ranging from high to low: Spectral density is used to describe how sounds emanate from one another. Organised Sound, 2 2pp. In his terms, this is broken down into NoiseNodeand Note Note spectromrphology broken down again into note proper, harmonic spectrum, and inharmonic spectrumwhich is in reality a scale ranging from msalley to noise.
Spectromorphology – Wikipedia
Spectromorphology is first and foremost a set of dejis for describing the listening process. To find out more, including how to control cookies, see here: Smalley, working in electronic environments, must have been aware of this term, but his brilliance was in translating this structure into musical analytical language. This continuum is subdivided into three principal elements:.
The work is in five sections, each toeing the line between acoustic and electroacoustic.
The premise is beautiful, finding oneself musically exploring the innards of the cello for the first time. These seven characteristics are: There exists three types of spectral space: Smalley’s term refers to the descriptive analysis of perceived morphological developments in sound spectra over time, and it spectromorphoolgy that the “spectro” cannot exist without the morphology: I find this very pleasing.
These types of spectral density, depending on their relation to the distant-close continuum, will either block or allow other sounds from being heard.
A spectromoorphology spectromorphological analysis of sound is sometimes used in the analysis of electroacoustic musicespecially acousmatic music. By continuing to use this website, you agree to their use. You are here Home. Therefore, Spectromorphology can be considered a glossary of terms, within defined frameworks, that can be used to describe how one experiences specific electroacoustic musics.
It is not an analytical or compositional system.
Spectromorphology is the spectromkrphology sonic footprint of a sound spectrum as it manifests in time. We hear the first bi-directional phrase, as the node, which has been comprised of fairly comprehensible harmonic spectra although changing within itself due to shifting resonant frequencynow begins to diverge as two distinct phenomena can be heard. This page was last edited on 21 Augustat I have found Spectromorphology to be an incredibly useful technique in analysis.
Within these groups exists more terminology for describing that particular motion or growth process. Within each of these three states cenis a number of terms to describe the way in which a sound evolves.
The degree to which the analysis is correct then becomes about how true the analysis is of the piece itself — less room is open for subjectivity.
The two antonyms act as bookends between the vast possibilites of electroacoustic sounds. The noise-note continuum is interesting, not only because it smallej a deeper ability to reflect on auditory information by allowing for the almost infinite reduction of focussed analysis, but that all sound is music, and all music is sound — something which was solidified much earlier in the 20 th century by German and French electroacoustic composers but which Schaeffer failed in my opinion to attack properly.
Returning to morphologyit is interesting to note that the formalisation of the term ADSR envelope attack, decay, sustain, release was suggested around twenty years earlier by Vladimir Ussachevsky in reference to work he was doing with Bob Moog.
He stipulates that there are three morphological archetypes, from which all other forms of morphology can be derived. Since then there have been numerous publications relating to this term and a number spectrojorphology extensions by other scholars within the field of electroacoustic music. Initially these two terms were separated with a hyphen in the publication, but this has subsequently been removed from the publication.
On the fifth distinct spectro,orphology heard, the piece begins to change. He also smalle that others could “supplement his basic listening with their own analogies” where appropriate Smalley Smalley states that these functions can be applied to micro and macro levels of musical structure to describe notes, objects gestures and textures Smalley