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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Whether they are considered distant or close and whether they allow other sounds to be heard.
Spectromorphology – Wikipedia
The work is in five sections, each toeing the line between acoustic and electroacoustic. Spectromorphology is the perceived sonic footprint of a sound spectrum as it manifests in time. It does not relate to the spatialisation of sounds within a fixed-media piece. Smalley states that the canopy and root can be regarded as “boundary markers” that “frame spectral space” Smalley Smalley states that Sprectromorphology is “intended to account for types of electroacoustic music” Smalley We hear this repeated, so far in a linear fashion, the simplest motion.
Motion explains a similar concept to morphology, but extends to the overall movement of complex sound through time.
The term Spectromorphology is an amalgamation of the terms Spectra and Morphology. Initially these two terms were separated with a hyphen in the publication, but this has subsequently been removed from the publication.
Since then there have been numerous smwlley relating to this term and a number of extensions by other scholars within the field of electroacoustic music.
By continuing to use this website, you agree to their use. Reversing, transforming, granulating and stretching among other techniques results in all other morphological objects, and can always be simplified down to the three archetypes. There are four qualifiers for spectral space, which are based on antonym pairs: These types of spectral density, depending on their relation to the distant-close continuum, will either block or allow other sounds from being heard.
To find out more, including how to control cookies, see here: He also suggests that others could “supplement his basic listening with their own analogies” where appropriate Smalley Smalley defines six types of spectral density ranging from high to low: Smalley defines three different spectral typologies that exist in what he calls the noise-note continuum.
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. Smalley, working in electronic environments, must have been aware of this term, but his brilliance was in translating this structure into musical analytical language.
These seven characteristics are: Smalley states that these functions can be applied to micro and macro levels of musical structure to describe notes, objects gestures and textures Smalley The premise is beautiful, finding oneself musically exploring the innards of the cello for the first time.
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.
Within each of these three states exists a number of terms to describe the way in which a sound evolves.
Spectromorphology | The OREMA project
To formalise further, Smalley insists rightly that the spectra the harmonic information cannot exist without morphology, since something which occupies space must also extend in time — hence spectro-morphology. In his terms, this is broken down into NoiseNodeand Note Note is broken down again into note proper, harmonic spectrum, and inharmonic spectrumwhich is in reality a scale specromorphology from note to noise.
Smalley also designates different morphological archetypes:.
He defines three groups that should be regarded as motions: From Wikipedia, the free encyclopedia. Views Read Edit View history. Organised Sound, 2 2pp. Simply put, the Note spectromkrphology Noise continuum is how one describes the spectral content of a sound. The piece then abandons the low harmonic spectra in favour of high harmonics.
A descriptive spectromorphological analysis of sound is sometimes used in the analysis of electroacoustic musicespecially acousmatic music. Within these groups exists more terminology for describing that particular motion smaoley growth process. Smalley says that motion is a subconsciously understood concept in traditional composition, as it is the overall harmonic movement against melody which drives musical structures.
Smalley’s notion of spectromorphology builds upon Schaeffer’s theories relating smmalley the use of a classification system for various categories of sound.