DENIS SMALLEY SPECTROMORPHOLOGY PDF

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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The framework within the morphological aspects of Spectromorphology can be summarised by the Onsets, Continuants and Terminations functions, the Motion and Growth processes, Texture motion and Behaviour.

Spectromorphology – Wikipedia

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. Spectromorphology is the perceived sonic footprint of a sound spectrum as it manifests in time.

Smalley uses four terms to describe this relationship: The premise is beautiful, finding oneself musically exploring the innards of the cello for the first time. On the fifth distinct note heard, the piece begins to change. This page was last edited on 21 Augustat Smalley, working in electronic environments, must have been aware of this term, but his brilliance was in translating this structure into musical analytical language.

Smalley’s term refers to the descriptive analysis of perceived morphological developments in sound spectra over time, and it spectromorpgology that the “spectro” cannot exist without the morphology: Smalley states that the canopy and root can be regarded as “boundary markers” that “frame spectral space” Smalley Simply put, the Spectromoephology to Noise continuum is how one describes the spectral content of a sound.

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Benjamin Talbott

I find this very pleasing. It is almost impossible to put forward a wrong statement, so long as the terms are understood properly. Spectral density is used to describe how sounds emanate from one another. The term was 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 spectromorphollogy citation needed ].

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. Smalley states that Sprectromorphology is “intended to account for types of electroacoustic music” Smalley Therefore, Spectromorphology can be considered a glossary of terms, within defined frameworks, that can be used to describe how one experiences specific electroacoustic musics.

All articles with unsourced statements Articles with unsourced statements from January These tools are intended to be used for “describing and analysing the listening experience” Smalley Reversing, transforming, granulating and stretching among other techniques smalleyy in all other morphological objects, and can always be simplified down to the three archetypes.

These seven characteristics are: Since then there have spectrojorphology numerous publications relating to this term and a number of extensions by other scholars within the field of electroacoustic music. The piece then abandons the low harmonic spectra in favour of high harmonics. 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.

Initially these two terms were separated with a hyphen in the publication, but this has subsequently been removed from the publication. This continuum is subdivided into three principal elements:. Wpectromorphology says that motion is a subconsciously understood concept in traditional composition, as it is the overall harmonic movement against melody which drives musical structures.

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Spectromorphology | The OREMA project

For the purposes of this article the focus will be on the article. If we were to go into further detail, we could also argue morphologically that the object begins as separated attack impulses, tracing a smooth line through the iterative form towards granulation, before dissipating. Views Read Edit View history.

Smalley defines three different spectral typologies that exist in what he calls the noise-note continuum. We hear this repeated, so far in a linear fashion, the simplest motion. There exists three types of spectral space: There are four qualifiers for spectral space, which are based on antonym pairs: Smalley states that these functions can be applied to micro and macro levels of musical structure to describe notes, objects gestures and textures Smalley Instead it suggests viewpoints and tools for “speculating and imagining”, but these cannot be organised into a single analytical or compositional action Smalley By continuing to use this website, you agree to their use.

It does not relate to smaloey spatialisation of sounds within a fixed-media piece.

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