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MUCO 342 > Spectromorphology > Flashcards

Spectromorphology Flashcards

1
Q

Spectro-morphology

A

Concentrates on the spectrum and its shaping over time

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2
Q

Electroacoustic arts

A

Musical exploration and extensions of sounding models through signal processing and synthesis

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3
Q

Perceptual affinity

A

Partnership between composer and listener in aural perception

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4
Q

Mimesis

A

Involvement in music, representation of imitation of the real world in art/literature

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5
Q

Reduced Listening

A
  1. Charting spectromorphological process, ignoring how sound was made or caused
  2. Analytical and aesthetic attitude as investigative strategy
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6
Q

Abstract/Concrete

A

Both elements present in all sounds

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7
Q

1.Spectral Typology

A

Note-Node-Noise

Note to noise continuum

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8
Q

1a. Note

A
  • Note proper: traditional pitch perceptional, fundamental is more important than spectrum
  • Harmonic Spectrum: Harmonic relationships of the spectrum, less fundamental pitch, when spectral fusion is reduced I.e. overtone singing
  • Inharmonic Spectrum: Internal behaviours of components in inharmonic spectra, resisting spectral fusion (i.e. metallic sounds)
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9
Q

1aa. Note proper

A

Traditional pitch perceptional, fundamental is more important than spectrum

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10
Q

1ab. Harmonic spectrum

A

Harmonic relationships of the spectrum, less fundamental pitch, when spectral fusion is reduced (i.e. overtone singing)

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11
Q

1ac. Inharmonic spectrum

A

Internal behaviours of components in inharmonic spectra, resisting spectral fusion (i.e. metallic sounds)

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12
Q

1b. Node

A
  • Nodal spectrum: band or knot of sound resisting pitch identification. (eg. sound densities whose compactness makes pitch structure unclear)
  • Lies toward noise boundary of note-noise continuum
  • Examples are cymbal heard at a distance, note cluster
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13
Q

1c. Noise

A
  • Noise spectrum: Impossible to hear any internal pitch structure
  • Partials are dense and compressed (I.e. wind, sea)
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14
Q

Pitch-effluvium continuum

A
  • Effluvium: Ear can no longer resolve spectra into component pitches
  • Follows momentum of external shaping, increased spectral density and compression
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15
Q

Morphology

A
  • Temporal shaping
  • Instrumental notes, sounds in natural world
  • Aural experience monitored by spectral and dynamic profiles in relations to energy
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16
Q
  1. Morphological Archetypes
A
  1. Attack-impulse
  2. Attack-decay (Closed or open)
  3. Graduated continuant
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17
Q

2a. Attack-impulse

A
  • Single detached note, produced by sudden onset and sudden termination
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18
Q

2b. Attack-decay

A
  • Attack onset extended by resonance (eg. bell or plucked string)
  • Closed attack decay: Quick decay, strong attack
  • Open attack decay: More gradual decay, drawn to continuing behaviour of sound on way to termination, phases: attack, decay, termination
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19
Q

2c. Graduated continuant

A
  • Sustained instrumental sounds,

- graduated onset/continuant phase/graduated termination

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20
Q
  1. Morphological Models
A
  • Attack-impulse archetype
  • Closed attack-decay archetype (reversed form)
  • Open attack-decay archetype (reversed form)
  • Linear attack-decay (reversed form)
  • Linear graduated continuant
  • Swelled graduated continuant
  • Graduated continuant archetype
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21
Q

Correspondence

A
  • Point where a morphological shift takes place: a morphological modulation
  • Idea or expectations can be changed in music to frustrate
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22
Q

Morphological Strings

A
  1. Linking or merging of morphologies to create hybrids
  2. Types: Open continuant phases, merged correspondences through cross fading, reversed onset-terminations leading to new onsets
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23
Q

Attack-effluvium continuum

A
  • Temporal counterpart of pitch-effluvium continuum, ear does not resolve the separate components, turns to morphologies of the larger structural motion
  • Four principal points:
    1. Separated attack-impulses
    2. Iteration
    3. Grain
    4. Effluvial state
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24
Q
  1. Motion/Motion Typology
A
  • Music is motion in time
  • Applies to different structural levels/time scales (gesture external contouring vs. texture internal behaviour
  • Motion types always imply a direction/orientation
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25
Q

4a. Linear

A
  • Unidirectional: ascent-descent-plane
  • bi-directional: divergence/convergence, dilation/contraction
  • Refraction: linear motion deflected off course, changes of angle in direction that can become curvilinear
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26
Q

4b. Curvilinear

A
  1. Three phases: ascent-peak-descent OR descent-trough-ascent
  2. Reciprocal
  3. centric/cyclic
  4. eccentric/multidirectional
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27
Q

4bb. Reciprocal

A
  • Motion in one direction balances by reciprocation in opposite direction
  • Types:
    1. parabola/inverted parabola (eg. thrown or bounced motion)
    2. oscillation: curvilinear oscillation between two points
    3. undulation: shapes of varied dimensions tracing motions (eg. surface of ocean as waves pass)
    4. convolution: complex interweaving of motion shapes (eg. surface of lake as waves from boats intersect)
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28
Q

4bc. Centric/cyclic

A
  • Radiating from centre or converging on it
  • Doesn’t have to be exact repetitions
  • Types:
    1. centrifugence/centripetence: sounds flying off from centre or towards centre
    2. pericentricity: motion around a centre
    3. vortex: movement of particles around axis
    4. helix: spiral shape, implies acceleration or deceleration
29
Q

4bd. Eccentric/Multi-directional

A
  • Lack of central focus
  • Multi-direction: expansion of linear divergence/convergence developed toward eccentricity
  • Growth processes: transformations where morphological outcome is radically different from initial state
  • Types:
    1. accumulation: exogeny (additions to exterior of sound) vs. endogeny (growth from within)
    2. dissipation
    3. confraction: breaking up into smaller fragments
    4. conglomeration: forming of compact mass or object from fragments
30
Q

Motion Style

A
  • Delineates boundaries affecting internal motion
  • Types:
    1. synchrony/asynchrony: whether components act together or individually
    2. Continuity/discontinuity: continuous or non-continuous flow of music
    3. conjunction/disjunction: contouring is evenly or unevenly graduated
    4. periodicity/aperiodicity: Regular or not motion change
31
Q

Categories of internal motion design (Motion Style)

A
  1. Flocked motion: individual components behave in coherent groups, is monomorphological, ear follows entire flock
  2. Streamed motion: concurrent flow of motion that maintain their separate identity
  3. Contorted motion: components entangled and considered whole, is polymorphological
32
Q

Ways of Motion Styles

A
  1. Monomorphological: made up of a single morphological type

2. Polymorphological: made of a mixture of morphologies

33
Q

Stable pitch-space settings

A
  • Linear and consistent tessitura, doesn’t have to have internal consistent motion
  • Other events may occur within space
  • Canopied: activity beneath high pitched area
  • Rooted: activity above low pitch (eg. drones, pedal points)
  • Framed: Combination of canopied and rooted
  • Centred-pivoted: Central reference or pivot of musical activity
34
Q

Canopied (Pitch-Space)

A

Activity beneath high pitched area

35
Q

Rooted (Pitch-Space)

A

Activity above low pitch (eg. drones, pedal points)

36
Q

Framed (Pitch-Space)

A

Combination of canopied and rooted

37
Q

Centred-pivoted (Pitch-Space)

A

Central reference or pivot of musical activity

38
Q

Spectral Texture (Pitch-Space)

A
  • Vertical distribution of constituent parts or components in pitch-space
  • Fusion and diffusion/dispersal
  • Opacity and Transparency
  • Occupying sites within boundaries of pitch-space
  • Spectral weighting
39
Q

Opacity (Pitch-Space)

A

state where effluvial criteria block out detail

40
Q

Transparency (Pitch-Space)

A

Opens up textural spaces to create spatial clarity

41
Q

Sites (Pitch-Space)

A

Place within the pitch-space boundary that has a dimension (eg. pitch, localization)

42
Q

Spectral Weighting (Pitch-Space)

A
  • Textures may be weighted in favour of another site

- Factors: spectral type, morphology, dynamic prominence, component between textural gaps, dimensions of spaces

43
Q

Structuring Processes

A
  1. Level and focus, structures should be multi-levelled
  2. Switch perception through range of levels
  3. Fractured hierarchies of various temporal dimensions
44
Q

Gesture and texture (Structuring)

A
  • structuring strategies that work in consort (collaborative)
  • share structural workload
  • structures can be gesture-carried or texture-carried
45
Q

Gesture

A
  • Intangible link with human activity
  • Action directed away from previous goal
  • Application of energy and its consequences
  • Intervention, growth, progress; Causality
46
Q

Texture

A
  • Internal behaviour patterns, energy directed inwards

- Self-propogating, continues behaving

47
Q

Surrogacy

A
  • Mechanisms where musical texture and gesture are linked to their sources
  • First Order Surrogacy
  • Second Order Surrogacy
  • Remote Surrogacy
  • Dislocated surrogacy
48
Q

First Order Surrogacy

A

Human link by use of instrument, associated with exertion or physical energy

49
Q

Second Order Surrogacy

A

Instrumental cause cannot exist, energetic, maintains human link by sound alone

50
Q

Remote Surrogacy

A

Physical cause cannot be deduced, only a psychological interpretation

51
Q

Dislocated surrogacy

A

No direct gestural ties, challenge for listener as in the remoteness of sound and human link

52
Q

Structural Functions

A
  • Three linked temporal phases, morphological design (onset, continuant, termination)
    as models of time passing
53
Q

Termination (Structural Function)

A
  • Plane: Ambiguous, stable as goal
  • Immersion
  • Release
  • Resolution
  • Closure
54
Q

Continuant (Structural Function)

A
  • Maintenance: what has been set in course continues
  • Statement
  • Prolongation: Stretching as continuity
  • Transition: Intermediate stage between functions
55
Q

Termination (Structural Function)

A
  • Plane: Ambiguous, stable as goal
  • Immersion
  • Release
  • Resolution
  • Closure
56
Q

Structural Levels (Structural Function)

A

Dependent on aural focus and structural unveiling
Order:
- Local Scale
- Regional Functions
- Global functions: reassessment of structure in light of whole experience

57
Q

Function Chains (Structural Function)

A
  • Linking of material with different structural functions

- Attribution may change from start to end depending on evolution

58
Q

Function Weighting (Structural Function)

A
  • is varied to create balance of temporal stress
59
Q

Structural Relationships

A 
- relationship of structural components, how independent components interact
Types:
- Interaction/Equality
- Reaction/Inequality
- Interpolation
60
Q

Interaction/Equality (Structural Relationships)

A
  • Means cooperation

- confluence and reciprocity

61
Q

Reaction/Inequality (Structural Relationships)

A
  • Degree of active-passive role playing

- Competition and causality

62
Q

Interpolation (Structural Relationships)

A
  • Interruption or change at a stroke
  • Vicissitude: Progression, one element willingly gives place to the next
  • Displacement: Progression by displacement, one event resists batwing replaced
63
Q

Spectral space

A
  • texture suggest spatial analogies

- equilibrium of spatial spread

64
Q

Time as space

A
  • Spectral motion is perceived in time
65
Q

Resonance

A
  • Inner space

- Resonance structures: stretch out new imagined resonances that can stretch into fantasy

66
Q

Spatial articulation

A
  • outer/realistic/fictitious space where sound structure interacts and inhabits
  • Spatial trajectories: reflect gestures
  • Spatial distribution: reflects textures
67
Q

Spatial articulation aspects

A
  • setting: real/fictitious, dimensions (open/confined)
  • behaviour: stationary/moving (distribution/trajectory)
  • Spatio-morphology: morphology set in a sequence of spaces, no change in shape,, change may occur in space
68
Q

Transference

A
  • listening environment
  • music transferred by loudspeakers to new acoustic space
  • sound diffusion
  • reinterpretation of musical structure within performance space

MUCO 342 (3 decks)

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