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An important aspect of spectromorphology is, what
Smalley calls ‘source bonding’, which he describes as the duality of any given listening situation. According to Smalley sound objects have an extrinsic nature if its source bonding remains intact, but if not, it has a sonic characteristic that is
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Given that we have established a coherent aural image of a real acoustic space, we may then begin to position sound-objects within the space. Imagine for a moment that we have established the acoustic space of a forest (width represented by the spread across a pair of stereo speakers, depth
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4. The signalled sonic entities' significance is then understood by abstraction, comparison, deduction and by linking it to different sources and types (either the initial meaning is confirmed or if denied an additional meaning is worked out.
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The atomic level of digital audio systems: individual binary samples or numerical amplitude values, one following another at a fixed time interval. The period between samples is measured in millionths of a second (microseconds).
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This leads to the acousmatic situation that is focused on subjective "listening itself which becomes the phenomena under study" rather than the object sound source. Music theorist Brian Kane, in his book
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approach sets out spectral and morphological models and processes, and provides a framework for understanding structural relations and behaviours as experienced in the temporal flux of the music."
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A basic unit of musical structure, generalizing the traditional concept of note to include complex and mutating sound events on a time scale ranging from a fraction of a second to several seconds.
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This unit of sound is the equivalent to a unit of breath or articulation, a unit of instrumental gesture. The sound object is therefore an acoustic action and intention of listening.
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Schaeffer believed that the sound object should be free from its sonic origin (its sound source, or source bonding) so that a listener could not identify it, what he termed as
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represented by decreasing amplitude and high-frequency components and increasing reverberation) then position the sounds of various birds and animals within this space.
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intrinsic in nature. The condition in which a sound object has an intrinsic or extrinsic source bonding depends on the experiences of the listener.
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Sound particles on a time scale that extends down to the threshold of auditory perception (measured in thousandths of a second or milli-seconds).
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Divisions of form. Groupings of sound objects into hierarchies of phrase structures of various sizes, measured in minutes or seconds.
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derives his own version of sound object from
Schaeffer's, but unlike Schaeffer Wishart favours a materialist or physicalist notion, saying:
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Fluctuations on a time scale too brief to be properly recorded or perceived, measured in billionths of a second (nanoseconds) or less.
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2. The signalled sonic entity (having been detected) 'sound character' is deciphered by the active perception of listening (écouter)
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The time scale of overall musical architecture or form, measured in minutes or hours, or in extreme cases, days.
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notes that
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A time scale beyond that of an individual composition and extending into months, years, decades, and centuries.
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Schaeffer's theory of acousmatic experience, the sound object, and a technique he called reduced listening (
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1. A sonic entity is detected by its signal being picked up by the autonomous mechanism of hearing (ouïr)
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that states a
Knowledge editor's personal feelings or presents an original argument about a topic.
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The ideal time span of mathematical durations such as the infinitely brief delta functions."
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listening. Schaeffer's four functions of the "What Can be Heard" include:
440:(in French) (2nd/Nouv. ed.). Paris: Éditions du Seuil. p. 271.
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as tools for describing and analysing listening experience… A
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The ideal time span of mathematical durations such as the infinite
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585:(2nd ed.). Cambridge, Mass: MIT Press. 2001. p. 409.
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Smalley, Denis. "Spectromorphology: explaining sound-shapes".
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Schaeffer, North & Dack, Pierre, Christine, John (2017).
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personal reflection, personal essay, or argumentative essay
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Treatise on
Musical Objects: An Essay across Disciplines
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Unseen Sound. Acousmatic Sound in Theory and
Practice
508:. California: University of California. p. 65.
438:Traité Des Objets Musicaux: Essai Interdisciplines
406:"I have developed the concepts and terminology of
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398:, inspired by Schaeffer's theories, developed '
547:. Oxford: Oxford University Press. p. 17.
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