Spectromorphology is the perceived sonic footprint of
a sound spectrum as it manifests in time. A descrip- tive spectromorphological analysis of sound is sometimes used in the analysis of electroacoustic music, especially acousmatic music. The term was coined by Denis Smal- ley in 1986 and is considered the most adequate English term to designate the eld of sound research associated with the French writer, composer, and academic, Pierre Schaeer. Schaeers work at INA/GRM in Paris, beginning in the late 1940s, culminated in the publication of the book Trait des objets musicaux in 1966. Smalleys notion of spectromorphology builds upon Schaeers theories re- lating to the use of a classication system for various cat- egories of sound. [1] Smalleys term refers to the descriptive analysis of per- ceived morphological developments in sound spectra over time, and it implies that the spectro cannot exist with- out the morphology: something has to be shaped and that something must have sonic content (Smalley, 1986, 1997). 1 Theoretical framework The theoretical framework of spectro-morphology is ar- ticulated mainly in four parts: the typology of the spectra morphology motion structuring processes. 1.1 Spectral typologies Smalley denes three dierent spectral typologies that exist in what he calls the noise-note continuum. This con- tinuum is subdivided into three principal elements: the noise. the node (an event having a more complex texture than a single pitch). the note, which is in turn subdivided into note, har- monic spectrum and inharmonic spectrum. 1.2 Morphological archetypes Smalley also designates dierent morphological archetypes: attack-impulse. Modeled on the single detached note: a sudden onset which is immediately termi- nated. In this instance the attack-onset is also the termination. attack-decay (closed and open) - modeled on sounds in which the attack-onset is extended by a resonance that quickly or gradually decays towards termina- tion. The closed form represents a quick decay which is strongly attack-determined. The open form reects a more gradual decay where the ear is drawn away from the formative inuence of the attack into the continuing behaviour of the sound on its way to termination. graduated continuant - Modeled on sustained sounds. The onset is graduated, settling into a continuant phase which eventually closes in a grad- uated termination. The onset is perceived as a much less formative inuence than in the other two archetypes. Attention is drawn to the way in which the sound is maintained rather than to its initiation. 2 Notes [1] (Thoresen:2007) 3 References Smalley, D. (1986), Spectro-morphology and Struc- turing Processes, in Emmerson, S. (ed.) The Lan- guage of Electroacoustic Music. London: Macmil- lan: 61-93. Smalley, D. (1997), Spectromorphology: Explain- ing sound-shapes, Organised Sound: Vol. 2, no. 2. Cambridge: Cambridge University Press: 107-126. Thoresen, L. & Hedman, A. (2007), Spectromor- phological analysis of sound objects: an adaptation of Pierre Schaeers typomorphology, Organised Sound, 12:129-141 Cambridge University Press. 1 2 4 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES 4 Text and image sources, contributors, and licenses 4.1 Text Spectromorphology Source: http://en.wikipedia.org/wiki/Spectromorphology?oldid=590681980 Contributors: SmackBot, EdGl, Katharineamy, Pdcook, Karstein, CharlesGillingham, JL-Bot, CorenSearchBot, SchreiberBike, Semitransgenic, Yobot, Slightsmile, Per- chloric and Anonymous: 2 4.2 Images 4.3 Content license Creative Commons Attribution-Share Alike 3.0