ï~~Proceedings of the International Computer Music Conference 2011, University of Huddersfield, UK, 31 July - 5 August 2011
MAPPING CHANGE OVER TIME WITHIN STEREO
ACOUSMATIC MUSIC - A CASE STUDY
Jason Woolley
[email protected]
Manchester Metropolitan
University
Abstract
The structuring of sound materials over time in order to
achieve musical flow within Acousmatic music might
rely upon 'abstract' or 'abstracted' compositional
strategies (Emmerson 1986)[5]. Within 'abstract'
strategies, structure might rely upon a predetermined
mathematical framework, whereas in 'abstracted'
methodologies, musical structure is determined by what
the sound materials 'suggest' to the composer and is
therefore reliant upon what we might arguably call
intuition. An 'abstracted' methodology requires the
composer to use intuition to fashion a musical structure
that, whilst having coherence and unity, is also able to
maintain the listener's interest. Intuitive compositional
timing is a difficult skill to develop, but it is something
that may be developed through the analysis of existing
repertoire as part of a Practice-as-research framework
(Nelson 2006)[9]. This paper documents an attempt to
develop Robert Cogan's use of sonograms and his
method of mapping the amount of change in musical
structure over time (Cogan 1984)[2]. This is a
comparative study of two pieces, one of which is my
own, What Lie Within [22], and the other by composer
Natasha Barrett,...fetters... [20]. The paper refers to
some spectrograms and tabled results found in the
appendix to this paper2. These tabled findings are based
upon Cogan's original framework, and also based upon
an expansion of this framework developed using
Smalley's Spectromorphology (Smalley 1986,
1997)[15][16].
1.1 Introduction
Acousmatic composers are all too aware of the issues
surrounding the construction of musical flow within
their music, and the difficulties of fashioning sound
materials into a unified piece that can engage the
listener's interest throughout its duration. Although, in
1 This paper does not intend to enter into any debate of what
composerly intuition might be. It is considered here that intuition is
that which appears to guide the composer's creative choices during the
process of some compositional strategies.
Adkins has offered some useful ideas on memetics and how this
concept might account for intuition in Electroacoustic composition.
(http://www.mathewadkins.co.uk/article4/, last accessed 22.9.09)
2
2 The appendix is available for download from
www.jasonwoolleymusic.co.uk
terms of structural shaping, Acousmatic composition
shares some problems with other musical genres, the
sound materials or palette intended as part of the
musical flow must be created before they can be
fashioned into a piece. Smalley has indicated that
composers must overcome the 'distractions of the
fabrication process', which includes the constant
auditioning of materials. In constructing musical
structure and flow, Smalley seems to recommend a
strategy based on the organization of sound materials
through the intuitive aural selection of the composer.
Emmerson has termed this strategy an 'abstracted'
approach to 'syntax', where the characteristics of the
sound materials themselves guide the structural flow of
the Acousmatic piece (Emmerson 1986)[5]. Whilst
intuition as a methodology is no doubt useful and is
something many Acousmatic composers engage with,
compositional timing, or the intuitive maintenance of
interest and unity within the sound materials and
structure of a piece, can be a difficult skill to attain.
During the process of composing an abstracted syntax,
the question of whether the composer's subjective
judgments on the organisation of sound materials will
satisfactorily translate to the listener's perception of the
syntax is always present. This of course is as pertinent
to Acousmatic music as it is to other musical genres.
Consider Smith Brindle's guidance on the problem of
maintaining interest and unity within traditional musical
composition. 'If we listen to music which continues for
too long without any change the mind tends to go to
sleep, and at best listening becomes an effort,...'. On
the care needed when introducing change within
musical flow he remarks that, '[i]t is here that we must
take care. For though the factor of change is essential to
retain interest, it is the thing most guaranteed to destroy
unity' (Smith Brindle 1986: 8)[17].
Smalley has highlighted the problems structural focus
can present for the composer of Electroacoustic music.
'A crucial reason for the failure of many Electroacoustic
works may be the composer's inability to maintain
control over the focal scanning of structural levels
during the process of composition.' Furthermore he says
that this impacts '[p]articularly in tape composition
because of the need for constant repetition of sounds
during the honing process...constant repetition quickly
kills off a sound's freshness so that the composer's
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