Sound morphology and the articulation of structure in electroacoustic music.

De Montfort University Open Research Archive

Show simple item record Young, John 2011-03-18T14:20:45Z 2011-03-18T14:20:45Z 2004-04
dc.identifier.citation Young, J. (2004) Sound Morphology and the Articulation of Structure in Electroacoustic Music. Organised Sound, 9 (1) pp. 7-14. en
dc.description A list of errata for this paper appears in the subsequent issue of the journal. en
dc.description.abstract In electroacoustic music we have the capacity to manipulate sound in an unprecedented number of dimensions - especially to transform, disassemble and remix both natural and digitally created sound-objects over time. This potential for composers to create complex hybrid sounds, and many variants of them, can make the process of establishing and developing musically useful relationships amongst materials a complex one. This paper focuses on the potential in electroacoustic composition for the morphology of sound structures to function at different structural levels within a musical argument. It is argued that the morphological patterning and behaviour of sound can be used to articulate recognisable and transferable musical identities. These articulations can be controlled by the composer and perceived by listeners to function across different time scales in music-from long-term direction and focus of sections to strings of phrases as well as the unfolding in time of individual sound-objects. This is done with particular reference to three works - Wind Chimes by Denis Smalley and Tongues of Fire and Imago, both by Trevor Wishart. en
dc.language.iso en en
dc.publisher Cambridge University Press en
dc.subject electroacoustic music en
dc.subject spectromorphology en
dc.subject musical structure en
dc.title Sound morphology and the articulation of structure in electroacoustic music. en
dc.type Article en
dc.researchgroup Music, Technology and Innovation Research Centre en
dc.peerreviewed Yes en

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