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TheVisualSoundShapesofSpectromorphology:anillustrativeguidetocomposition

ManuellaBlackburn

OrganisedSound/Volume16/Issue01/February2011,pp513DOI:10.1017/S1355771810000385,Publishedonline:25February2011

Linktothisarticle:http://journals.cambridge.org/abstract_S1355771810000385

Howtocitethisarticle:ManuellaBlackburn(2011).TheVisualSoundShapesofSpectromorphology:anillustrativeguidetocomposition.OrganisedSound,16,pp513doi:10.1017/S1355771810000385

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The Visual Sound-Shapes ofSpectromorphology: an illustrativeguide to composition

MANUELLA BLACKBURN

Department of music, Liverpool Hope University, Creative Campus, 17 Shaw Street, Liverpool, L6 1HP, UKE-mail: [email protected]

Since its conception, Denis Smalleys spectromorphology has

equipped listeners and practitioners of electroacoustic music

with appropriate and relevant vocabulary to describe the

sound-shapes, sensations and evocations associated with

experiences of acousmatic sound. This liberation has

facilitated and permitted much-needed discussion about sound

events, structures and other significant sonic detail. More

than 20 years on, it is safe to assume that within the

electroacoustic music community there is an agreed and

collective understanding of spectromorphological vocabulary

and its descriptive application. Spectromorphologys

influence has been far reaching, inciting approaches to

electroacoustic music analysis (Thoresen 2007), notation

(Patton 2007), composition and education through its flexible

functionality and accessible pool of vocabulary.

I have previously proposed the usefulness of spectro-morphology in developing compositional strategies(Blackburn 2009). In this previous paper I reversed theconventional application of spectromorphology, con-verting the descriptive purpose into one functional incomposition where vocabulary is implemented as atool to inform sound material choice and creation. Inthis reversal, vocabulary no longer functions descrip-tively; instead the vocabulary precedes the composi-tion, directing the path the composer takes withina piece. This reversed application is an attempt atsystemization and an effort to (partly) remedy theseemingly endless choice of possibilities we are facedwith when beginning a new work (Blackburn 2009). Inthis application, diagrams of sonic detail accompaniedthe text-based methodology, metaphorical to thespectromorphological word utilised. In this new article,visualisations of Smalleys vocabulary now become thefocus, existing as snap-shots of spectral space to illus-trate the techniques of sound creation and assemblagefound within my own compositional output.

1. VISUALISATIONS

It is frequently reported that, in concert, acousmaticmusic has the powerful effect of conjuring imagery,

shapes, trajectories and spaces, which we as listenersproceed to describe verbally. The use of spectro-morphology for this purpose is appropriate due to itsrelevance. Most importantly, the accessibility of thisvocabulary pool continues to be its greatest advan-tage, since spectromorphological language consists offamiliar words not exclusive to musical description,but common and applicable to much wider functions,often suggestive of non-sounding situations, pheno-mena and other cultural experience. My aim is totake advantage of this flexible vocabulary to developcompositional strategies from spectromorphology.More specifically, my intention is to use the visuallytangible to impact upon the aural sound imagethrough establishing a new graphical vocabularybased on spectromorphology for compositional use.This unique and personal approach pays particularattention to how visual elements take precedencewithin spectromorphologically informed compositionstrategies, and raises questions regarding visual sub-jectivity and the subsequent impact this has upon themusical result. If as listeners we are able to describeor visualise something as rewarding in acousmaticmusic, why not use this same vocabulary and/orimagery to inform our own compositional intentions?

1.1. Context revision

This article is both a revision and extension of pre-viously stated ideas (Blackburn 2009); however, it ishere that I direct my attention to the visual compo-nents of the research, presenting how sound-shapes ofspectromorphology have the most influential powerupon compositional activity in this instance. Severalkey points are revisited to establish context, whilenew diagrammatic detail is included to highlightrecently developed strategies from spectromorphologyas used in my own compositional work. Through thesesound-shape illustrations I aim to illuminate the intri-cacies of Smalleys vocabulary and present spectro-morphological visualisation as a pertinent step betweentext descriptions and acousmatic music composition,supported with corresponding sound examples from

Organised Sound 16(1): 513 & Cambridge University Press, 2011. doi:10.1017/S1355771810000385

my own works. In accordance with the aims ofthe acousmograph1 and the acousmoscribe2 (bothvisually orientated software applications that endeavourto notate and analyse components of electroacousticmusic), my illustrative representations propose to dis-play through visual means the properties of sounds.

1.2. Preliminary notes

The strategies influenced by spectromorphologymentioned in this article should be regarded ascompositional aids rather than solutions or formulasfor acousmatic music creation.3 They present possiblestarting points for the development of sound mate-rials, events and structures and are then subject toother intuitive decision-making processes. To distin-guish spectromorphological terminology amidst thetext, I have italicised each appearance in order toclarify the context of their use.

2. VISUALS INFORMING SOUNDMATERIAL CHOICE

Spectromorphological sound-shapes can inform thesounds we choose to work with in a piece, providing auseful starting point in the early stages of composi-tion. This may influence the selecting of soundmaterials and recordings made. For example, whenusing the word attack from the structuralfunctionsword-set (figure 1), shorter sounds with impact-likequalities (e.g. a door slamming or a hand clap) aremost likely to be imagined. In this instance we wouldbe less inclined to choose sounds more sustained incharacter (e.g. a microwave hum or running water).

2.1. Visual sound sculpting

Visual equivalents of vocabulary taken from struc-tural functions can inform the shaping and manip-ulation of individual sounds. Choosing one wordfrom each column can dictate the sculpting of a singlesound by accentuation of its inherent features. This

allows a sound to be composed into a desired shape.Applying an increasing volume envelope to a sus-tained sound, for example, will create an emergence.A possible continuant for this sound might be aprolongation by looping or sustaining its originalduration and a gradual fade will terminate the soundas a disappearance. Figure 2 presents my individualresponse to the meaning of these three words, whichis also animated in Movie example 1, presenting areal-time construction of this sound-shape.

2.2. Visual sound unit creation

Beyond the shaping of individual sounds, the struc-tural functions vocabulary is particularly useful inarticulating structures. Three separate sounds can beindividually informed by three separate visual sound-shapes. Once assembled together they form a newshape, which I refer to as a sound unit.

2.3. Sound units

The sound unit can be traced in many existentacousmatic works and continues to be a primarybuilding block within my own approach to acous-matic music creation. I view sound unit constructionwithin my work as a fundamental compositionalstrategy built entirely on the premise that every soundevent has a start, a middle and an end. Constructionpossibilities are vast and particularly well suited fordealing with shorter sounds that yield gestural shapesthrough this combination process.

2.4. Sound units as visual guides

Figures 3 and 4 show two combination possibilities offorming sound units from three separate sounds. Thisessentially provides a miniature plan for the composer

Figure 1. Structural functions (Smalley 1997: 115).

Figure 2. Sound sculpting.

1The Acousmographe & is a software for viewing and repre-sentation of sound. It facilitates the identification, annotation anddetailed description of any recording and any music, especiallyelectro or oral tradition. www.ina-entreprise.com/entreprise/acti-vites/recherches-musicales/acousmographe.html2The Acousmoscribe is a free software coming from a formersoftware, boxes, which aim was to write scores and composeelectroacoustic music. y This software offers concrete and sym-bolic approaches of electroacoustic music at the same time. Theuser interface allows the writing of electroacoustic music scores,following the phenomenological approach initiated by PierreSchaeffer. Developed by Jean Louis Di Santo, http://scrime.lab-ri.fr/index.php?option5com_content&view5category&layout5-blog&id52&Itemid55&lang5en3Spectromorphology is not a compositional theory, it can influ-ence compositional methods since once the composer becomesconscious of the concepts and words to diagnose and describe, thencompositional thinking can be influenced (Smalley, 1997: 107).

6 Manuella Blackburn

revealing how three separate sounds could be linkedtogether, and, most importantly, provides a startingpoint for composition. My own work has benefitedfrom this visual assemblage technique when creatinggestural events. Movie example 2 demonstrates howthe individual sound components of figure 3 arepieced together, as found in my acousmatic workDance Machine (2009).

2.5. Structuring

Sound units are ideal for generating small ideas whenconstructing new material; however, these need notexist in isolation, as constructing a series of soundunits would most likely lead to a disconnectedsoundworld. To remedy this, sound units can bestrung together to form longer phrase lengths(Blackburn 2009) forming morphological strings.4 Inthis process of extension it is common for soundsto exhibit dual functionality. Figure 5 demonstratesan arrival doubling as a termination for the first

sound unit (1) and as an attack (onset) for the secondunit (2). The second units termination provides theonset for a third unit (3) and so on.Movie example 3 demonstrates the construction of

dual functionality in a section of my work KitchenAlchemy (2007, 100100102600). This particular composi-tion was created entirely from morphological strings,and as a result establishes a reliance upon gestural goalposts (a, c, e and g, figure 5) connected together bypedal-like continuants (b, d and f, figure 5) throughout.

2.6. Pedagogy

Providing a visual guide to creating small-scale struc-tures proves invaluable in educational situations wherepurely descriptive detail may appear too conceptual tograsp (Blackburn 2009). Introducing basic assemblagetechniques using spectromorphological concepts hasbeen trialled at the University of Manchester for threeconsecutive years (200810), providing a useful peda-gogical strategy for teaching students with little or noknowledge of acousmatic music. Composition studentswere presented with a collection of sounds, categorisedas starts, middles and ends (onsets, continuants andterminations), and then asked to build their own soundunits from this pre-determined pool of sounds. Imageswere used to introduce structuring processes (figure 6).

Figure 3. Sound unit emergence, transition, release.

Figure 4. Sound unit upbeat, statement, disappearance.

Figure 5. Dual functionality in a morphological string.

Figure 6. Starts, middles and ends.

4But morphologies are not just isolated objects. They may belinked or merged in strings to create hybrids (Smalley 1986: 71).

The Visual Sound-Shapes of Spectromorphology 7

By following a method based upon fundamentalvocabulary, students developed a strong awareness ofsound function due to the categorisations presentedto them, while also displaying a greater sensitivity forsound positioning within their final compositions(Blackburn 2009).Sound examples 1, 2 and 3 present examples of a

start, middle and end, respectively, given to studentsin the task.

3. WORD TYPES

Spectromorphological words can be realised bothaurally and visually as singular or composite events(Blackburn 2009). An individual word informing thecreation of one sound is given the term singular. Anascent can be created from one sound, as in figure 7(Sound example 4).Alternatively, a composite word is one that informs

multiple or composite sounds working in conjunctionwith each other. For example, the word agglomerationis suggestive of sounds travelling together and forminga collective mass, as in figure 8. This is considered to becomposite since more than one sound is required increating an agglomerating motion as in Sound example5 (taken frommy work Cajon!, 2008). An agglomerationcould of course comprise multiples of the same sound;this is still regarded as composite and can be describedmore fully as a monomorphological 5 composite.

3.1. Micro-composites

Blurring often occurs between the two types as sin-gular words can be used as composite words. Forexample, the word attack can be singular, formedfrom a single sound (figure 9), but it is more often thecase that a sound-shape is constructed from severalstacked sounds, sounding as a whole. Figure 10 pre-sents a micro-composite attack comprised from fivestacked sounds as in sound example 6 (Cajon!, 2008).Visually this suggests the presence of discrete soundlayers, which is conceptually accurate, but aurally

inaccurate. The sonic result is cohesive and it isusually impossible to identify the individual layers thesound-shape comprises, especially on such a micro-scale. Stacking materials in this manner (as in adigital sequencer) is a fundamental strategy in utilis-ing vertical spectral space, often yielding highlydetailed and sonically rich results.

3.2. Macro-composites

Spectromorphological words that are macro-compositeare those that inform materials over much longerdurations, differing from micro-scale sound units or

Figure 7. Ascent, singular sound.

Figure 8. Composite agglomeration.

Figure 9. Singular attack.

Figure 10. Micro-composite attack.

5The central trio of terms identifies three typical categories ofinternal motion design, textures which may be made up of either asingle morphological type (monomorphological) or a mixture ofmorphologies (polymorphological) (Smalley 1986: 77).


composites previously discussed. Macro-compositescan account for all sonic activity in whole phrasesor sections of a work. Composing a structure of thissort is a challenging activity to engage with, as thereare more sound materials to co-ordinate over longerdurations. There is also the danger of being over-prescriptive when dealing with extended time framessince morphologies often develop other inherentor organic behaviours over time that might not bepredicted when starting out. In some instances,efforts to impose a particular large-scale shape orevolution on a section may be contrary to the impliedlocal development arising from a given soundsspectromorphology. The bottom up approach tocomposition could be potentially compromised oversuch longer time frames, showing why vocabulary-informing strategies seem more successfully imple-mented in shorter structures, where a greater degreeof control can be applied. Nevertheless, macro-composite structuring should not be ruled out, as inmany cases these words can lead to some interestingand cohesive results.

3.3. Macro-composite time frames

Figure 11 presents a visual macro-composite dis-sipation. It is possible to consider this morphologyoccurring over a variety of time frames, ranging froma few seconds to a whole phrase or even an entiresection, several minutes in duration.In using dissipation (extracted from the motion and

growth process word-set, figure 12) to inform thecreation of a whole passage it should be mentionedthat this descriptive label does not solely define asounds sonic attributes. On the contrary, this com-posed sound (or collection of sounds) will inherentlydisplay a whole range of sonic qualities: for example,it will possess occupancy within spectral space,structural function (onset, continuant and termination),motion and behaviour. This is also true for the imageitself. While most of the previously introduced shapeshave been block-like for purposes of discussingstructural properties, dissipation (figure 11) indicatesa detailed textural quality. Increasing the shapescomplexity in this instance provides a further handleto engage with when aurally realising a sound-shape.Sound example 7 demonstrates a dissipation informedby this visualisation, where the glitch-like intrinsiccomponents are scattered and eventually dissolve.

3.4. Circular motion perception

It is worth considering images suggestive of cyclic/centric trajectories while on the topic of motion andgrowth processes. Figures 13 and 14 present sound-shapes that appear to travel backwards through theircurving shapes. This aural impossibility, due to musics

temporal and linear existence, was approached whencreating two macro-composite structures in my workOrigami (2007). The word pericentrality and its asso-ciative imagery were used in the creation of TheGoldfish (Origami, miniature IV). To achieve my

Figure 11. Dissipation.

Figure 12. Motion and growth processes (Smalley 1997: 116).

Figure 13. Pericentrality.


intentions of representing swirling water, an auralillusion was constructed by repeatedly panning aniterative loop (Sound example 8). The multidirectionaltrajectories of figure 14 similarly informed theorganisation of sound materials to represent swift bird-flight motion in The Crane (Origami, miniature II), byoverlapping multiple bird song events and parabolas(Sound example 9).

3.5. Visual archetypes and analogies

Many of the sound-shapes illustrated in this articlehave been conceived from instances and interactionswith the authors personal cultural experience. Theseexperiences have not always been exclusively auralto be relevant and transferable to composition. In oneexample, the emergence and disappearance sound-shapes (figures 3 and 4) can be considered as archetypalforms, derivative of digital waveforms and hairpinsin instrumental notation. In another example, the dis-sipation in figure 11 is analogous to the movement ofbubbles in a carbonated drink (figure 15), this time withthe directional motion being from bottom to top.Frequently, visual archetypes are utilised in gra-

phic scores and instrumental notation of electro-acoustic works to represent sonic material attributesand synchronicity of the separate voices, as in RajmilFischmans work No Me Quedoy for saxophone,bassoon, violoncello, percussion and digital audio(figure 16). Drawing upon such archetypes is sug-gestive of a common, collective response to soundwhen generating visual equivalents, and it is from thisperspective that my own personal approach hasgrown and developed.

3.6. Further analogies and interpretations

Spectromorphological vocabulary and visualisationsprovide starting points for creativity by inspiringcompositional activity. Prescribing further detail suchas articulation, motion or spatial trajectory may sti-pulate too many requirements at such an early stagein the process. An advantageous consequence of theseunspecified qualities, coupled with the subjectivenature of these images, is the range of interpretationpossibilities, giving rise to a vast number of auralrepresentations of a given spectromorphological sound-shape or word. Further examples of macro-composite

terminology include turbulence (figures 17 and 18),crossover (figures 19 and 20) and overlap (figures 21and 22), which are displayed with possible derivativeanalogies.It is important to note that delivering an accurate

aural equivalent of a visual sound-shape is not thepurpose of this research activity. Visualisations areutilised as influential aids inspiring creativity, asopposed to descriptors identifiable in the finishedoutput. The musical result remains the focus, so as toavoid a commentary of methodological steps taken inthe pieces composition. In fact, the composed resultis often far removed from the initial text or visualinspiration. In most cases my compositional intuitionhas taken over from these initial starting points inorder to develop these ideas into the final music.Sound example 10, taken from my work SpectralSpaces (2008), demonstrates this evolutionary trans-formation from image to resulting sound. In this case,the sound materials were initially informed by thelayered streams visual in figure 23.

4. VOCABULARY EXPANSION

The vocabulary of spectromorphology is by nomeans a closed or comprehensive tool for descriptiveand compositional purposes. Compositional practicedemands individual tools and strategies, and, in many

Figure 14. Multidirectional.

Figure 15. Dissipation analogy.


instances, customised vocabulary. This may take theform of vocabulary additions (figure 25) and imagesthat are abstract (sink, figure 26) or analogical(tumble, figure 26).To complement the seven characteristic motions

(figure 24), seven additional descending motions wereadded to the vocabulary pool when consideringmotion and growth processes.This new collection of words (figure 25) is an

expansion of the concept of descending sound-shapes.Differentiation between the types of descent can aidhow a sound is positioned in relation to surrounding

materials within a larger structure. Visually andaurally there is a significant difference between theurgency of a plummeting sound and the relaxednature of gliding sonic detail; thus these two wordsrely upon very different horizontal time frames to beaurally realised.

Figure 16. Rajmil Fischman, No Me Quedoy score extract, page 28 (with permission of the composer). Also illustrated inSauer 2009.

Figure 17. Turbulence.Figure 18. Turbulent wind and leaves.

Figure 19. Crossover.


4.1. Additional concepts

So far I have presented my sound-shape illustrationsin a two-dimensional format, however, perceptionof sound-shapes in fact takes place within a three-dimensional environment. In figure 27 it is possible toimagine the sound-shapes exhibiting perspectivedetail as they retreat and emerge from more distantpositions. Expanding spectral space laterally to create athree-dimensional canvas presents a more accuratepicture of sound organisation possibilities. Interplaybetween depth layers (foreground, middleground andbackground) introduces an extension to the concept ofspectral space (root, centre and canopy strata, figure 28)

and is a move towards Smalleys ideas of spatiomor-phology and space-form (Smalley 2007).

4.2. Sound-shape preference

My practice-based research implementing visualsound-shapes has successfully isolated and utilisedthe concepts of spectromorphology. However, not allvocabulary has a natural translation from descriptioninto music. Words outside common use pose someproblems since it becomes difficult to extract a concretemeaning or visual analogy of an unfamiliar word inorder to create an aural equivalent. When vocabularyadditions are made (figure 25), preference is given towords meaningful of a wide range of situations andthose with strong evocation to imagery. As a composerof acousmatic music, my inclination for certain sound-material activity (for example causality, and gesturaltrajectories) determines the strategies and conceptsillustrated in this article. Others choosing to implement

Figure 20. Crossover aircraft exhaust trails.

Figure 21. Overlap.

Figure 22. Overlapping fish scales.

Figure 23. Layered streams.

Figure 24. Seven characteristic motions (Smalley 1997: 117).

Figure 25. Seven additional descending motions.

Figure 26. Descending motions visualizations.


this method may create and adopt alternative voca-bulary and individual visualisations to suit their ownaesthetic approach and creative impulses.

5. CONCLUSION

This article has introduced the idea of the spectro-morphological sound-shape as a visual guide foracousmatic music composition. Visual sound-shapesoffer a tangible plan for dealing with sound selection,creation and arrangement. These illustrations, inspiredby Smalleys descriptive vocabulary, have successfullyinformed areas of creative practice and are especiallyuseful in the early stages of a new work and pedago-gical situations for generating sound materials.Further starting points can initiate compositional

activity through examining the visible properties of a

shapes movement, behaviour, interaction and occu-pancy in space, while advancing this viewpoint tothree-dimensional images promotes consideration forspatial depth and interplay between lateral spectralspace positions.Spectromorphologys sound-shapes offer flexibility

and are adaptable to the individual. Customising thisapproach through vocabulary additions, modifica-tions, personal preference and creation of ones ownimages will inspire a whole array of sonic equivalentsand will hopefully support the realisation of thecomposers creative intensions.A final note embraces the subjective nature of

visual sound-shapes. The vast variety of interpreta-tions and sonic possibilities of this illustrative guideinfluenced by spectromorphology are undoubtedly itsgreatest advantages.

REFERENCES

Blackburn, M. 2009. Composing from Spectro-

morphological Vocabulary: Proposed Application,

Pedagogy and Metadata, www.ems-network.org/ems09/

proceedings.html.

Patton, Kevin. 2007. Morphological Notation for Inter-

active Electroacoustic Music. Organised Sound 12(2):

1238.

Sauer, Theresa. 2009. Notations 21. New York: Mark Batty

Publisher.

Smalley, Denis. 1986. Spectromorphology and Structuring

Processes. In Simon Emmerson (ed.), The Language of

Electroacoustic Music. London: Palgrave Macmillan,

pp. 6193.

Smalley, Denis. 1997. Spectromorphology: Explaining

Sound-Shapes. Organised Sound 2(2): 10726.

Smalley, Denis. 2007. Space-Form and the Acousmatic

Image. Organised Sound 12(1): 3358.

Thoresen, Lasse. 2007. Spectromorphological Analysis of

Sound Objects: An Adaptation of Schaeffers Typo-

morphology. Organised Sound 12(2): 12949.

DISCOGRAPHY

Fischman, R. 2007. No Me Quedo y (plantado en esteverso) (2000). Iny a Wonderful World, EMF CD 063.

Figure 27. Depth perspective.

Figure 28. Spectral space (Smalley 1997: 121).


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