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Smalley, Denis

La spectromorphology: une explication des formes du son

1995b

In Louise Poissant (ed.) Esthétique des arts médiatiques. Tome 2, 1995, pp. 125-164.
1999: Ars Sonora, No. 8. Paris: Ars Sonora/CDMC: 63-114.

The art of music is no longer limited to the sounding models of instruments and voices. Electroacoustic music opens access to all sounds, a bewildering sonic array ranging from the real to the surreal and beyond. For listeners the traditional links with physical sound-making are frequently ruptured: electroacoustic sound-shapes and qualities frequently do not indicate known sources and causes. Gone are the familiar articulations of instruments and vocal utterance: gone is the stability of note and interval: gone too is the reference of beat and metre. Composers also have problems: how to cut an aesthetic path and discover a stability in a wide-open sound world, how to develop appropriate sound-making methods, how to select technologies and software. This article is also available in English (1997) and Italian (1996).

View online : http://www.ars-sonora.org/html/numeros/numero08/08d.htm

Sunday 10 July 2005, by Leigh Landy

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