Transcript
The concept of re-synthesizing instrument spectra has been thoroughly explored by spectral composers throughout the past three decades. The idea of re-synthesis is based on sonographic analyses of the spectra of (acoustic)instruments. A composer studies the characteristics of specific aspects of aninstrument's spectrum, analyzing the overtone structure of a specific pitch. Thisincludes determining the existing partials and their respective intensities, and existing formants and their amplitude(s). Since these elements define the timbre of an instrument, this technique has great potential - apart from the organizationof pitches - in the parameter of orchestration and the composition of timbre. For example, an orchestra can imitate the sound of a cello pizzicato, a pedal-tonefrom a horn, or a trumpet tone played with a mute, thereby becoming a new instrument itself.The technique of re-synthesizing (instrument) spectra has often been used by French spectral composer Tristan Murail (b. 1947) to form the basis of pitchorganization for a whole work as well as for certain sections of a piece. Themost striking characteristic of Murail' s musical aesthetic is his concept of acontinuum of 'harmony-timbre' 14. For Murail, both parameters are inseparablylinked with each other and thus become hybrid structures that combine thecharacteristics and qualities of the two initial concepts. It is for this reason thatMurail makes frequent use of re-synthesis, since such operations provide thecomposer with exactly those hybrid structures. Here, the timbral characteristicsof the re-synthesized spectra are mutually conditional to the construction of I harmony. Claes J. Biehl: ´Spectral Analysis and Re-synthesis` (excerpt) A second major aspect of Murail' s individual spectral aesthetic is his conviction,that also harmony and form should be strongly interlinked. In other words,harmony generates the formal course of a work resulting in further hybrid structures defined by harmony and form. This idea illustrates Murail' sconnection to the tradition of tonal western art-music, which also shows stronglinks between harmony and form, but at the same time it also points out thecomposer's disapproving attitude towards atonal composition philosophies. For Murail, harmony is the reference point for virtually all other musical parameters,which means that a logic, meaningful and perceivable harmonic language is anecessity for a successful and valuable composition.A third aesthetic concept of great importance to the composer is the idea of continuity. The permanent state of flux is a typical characteristic of Murail'smusic, since most of his works are predominantly made of processes, which thecomposer describes as 'sculpting sonic material'.15 This does not mean that themusic is entirely free of interruptions or irregularities, but the works as a wholeare strongly directional which is owed to the consequent and meaningfulinterlinking of the aforementioned musical parameters.These general observations about Murail' s composition philosophy can beverified by analyzing his work Desintegrations. Written in 1982/83, the piece isscored for seventeen instruments (2fl, lob, 2el, 1bsn / Ihm, ltr, ltromb / 2perc, pno / 2vl, 1vIa, 1vel, 1db) and tape. The title mainly refers to the predominantmusical processes in the work, which are the (mostly gradual) transitions fromharmonious spectra to inharmonious ones and vice versa. The transfer of certain partials to another octave within a spectrum could therefore be described as the disintegration of pitches. Other techniques of disintegration are the'exaggeration,16 of particular partials through the means of orchestration, or theuse of other filtering techniques. In addition, the title could also refer to the 15 op.cit, 123 160p. c it,141 processes of extracting melodies or melodic fragments from a spectrum, whenovertones are presented horizontally and in different (not natural ) orders.The work Desintegrations is subdivided into eleven sections, each of themdescribing the transition from a harmonious spectrum to an inharmonious or vice versa. The organization of harmonic progression, however, is based on avariety of different techniques, as the following analysis will show.ã Re-synthesisã Ring-modulationã Frequency shifting (linear and non-linear)ã Frequency modulation (FM)ã Harmonic distortionThe following paragraphs will give detailed analyses of representative passagesto illustrate how and to what effect these techniques are used by Murail in this particular work.The harmonic material from the extensive opening section of Des integrations isentirely based on the results of the spectral analysis of a Cl from the piano. Thissonographic analysis revealed - among other aspects - the formants of theanalyzed sound. In other words, Murail obtained the information on the intensityof the resonance of each partial within the analyzed spectrum. The composer was particularly interested in the spectrum's formants (loudest areas of resonance), since the individual timbre of the low piano sound is defined by theorder and intensity of the formants.Murail's spectral analysis 1 ? showed the following results: there are six fields of formants among the first forty partials of the spectrum based on a C1 of a piano.ã Partials 2-7, with a strong emphasis on 2 and 7ã Partials 9-13, with an emphasis on 11 ã Partial 15ã Partials 17-23, with a strong emphasis on 21ã Partials 27-30, with an emphasis on 29ã Partials 35-38 ~ 1 III a : ; 0,8 . ã . . l:: ~ 0,6 > ~ 0,4 a : ; 0 :: 0,2 o The composer used this information to re-synthesize the spectrum and timbre of a low piano sound as the underlying concept for the opening section of Des integrations .
