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Analysis of Granular Acousmatic Music: Representation of sound flux and emergence

Published online by Cambridge University Press:  24 September 2019

Danilo Rossetti  and
Jônatas Manzolli
Danilo Rossetti*
Affiliation:
NICS (Interdisciplinary Nucleus of Sound Communication), University of Campinas, Rua da Reitoria, 165, Cidade Universitária ‘Zeferino Vaz’, CEP 13083–872, Campinas-SP, Brazil.
Jônatas Manzolli*
Affiliation:
NICS (Interdisciplinary Nucleus of Sound Communication), University of Campinas, Rua da Reitoria, 165, Cidade Universitária ‘Zeferino Vaz’, CEP 13083–872, Campinas-SP, Brazil.
*
Emails: danilo.rossetti@nics.unicamp.br; jonatas@nics.unicamp.br
Emails: danilo.rossetti@nics.unicamp.br; jonatas@nics.unicamp.br
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Abstract

Analysing electroacoustic music is a challenging task that can be approached by different strategies. In the last few decades, newly emerging computer environments have enabled analysts to examine the sound spectrum content in greater detail. This has resulted in new graphical representation of features extracted from audio recordings. In this article, we propose the use of representations from complex dynamical systems such as phase space graphics in musical analysis to reveal emergent timbre features in granular technique-based acousmatic music. It is known that granular techniques applied to musical composition generate considerable sound flux, regardless of the adopted procedures and available technological equipment. We investigate points of convergence between different aesthetics of the so-called Granular Paradigm in electroacoustic music, and consider compositions employing different methods and techniques. We analyse three works: Concret PH (1958) by Iannis Xenakis, Riverrun (1986) by Barry Truax, and Schall (1996) by Horacio Vaggione. In our analytical methodology, we apply such concepts as volume and emergence, as well as their graphical representation to the pieces. In conclusion we compare our results and discuss how they relate to the three composers’ specific procedures creating sound flux as well as to their compositional epistemologies and ontologies.

Type
Articles
Information
Organised Sound , Volume 24 , Issue 2: Borrowing, Quotation, Sampling and Plundering , August 2019 , pp. 205 - 216
Copyright
© Cambridge University Press, 2019 

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