The Oxford Handbook of Spectral Music

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Tensional processes and perception of form in three selected compositions by Kaija Saariaho

<p>The primary feature that gives ‘spectral music’ its stylistic uniqueness within the field of art music is the blurring of the traditionally distinct roles of harmony and timbre, through the use of chords derived from the naturally occurring overtones of instrumental timbre (often referred to as timbre chords). Development of these chords typically occurs very gradually, meaning it is often difficult to perceive the overall form of a spectral work based on the progression through its constituent timbre chords. This approach contrasts with the traditional reliance in both art music and other Western music styles on perceivable pitch-based development as a primary means of providing musical tension and form. Composers of spectral music must rely on the manipulation and development of other musical parameters to provide sufficient interest through ‘foreground ornamentation’ while its underlying harmonic/timbral macrostructure unfolds beneath. This analysis shows how key musical parameters are manipulated over time to provide tension and resolution (or, in Wallace Berry’s terminology, ‘progressive and recessive processes’ ¹ ), giving spectral works a perceivable, dynamic form. Parameters examined include rate of harmonic change, dynamics, spectral/registral spread, rhythmic activity, sound/noise, spectral density and harmonicity/inharmonicity (the latter two providing a spectral analogue to conventional notions of dissonance). Particular focus is placed on the rate of harmonic change in the selected works and changes in the harmonicity/inharmonicity (through spectral distortion) of harmonic material that give spectral music its distinctive harmonic character. The way in which these ‘parameter curves’ intersect with one another is also examined. For this study, three works by Finnish composer Kaija Saariaho are analysed. The works cover a range of forces and display varying degrees of overtly ‘spectral’ influence: Nymphéa (1987) for string quartet and electronics, Du Cristal (1990) for orchestra, and Cendres (1998) for piano, cello and flute. Analysis of the background levels of parametric change reveal how Saariaho manages to maintain microstructural interest in her spectral works while adhering to an underlying macrostructural plan. Findings from this analysis will also be discussed in relation to how they have influenced my own creative output for my MMA portfolio.</p>

Tensional processes and perception of form in three selected compositions by Kaija Saariaho

<p>The primary feature that gives ‘spectral music’ its stylistic uniqueness within the field of art music is the blurring of the traditionally distinct roles of harmony and timbre, through the use of chords derived from the naturally occurring overtones of instrumental timbre (often referred to as timbre chords). Development of these chords typically occurs very gradually, meaning it is often difficult to perceive the overall form of a spectral work based on the progression through its constituent timbre chords. This approach contrasts with the traditional reliance in both art music and other Western music styles on perceivable pitch-based development as a primary means of providing musical tension and form. Composers of spectral music must rely on the manipulation and development of other musical parameters to provide sufficient interest through ‘foreground ornamentation’ while its underlying harmonic/timbral macrostructure unfolds beneath. This analysis shows how key musical parameters are manipulated over time to provide tension and resolution (or, in Wallace Berry’s terminology, ‘progressive and recessive processes’ ¹ ), giving spectral works a perceivable, dynamic form. Parameters examined include rate of harmonic change, dynamics, spectral/registral spread, rhythmic activity, sound/noise, spectral density and harmonicity/inharmonicity (the latter two providing a spectral analogue to conventional notions of dissonance). Particular focus is placed on the rate of harmonic change in the selected works and changes in the harmonicity/inharmonicity (through spectral distortion) of harmonic material that give spectral music its distinctive harmonic character. The way in which these ‘parameter curves’ intersect with one another is also examined. For this study, three works by Finnish composer Kaija Saariaho are analysed. The works cover a range of forces and display varying degrees of overtly ‘spectral’ influence: Nymphéa (1987) for string quartet and electronics, Du Cristal (1990) for orchestra, and Cendres (1998) for piano, cello and flute. Analysis of the background levels of parametric change reveal how Saariaho manages to maintain microstructural interest in her spectral works while adhering to an underlying macrostructural plan. Findings from this analysis will also be discussed in relation to how they have influenced my own creative output for my MMA portfolio.</p>

Spectral Music Design

This volume offers a complete guide to a computational approach to spectral music-making. It provides, in a stepwise manner, a [ ] to the signal processing techniques and their application to computer music. The book begins with a series of fundamental definitions, delineating the basic concepts of spectral audio. This includes both a technical and a historical appreciation of the ideas related to the spectrum. The core of the text is formed by six chapters on the techniques of spectral musical signal processing. These are thoroughly illustrated with examples and code excerpts using the Python and Csound languages. This section of the book traces a path from the Fourier theorem to the consideration of non-deterministic signals, also in a step-by-step way discussing the various elements of spectral audio. The final part of the book is dedicated to the aesthetics of spectral music, and methods of design and composition, which apply the ideas and techniques explored earlier in the volume.

Spectral Design in Music

This chapter traces the emergence of the spectrum as structural concern in music composition, performance and production. The earliest signs of such developments are traced to the beginning of the 20th century, in the musical revolutions of that era. This is followed by the developments in audio technology, which brought to the fore the spectral qualities of sound. Post-war electronic music and computer music are shown to have played a decisive part in the conquering of the spectrum by composers. The latter part of the chapter discusses two case studies of spectral music writing.

Composing the Spectrum

This chapter is dedicated to the exploration of spectral music composition. It begins with a general introduction to fundamental aspects of spectral music-making. This discusses the role of metaphors in supporting the realisation of musical ideas, as well as concepts such as space, both physical and virtual. This is followed by a complete analysis of the processes in the composition of Mouvements, a piece of pure spectrally-oriented computer music. The discussion is fully illustrated with code examples taken from the composition, and spectrograms detailing important elements of the piece. The volume concludes with a summary of what the term spectrum signifies from both a musical and a technical point of view.

Melody on the Threshold in Spectral Music

This article explores the expressive and formal role of melody in spectral and “post-spectral” music. I propose that melody can function within a spectral aesthetic, expanding the project of relating unfamiliar musical parameters to “liquidate frozen categories” (Grisey 2008 [1982], 45). Accordingly, I show how melody can shift in and out of focus relative to other musical elements. I adopt Grisey’s use of the terms differential and liminal to describe relationships between two musical elements: differential refers to the process between distinct elements whereas liminal describes moments of ambiguity between two elements. I apply these principles to Grisey’s Prologue (1976), Vivier’s Zipangu (1977), Haas’s de terrae fine (2001), and Saariaho’s Sept Papillons (2000).

Spatiality as creativity in the music of Kaija Saariaho: A reflection with a focus on 'Lichtbogen'

In this article Saariaho's music - with a focus on Lichtbogenis explored from the perspective of spatiality. First, Saariaho's connection with Finland is discussed and in particular how Finnish space and time have influenced her music.Together with space, there is the relation between time and light. In fact, the creative process by Saariaho is strongly influenced by visual experiences. The title of Lichtbogen refers to the Nordic lights, and therefore it is an interesting example. In her article on similarities between architecture and music, Saariaho defines with great clarity her music: "Capturing time and giving it form." In this phrase she connects the aspect of time and space with musical form. Understanding how Saariaho'sconception of musical form brings the concept of a multidimensional network to the discussion. Saariaho developed this concept for Verblendungen, and the same principle has been used for an analysis of Lichtbogen. This analysis is not a score analysis, instead, it is based on the listening experience of several recordings. As Saariaho is concerned with the perception of her music, a listening-based graphic analysis is proposed based on listening. It captures an illuminating perspective on the form of Lichtbogen. Given the importance of timbre in Saariaho's music, and the way how timbre and form are connected, the question of her relation with spectral music is unavoidable. Saariaho lived in Paris during the '80s, when early spectralism made important developments. And her music is indeed deeply influenced by the spectral approach in many ways. However, there are differences, especially regarding her attitude towards musical form. Finally the discussion about space is taken to the perspective of electronics and how they contribute to the expression of space. In Lichtbogen, the amplification is used to make those sounds on the threshold of audibility audible, and the reverb is used to create virtual spaces. The concept of space is integrated in the composition itself. In conclusion, the concept of space is central to Saariaho's creativity. This connection is approached in this article from various perspectives.It illustrates how important the space is, in connection with time and light, in Saariaho'scompositional work.