MMus Electroacoustic Music Composition

   

 

 

An Analysis of

Bernard Parmegiani’s Incidences/Resonances

through Spectromorphology, Spectral Analysis

and Graphical Score.

Craig Burgess

08  Fall  

  2  

Introduction.

The intention of this paper is to analyse Bernard Parmegiani’s

‘Incidences/Resonances’1 and explore the relationships between the various

forms of transformed sound material present within the work.

The aim of the analysis is to explore compositional structure and sound

material through spectromorphology, spectral analysis and graphical score to

gain insight and interpret the material present, developing an understanding

of the intrinsic relationships that sound objects share as they interact.

This investigation into the sound material will be supported through the

implementation of a graphical score and spectrogram to illustrate the structure

and aesthetic make-up of the work.

                                                                                                               1 See Bernard Parmegiani, Parmegiani: De Natura Sonorum (Version Integrale), INA-GRM Ina C 3001, 2000 (reissue of 1975 recording).

 

  3  

Methods of Analysis and Historical Background.

In order to fully explore the sound objects2 and compositional framework

present in Parmegiani’s ‘Incidences/Resononances’, a method of analysis

was sough to explain the detail inherent within the material.

There are a number of theoretical concepts, approaches and techniques

widely implemented within the electroacoustic compositional framework which

help to enable the description and interpretation of sound objects.

Pierre Schaeffer developed one of the first techniques and approaches with

which to classify and interpret sound objects in his publication Traité des

objets musicaux (1966), lauded as the ”first significant work to elaborate on

the spectral and morphological characteristics of sound.“3

However it has been found to be difficult to interpret and apply Pierre

Schaeffer’s typomorphology in a practical context, as commented on by

Thoresen (2007):

…developed in the 1960s, Schaeffer proposed a variety of novel

terms, but they have not been widely used since they unfortunately

did not lend themselves very well to practical analysis.4

                                                                                                               2 Sound objects are created from combining source material, be it the onset from a percussive hit on a metallic surface or the continuant bell-like drone that emanates from each initial hit, gradually fluctuating and growing, morphing into the next sound object. 3 See Aki Pasoulas, in: ‘An Overview of Score and Performance in Electroacoustic Music’, Canadian Electroacoustic Community, (Accessed 4th December 2011), <http://cec.sonus.ca/econtact/10_4/pasoulas_score.html>. 4 See Lasse Thoresen and Andreas Hedman, ‘Spectromorphological analysis of sound objects: an adaptation of Pierre Schaeffer's typomorphology’, Organised Sound, Vol. 12, No. 2, (2007), 129.

 

  4  

Spectromorphology

Denis Smalley claims his concept of spectromorphology5 could be a useful

tool for the purpose of analytical and descriptive exploration as it enables a

comprehensive and detailed approach that builds on the groundwork put in

place by Pierre Schaeffer’s Traité des objets musicaux. He states:

A spectromorphological approach sets out spectral and

morphological models and processes, and provides a framework

for understanding structural relations and behaviours as

experienced in the temporal flux of the music.6

On this basis spectromorphology could be useful as a method of investigating

sound object relationships within ‘Incidences/Resonances’ as it allows a way

of describing and analysing sound object material in both a focused and wider

context. This allows the listener to comment on the relationships and concepts

present within he work on a number of levels. Smalley continues by stating:  

Spectromorphology is not a compositional theory or method, but a

descriptive tool based on aural perception. It is intended to aid

listening, and seeks to help explain what can be apprehended in

over four decades of electroacoustic repertory.7

                                                                                                               5 Smalley expresses the concept and terminology of spectromorphology as “tools for describing and analysing listening experience. The two parts of the term refer to the interaction between sound spectra (spectro-) and the ways they change and are shaped through time (-morphology). The spectro- cannot exist without the -morphology and vice versa: something has to be shaped, and a shape must have sonic content.” See Denis Smalley, ‘Spectromorphology: explaining sound-shapes’, Organised Sound, Vol. 2, No. 2. (1997), 107. 6 Ibid.  7 Ibid. 113.

  5  

Spectromorphological Expectation.  

One particularly effective aspect of Smalley’s spectromorphological

framework, in terms of exploring the intrinsic details of the sound object

material and therefore its inter-relationships and characteristics, is the

category of spectromorphological expectation.  

Smalley describes spectromorphological expectation in the following way:

Every note must start in some way; some may be sustained or

prolonged for a time and some may not; every note stops.8

Smalley continues by discussing three linked temporal phases, which he

refers to as onset, continuant and termination:

They are not distinctly separable: we cannot tell the very moment

when an onset passes into a continuant phase, nor when a

continuant passes into the terminal phase. Nor do all three phases

have to be present in the note-gesture.9

‘Incidences/Resonances’ incorporates what could be described as multiple

instances of onset, continuation and termination in terms of sound object

relationships that occur, not just within the individual sound objects

themselves but also across wider sections of the piece as sound objects

combine. These sections lead into one another to create the piece as a whole.

Therefore it is useful to consider Smalley’s concept in different contexts and

on different levels when referring to ‘Incidences/Resonances’ as a whole.

                                                                                                               8 Ibid. 112. 9 Ibid. 113.  

  6  

Each phase of Smalley’s spectromorphological expectation category has an

accompanying set of archetypes that Smalley uses to describe specific

features and phases of the sound object. He asserts that ”In all three models

spectral richness is assumed to be congruent with the dynamic shape of the

morphology, the louder, the more spectral energy, the brighter and/or richer

the sound.”10

Smalley details these three archetypes in his Spectromorphology article as:

• The attack alone. This is a momentary energetic impulse. Two temporal

phases are merged into one – there is a sudden onset, which is also

the termination. Awareness is focused on the attack-energy.

• The attack-decay. The attack is extended by a resonance. The onset

and terminatory phases are present, and there may be a hint of the

continuant. In this archetype an initial gesture is enough to set a

spectromorphology in motion, after which there is no gestural

intervention as the sound continues towards termination.

• The graduated continuant. In this archetype all three phases are

present. The onset starts gradually as if faded in, and the note

terminates gradually as if faded out. In between, the note is sustained

for a time.11

                                                                                                               10 Ibid. 113. 11 Ibid. 113.

  7  

This form of description is useful in relation to ‘Incidences/Resonances’ as it

allows us to accurately describe individual sound objects commonly found

within the material as well as considering the work as a whole. In addition, it

also provides us with precise terminology with which to do so. For example,

at a peripheral level the piece has several sections that combine to create

larger sections, which eventually form the piece as a whole. The opening

section could be described as a combination of attack alone and attack decay

onsets that precede a graduated continuant stage populated by sustained

drones.

A number of sound objects found within ‘Incidences/Resonances’ are created

by the transformation of original source material from both natural sounds and

electronically generated material. In keeping with the acousmatic tradition of

decoupling source-bonded12 material, Parmegiani manipulates sound objects

to create new material that has little or no resemblance to the original source.

He achieves through the manipulation of source material by removing a

constituent portion of original sound material and marrying it with another,

unrelated sound object. The combination of concrete with electronically

generated material is utilized frequently to create sound objects that have little

to do with the original source. This concept is at the very essence of the piece

and is reflected not only in its title of but also in Smalley’s terms, onsets,

continuants and terminations. Trevor Wishart comments on the combining of

                                                                                                               12 See Denis Smalley, ‘Space-form and the acousmatic image’, Organised Sound, Vol. 12, No. 1, (2007), 38.

  8  

sound material stating “duality refers to the use of recognisable sounds which

have been reordered in such a way as to appear almost abstract.”13

There are numerous relationships and events present, not only between the

individual sound objects but also the differing sections of the work, collectively

creating larger sound objects, interactions and parts. Smalley reinforces this

in his article stating:

At one moment in a work one may be following discrete, short

units, and at another a large-scale structure whose continuity and

coherence refuse to be dissected and demand to be considered

more as a whole than as the sum of minute parts.14  

 

                                                                                                               13 Wishart, Trevor, On Sonic Art - Revised Edition London, 1996,137 14 See also the comments in Smalley, ‘Spectromorphology: explaining sound-shapes’, 114.

  9  

The First Listen Graphical Score.  

When first approaching the task of analysing and detailing the piece the

decision was made to create a set of rough graphical sketches to highlight

sound objects inherent within the work and to provide a visual representation.

(See Appendix A: First listening score).

The first listen graphical score was undertaken at an early stage to enable an

overview of the work as a whole, as a comparative alternative to the

spectrogram. It was also helpful in aiding the realisation of a final, detailed

analysis of ‘Incidences/Resonances’.

The shapes used were simple, intuitive, graphical interpretations of what the

sound objects might look like if one was to visualize the sonic material. An

approach followed which involved the quick jotting down of shapes as they

first came to mind, allowing the capture of initial visual interpretation of the

sound material. This enabled a further level of familiarisation with the piece.

  10  

Spectral Analysis

Spectral analysis (See Appendix B: Spectrogram) was applied to the piece to

reinforce the information provided by the first listening graphical scores.15 In

addition, a further visual aid was generated utilising SPEAR spectral analysis,

editing and synthesis software16 (See Appendix C: SPEAR spectral partial

analysis) to highlight spectral relationships.

This information helped to provide an initial insight into the relationships

shared between sound objects. Relationships such as harmonic, spectral,

duration and comparative levels were easily identifiable from the spectral

analysis. This information was then used to define events that could be

deemed onset, continuant and termination properties of the sound objects as

well as collective sections.

Figure 1 illustrates the entirety of ‘Incidences/Resonances’ in the form of a

spectrogram. From this initial first glance of the material in spectral form it is

easy to pick out some of the more obvious sound object events within the

piece. For example, the extended resonant material, appearing as horizontal

lines stretching across the graph, and short percussive based incidences that

dissect the graph from top to bottom as vertical lines at various points. The

resultant visual information also highlights some material that appeared to be

missing from the graphical score in terms of harmonic relationships, exact

temporal information and durations.                                                                                                                15 See Alexander Kojevnikov,, in: ‘SPEK Spectral Analysis Software’, Spek Acoustic Spectrum Analyser, (Accessed 2nd November 2011), <http://spek-project.org>. 16 See Michael Klingbeil, in: ‘SPEAR Sinusoidal Partial Editing Analysis and Resynthesis’ Spear Spectral Analysis and Resynthesis Software, (Accessed 5th November 2011), <http://www.klingbeil.com/spear>.  

  11  

Fig 1: Spectral analysis

The piece is introduced (0:00-0:48) with a series of attack alone transients,

momentary energetic impulses that suddenly terminate. The sudden onsets

then combine with extended resonant fluctuations, morphing and combining to

create graduated continuants. The continuant drones are broken by attack

alone onsets that briefly combine with, and at other junctures, abruptly

terminate the existing drone material

The transition to the next section occurs through an abrupt (0:48-0:50)

succession of attack alone onsets. These introduce intermittent, attack decay

sound objects (0:48-1:14) that pan left and right at a steady temporal rate.

Sound object material is reintroduced, in the form of resonant continuant

drone, (1:00) from the introductory section. The gradual attack of the drone

continuants is masked by the sharp attack alone onsets, which then introduce

  12  

a splitting of the continuant into harmonic partials, creating a spectrally rich

bed.

This relationship between the attack alone, attack decay and graduated

continuant sound objects is a recurring theme within Parmegianiʼs piece.

Fig 2: 2 minutes 40 seconds illustrating harmonic relationships.

  13  

The spectrogram enables a detailed focus on the piece, highlighting key

information within the work. In particular the spectrogram in Figure 2

illustrates quite clearly that in the final section of ‘Incidences/Resonances’

there are fluctuating harmonic relationships (2:30-4:00) between the

continuant drone material. Visually this information manifests itself as

horizontal parallel lines that stretch out across the latter duration of the piece.

The spectrally bright drone builds through this harmonic stacking of partials

that fill out the piece and are caused by the introduction of additional material.

These delicate fluctuations create an overall feeling of instability in the section

as they oscillate and intertwine. This continuant drone is punctuated again

and again, creating a building sense of suspense and drama. This relationship

between the continuant drone and the attack onsets occur at regular junctures

within the piece and form a key aspect of the work. At many parts the attack

onsets terminate the continuant drone signaling the end of one oscillation and

creating another.

Over the course of the piece (1:30-2:30) the resonant drone continuant

material takes on a more menacing role, fading only to return, as a result of

this termination by the attack onset. It then builds, overwhelming other

elements until they are reintroduced in startling fashion by another onset,

bringing us back into the context of the whole piece. Thomas Blum in his 1981

article reinforces this aspect of ‘Incidences/Resonances’ stating:

  14  

[The piece] is successful in that it integrates contradictory sonic

materials in such a way that they form a whole musical

environment.17

The incident attack onset elements have clear transient detail that force the

listener to ‘take notice’ alerting them to the start and/or end of a sound object

relationship. The initial incident attack onset is followed by more attack

onsets, which morph into graduated drone continuant sound objects. The

relationship between the abrupt attack onset and the continuant drone is a

common feature of the piece. There are examples of this at the beginning of

the piece (0:14) as well as at a number of other junctures (0:30-1:40, 2:00-

2:40, 3:18) where the incident onsets punctuate the drone and produce

variations in the steady underlying continuant. There is an element of

combination within the material that is broken by the abrupt interruptions of

the incidental sound objects. This termination yields new relationships and

signals new sections. The onset attacks slightly increase in both amplitude

and spectral brightness as the piece continues within its first minute, which

can be seen from the spectrogram as increasingly defined vertical lines.

(Figure 3)

                                                                                                               17 See Thom Blum, ‘De Natura Sonorum Review’, Computer Music Journal: Vol. 5 No.2, (1981), 70.

  15  

Fig 3: Attack onsets increase in both spectral brightness and amplitude.

As discussed, interesting examples of multiple attack onsets and their

interactions are clear within the piece at numerous stages. Parmegiani uses

the incident attack onsets as signifiers or instructions as to the potential sonic

pathway the drone-like continuant sound objects must take. It is almost

analogous with an army general relaying commands and orders to his troops.

Caleb Deupree, in his English interpretation of Jean-Jacques Nattiez’s 1982

publication L'Envers d'une oeuvre18 comments on the interrupting nature of

the attack onsets stating:

                                                                                                               18 See Philippe Mion, Jean-Jacques Nattiez and Jean-Christophe Thomas, L'envers d'une œuvre. De Natura Sonorum de Bernard Parmegiani, Paris, 1982.

  16  

[There is an] interruption of an incident into a resonance (or a

continuum) [where the] incidents are "foreign bodies" that interfere

with the development of the sound; taken from a material different

from the continuum (for example a crystal strike in a long metallic

resonance), the foreign body perturbs the continuum in different

ways; in general by modifying the harmonic web, thickening,

doubling…sometimes completely changing the continuum.19

The attack onset sound objects are utilised in other ways to signify changes in

the continuant drone material, as can be heard in the first minute of the piece.

(0:48-0:52) There is repetition of the same metallic-like transient onset attacks

at specific points. These then terminate abruptly, introducing a division of the

drone into short, intermittent, regular bursts that resemble telephonic beeps.

This relationship is mirrored in the latter sections of the piece (2:40-3:40),

although the continuant material is retained. In this section the attack onsets

create fluctuations in the drone continuant that cause it to change in terms of

its fundamental frequency and overall stability.

Considering the information provided by the first listening of the graphical

score and the spectrogram, an awareness of the detail of the piece and of its

shape and sound object relationships was formed, creating a mental picture of

the work. Through this sectioning and defining of sound object placement

                                                                                                               19 See Caleb Deupree, in: ‘De Natura Sonorum 1 & 4’ Classic Drone (Accessed 23rd November 2011), <http://classicaldrone.blogspot.com/2010/05/de-natura-sonorum-1-and-4.html>.  

  17  

within the material, how the sound objects combined and interacted became

clearer.

‘Incidences/Resonances’ has a narrative quality where sound object

relationships are explored through transformation and acousmatic practice.

Each successive sound object is perceived in context with the last. This raised

questions relating to Parmegiani’s own compositional strategies and structure

and intended use of sound object relationships based on time and memory. In

particular these questions relate to the relationships between sound objects,

temporal information, placement and intrinsic qualities of individual sound

object material present and how the juxtaposed sound object material

changes how we perceive the piece as a whole.

Emmerson comments on the use of time within the structure of

electroacoustic compositions in Time Regained:

Our apprehension of the present and its apparent trajectory within

an immediately perceived environment: the changing now. What

happened an instant ago may influence what I am hearing now.20  

There are numerous examples within ‘Incidences/Resonances’ (0:48-0:50,

1:14, 1:20, 3:12-4:00) where sound objects of differing structure interact and

affect the listener’s perception of the work. As previously discussed, at the

beginning of the piece there is a sharp, incident attack onset that gives rise to

an elongated drone continuant that leads us into the next sound object. Later                                                                                                                20 See Simon, Emmerson, ‘Time Regained’, Bourges Academy: Time in Electroacoustic Music, (2000), 84.

 

  18  

in the piece, (1:30, 2:45) as the material progresses, the drone continuants

combine with other continuant sound objects, creating denser, spectrally

richer beds that are then smashed by sudden and unexpected percussive

attack onsets, varying in timbre, texture and velocity.

Smalley describes these sharp, incident attack onsets as attack-impulses that

are ‘modelled on the single detached note: a sudden onset, which is

immediately terminated. In this instance the attack-onset is also the

termination.21

This combining of sound objects to create new larger scale sound objects is a

recurrent theme within ‘Incidences/Resonances.’ Parmegiani ultilises this

method, using contrasting sound object material to expand on perceptions

and interpretation of the listening material. The way the sound object material

interacts and progresses is an important aspect of the piece. The continuous

morphing of the resonant pitched material interact creating rich harmonic

content in sections of the piece. (1:28-2:30, 2:42-3:50) The resulting

combinations create fluctuations that are then cut off by sharp, abrupt,

percussive elements. (Figure 4) Examples of this can be found in abundance

in the piece but especially after the first and beyond the second minutes

(1:31-2:30), and also in the latter section, before they ebb away at the close.

(2:32-4:00) The spectrogram clearly illustrates this relationship, which can be

seen as spectrally bright groupings of parallel lines stretching across several

sections of the piece.

                                                                                                               21  See also the comments in Smalley, ‘Spectromorphology: explaining sound-shapes’, 115.  

  19  

Fig 4: Harmonically richer sections that are abruptly terminated by attack onsets.

An exploration by Parmegiani himself into the transitional, morphological

nature of the transformed compositional material provides clues to the

compositional strategy and methodologies employed in the creation of

‘Incidences/Resonances’. There is a distinct pairing of sound object content

that deliberately juxtapose material that belongs to only one of either the

incidences or resonances categories.

Caleb Deupree reinforces this concept in his English interpretation of Jean-

Jacques Nattiez’s L'Envers d'une oeuvre22 commenting:

Parmegiani demonstrated a real mastery of the theoretical

principles detailed in Schaeffer's massive Traité des objets

                                                                                                               22 See also comments in Philippe Mion, Jean-Jacques Nattiez and Jean-Christophe Thomas, L'envers d'une œuvre. De Natura Sonorum de Bernard Parmegiani,

  20  

musicaux and catalogued all of his sounds for De Natura Sonorum

using Schaeffer's typology.23

Unfortunately there is a lack of primary information or official translations into

English relating to Parmegiani’s thoughts on De Natura Sonorum. Therefore

attempts to interpret Jean-Jacques Nattiez ideas on Parmegiani need to be

approached with caution.

Within his work Parmegiani presents material in a number of different contexts

and from a range of sources. He attempts to explore the possibilities of

combining material and the interactive qualities and relationships that are

formed through this exploration. Parmegiani comments on his initial intentions

when composing the work in L'Envers d'une oeuvre:

I wanted to check out the different ways that concrete elements

could combine with electronic elements, always seeking a certain

homogeneity. It was about making composite objects, where the

‘attack’ was concrete and the ‘resonance’ electronic. In spite of the

artificial operation of the montage, I stayed within the natural logic

of the percussive objects (percussion-resonance).24

There is evidence at numerous points within the work of this exploration in

terms of the placement and combining of material that can be seen within the

spectrogram and graphical score. Clear examples of recorded, percussive

and metallic sound objects (0:50, 1:01, 1:21, 1:30, 2:03, 2:12-2:21, 2:40)

                                                                                                               23 See Caleb Deupree, in: ‘Bernard in book’ Classic Drone (Accessed 10th November 2011), <http://classicaldrone.blogspot.com/2010/05/bernard-in-book.html>. 24 See also comments in Caleb Deupree, in: ‘De Natura Sonorum 1 & 4’ Classic Drone (Accessed 23rd November 2011), <http://classicaldrone.blogspot.com/2010/05/de-natura-sonorum-1-and-4.html>.

  21  

married with the continuant passages and prolongations are found in a

number of places. These attack onsets play an agentive role, triggering the

continuants that tie together and transition not just the sound objects

themselves but also the sections of the piece. They bring rise to the very

make up of the piece, creating resonant continuants that gradually fade into

the piece or are abruptly terminated by the onset of more percussive attacks.

Nattiez again details Parmegiani’s own thoughts on combining concrete with

electronically generated material:

In this piece, concrete sounds only appear as points, and

everything that is prolonged is electronic…the sounding objects

that I used don't have long resonance…They obey the law of rapid

decay, well known and rather banal. When all is said and done,

striking a crystal glass (one of the sources in the piece) and

removing its attack is nothing more or less than a very poor

resonance, almost pure, which one could create electronically. So

it's the sharpness, the attack, that's interesting. This is why I sought

in this piece to play with a variety of different attacks.25

Relationships between sound objects are at the forefront of

‘Incidences/Resonances’ along with how these relationships manifest

themselves as resultant sonic material. An interesting aspect of the work is

how these relationships offer clues as to how the next sound object may be

interpreted, having perceived the last, “concentrating on the formation of new

relationships…between two sets of sounds with contrasting sonic

                                                                                                               25 See also comments in Philippe Mion, Jean-Jacques Nattiez and Jean-Christophe Thomas, L'envers d'une œuvre. De Natura Sonorum de Bernard Parmegiani,

  22  

properties.”26

In addition to looking at the onset, continuant and termination properties of the

sound objects present it is useful to briefly explore the intrinsic spectral

density of the sound object material found within ‘Incidences/Resonances’.

An interesting aspect of ‘Incidences/Resonances’ is the harmonic relationship

between the sustained, resonant drone-like material, as well as the attack

onsets. There are frequent occurrences across the duration of the piece

where the sustained drones combine and interact in terms of their spectral

content. In addition the attack onsets act as punctuating instances that

terminate the drone and bring about a change, either in fundamental pitch

and/or spectral/harmonic stability. As previously discussed, much of the attack

onset material is captured concrete material from sources such as bells and

other metallic objects. Smalley comments on harmonicity, stating:

…bell and metallic resonances are the usual examples of

inharmonicity, and they suitably represent the inharmonic dilemma

because inharmonic spectra can be ambiguous in that they can

include some intervallic pitches. To be regarded as properly

authentic, an inharmonic spectrum cannot be resolved as a single

note, and its pitch-components need to be considered relative, not

intervallic. As a result, continuous inharmonic spectra have a

tendency to disperse into streams.”27

                                                                                                               26 See also comments in Thom Blum, ‘De Natura Sonorum Review’, Computer Music Journal: Vol. 5 No.2, (1981), 68. 27 See also comments in Denis Smalley, ‘Spectromorphology: explaining sound-shapes’, Organised Sound, Vol. 2, No. 2. (1997), 120.

  23  

When analyzing ‘Incidences/Resonances’, for example, at 1 minute 30

seconds and 2 minutes 30, the attack onset brings on a splitting of spectral

and harmonic content that combines to create a rich inharmonic bed that

gradually rises in frequency until fading towards the end of the piece.

  24  

Conclusion.

The descriptive terminology of spectromorphological expectation was

reinforced with information highlighted by the spectrogram and first listen

score thus enabling a mixed perspective to be applied when analysing the

material.

Many of the concepts and details within Smalley’s Spectromorphology

framework are useful as descriptive and analytical tools, in particular, when

investigating the relationships within the piece in relation to individual sound

objects and their constituent parts. However, due the vastness of Smalley’s

research and work it is difficult to include an exhaustive list here and many of

the associated facets of the work are beyond the scope of this paper.

In terms of taking an initial view of Parmegiani’s compositional techniques,

spectromorphological expectation is effective in supporting the relationships

between the sound objects and sections of the work by providing a stable

platform to expand with future research. The terminology and descriptive

qualities aid the exploration of sound objects and their relationships at multiple

levels across the duration of the piece; not just individual sound objects but

also larger sections and the work as a whole.

  25  

Appendix A:

First Listen Graphical Score.

  26  

  27  

Appendix B:

Spectrogram created using SPEK spectral analysis software.

  28  

Appendix C:

SPEAR spectral analysis, editing and synthesis software.

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Bibliography:

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