Spectralism Research Papers - Academia.edu (original) (raw)

This paper provides a brief survey of composition in which field recordings or other referential sounds are transcribed for acoustic instruments. Through a discussion of how electroacoustic music and scholarship has conceptualised the... more

This paper provides a brief survey of composition in which field recordings or other referential sounds are transcribed for acoustic instruments. Through a discussion of how electroacoustic music and scholarship has conceptualised the notion of mimesis, and how various forms of contemporary acoustic music have adopted electroacoustic techniques, it identifies a recent musical practice in which these concerns are brought together. The paper proposes the term mimetic instrumental resynthesis as a way of describing the common threads behind works that employ electronic-assisted or computer-assisted techniques toward instrumental imitations of environmental and extra-musical sounds. The paper also highlights some of the conceptual and aesthetic questions emerging from such a practice, including the idea of transformation, issues of referentiality, listening, the influence of different technologies and their aesthetic implications, and the tension between abstract and concrete conceptions of the works discussed. Finally, the paper raises concerns surrounding the language of discussing what is necessarily an interdisciplinary venture.

Natura morta con fiamme (1991–1992) for amplified string quartet and electronics by Fausto Romitelli was conceived at a kernel moment on composer’s creative path, when he came into contact with spectral music composers and with the... more

Natura morta con fiamme (1991–1992) for amplified string quartet and electronics by Fausto Romitelli was conceived at a kernel moment on composer’s creative path, when he came into contact with spectral music composers and with the scientific research, in particular, in the areas of acoustics and psychoacoustics, sound analysis and computer data processing. The article, based on the study of the preparatory materials, examines some of the new procedures conceived by the composer in order to develop and control of the formal organisation of timbre in Natura morta con fiamme. Moreover, a number of theoretical statements from the composer’s unpublished article ‘Pertinence du timbre’ are discussed.

This essay analyzes Stockhausen Studie II: Elektronische Musik (1954), focusing on his study of additive synthesis in electronic music. While the first study, Studie I: Elektronische Musik (1953), employs pure sine waves utilizing... more

This essay analyzes Stockhausen Studie II: Elektronische Musik (1954), focusing on his study of additive synthesis in electronic music. While the first study, Studie I: Elektronische Musik (1953), employs pure sine waves utilizing overtones, the second study, Studie II: Elektronische Musik (1954), abandons the harmonic series altogether. Studie II utilizes a serial algorithm to generate its collection of frequencies, which Stockhausen serialistically synthesizes together. Only the second study’s score was published, hence, this analysis will focus on Studie II—written in a spectral graphic score that serialistically controls each sine wave’s organization.
Furthermore, this analysis traces Stockhausen’s use of multiple-serialism within Studie II. It will therefore explore the following serial methods, and attempt to trace what Stockhausen employs and understand how he utilizes them. Such serial methods include elements that serialistically control each sine wave’s (1) generation, (2) selection, (3) additive synthesis, and the score’s overall (4) structure—both at the macro- and micro-level. This essay will also include a spectrograph- and a structural analysis.
Subsequently, this essay poses some practical questions. How does this kind of electronic spectral serialism support Stockhausen’s premise of treating sine waves as “pure” sound elements, uninhibited by human intervention and imperfection? Are these “pure” sine waves completely controllable—to the extent that the score’s realization precisely produces the exact sound that the score prescribes? And if so, can this spectral graphic score be objectively realized electronically, without the subjectivity and influence of human emotion and interpretation?

“Los bosques de cemento” es una composición musical para orquesta sinfónica de unos 6 minutos de duración compuesta a finales de 2013. Esta obra resultó ganadora en el I Concurso de Composición para Orquesta Sinfónica “Emilio Lehmberg”... more

“Los bosques de cemento” es una composición musical para orquesta sinfónica de unos 6 minutos de duración compuesta a finales de 2013. Esta obra resultó ganadora en el I Concurso de Composición para Orquesta Sinfónica “Emilio Lehmberg” organizado por el Conservatorio Superior de Música de Málaga. La obra fue estrenada el 7 de febrero de 2014 en la Sala Falla del Conservatorio Superior de Música de Málaga por la orquesta sinfónica del Conservatorio Superior de Música de Málaga, compuesta por alumnos del centro, bajo la batuta del profesor de dirección de orquesta, David García Carmona. A continuación, se incluye la videograbación del estreno.

This article presents a critique of the commonplace trope that holds genre to have declined in relevance under modernism. Contrary to the widespread notion that composers’ repudiation of received tradition rendered the very idea of genre... more

This article presents a critique of the commonplace trope that holds genre to have declined in relevance under modernism. Contrary to the widespread notion that composers’ repudiation of received tradition rendered the very idea of genre categories obsolete, this article argues that such categories have never ceased playing a decisive role in the production, circulation, and reception of post-1945 art music. In interrogating the assumptions that underpin the “decline-of-genre” thesis, this article underlines the utility that renewed attention to genre and its framing effects may have for the analysis of this repertoire. To this end, an alternative to standard theories of genre is advanced, one that draws on actor-network theory to destabilize categories too often conceived as fixed, solid, and binding. This revised theory of genre is applied to Gérard Grisey’s six-part cycle, Les Espaces acoustiques (1974-1985). Habitually regarded as an exemplar of spectral music, Grisey’s cycle may be understood as participating in a number of additional generic contexts at the same time. Taking such generic overdetermination into account not only sheds light on the range of conflicting interpretations that Les Espaces acoustiques affords, but also suggests how music analysis might better address the heterogeneous contexts and multiple listener competences that this and other musics engage.

The premises of early spectral music can be differentiated from integral serialism through its inherent characteristics. Composers such as Pierre Boulez, Karlheinz Stockhausen, and Luigi Nono operated with discrete elements which they... more

The premises of early spectral music can be differentiated from integral serialism through its inherent characteristics. Composers such as Pierre Boulez, Karlheinz Stockhausen, and Luigi Nono operated with discrete elements which they integrated into structural forms. In contrast, the sound continua of Gérard Grisey, in works such as Espaces Acoustiques, were inspired by theoretical and artistic approaches, such as Henri Bergson’s philosophy of duration and Jean-Claude Risset’s exploration of timbre. In this essay, Hugues Dufourt asserts that the paradigm of sound continua should not be conceived as an inevitable accomplishment of the dialectic movement of music history, but as a new approach informed by computer science. As a result, he identifies Grisey as one of the great innovators of musical time.

Ernst Kurth's music theory is grounded on the proposition, most prominently developed in his study Die Romantische Harmonik und ihre Krise in Wagners »Tristan« [1920], that sound is a reverberation of powerful forces that circulate in the... more

Ernst Kurth's music theory is grounded on the proposition, most prominently developed in his study Die Romantische Harmonik und ihre Krise in Wagners »Tristan« [1920], that sound is a reverberation of powerful forces that circulate in the inaudible. According to Kurth, music is a living entity which must be conceived of as hierarchically superior to single tones. Many of his contemporaries were fascinated by these ideas, and although Kurth's concepts were not discussed on a large scale after 1945, his theoretical framework arguably can provide today appropriate means to describe transitions and relations of sound in post-tonal music. In this article, repercussions of Kurth's ideas are uncovered in the theoretical writings of Theodor W. Adorno, especially where they allude to Arnold Schönberg's idea of a »drive force of sounds« [Triebleben der Klänge], and in new French music after 1970 (mainly in aesthetics and works of Gérard Grisey), where the metaphorical idea of »forces« within sound and the intention to »make the inaudible audible« result in gestalt-derived musical structures with clear affinites to Kurth's energetics. Although Kurth's objective to discern »invariants« of musical listening has met with legitimate scepticism, a closer re-reading of his texts might provide fresh impulses to tackle the key problem of the relationship between history, perception and structure in twentieth-century music and music theory.

This paper will examine two ways in which orchestration can benefit from ecological models. Owing to the two different preposition in the article's title, I will discuss the notion of adapting environmental sounds to musical materials in... more

This paper will examine two ways in which orchestration can benefit from ecological models. Owing to the two different preposition in the article's title, I will discuss the notion of adapting environmental sounds to musical materials in the context of instrumental music (Orchestration of Ecology), and also outline an approach to orchestration based on systems of balance and unbalance found in different sonic environments (Orchestration as Ecology).
The first portion of the paper will outline the idea of attempting to imitate environmental sounds with orchestral instruments, especially concerning computer-assisted spectral analysis and transcription. These techniques have become familiar in some circles, but there are unique issues emerging from the transcription of field recordings as opposed to discrete sound-events. In these instances, can care be taken to represent something of the sonic environment to which it belongs?
These questions lead directly to the second focus of the paper. If musical sounds are meant to convey something of nature, can the relationships between those sounds be said to act as an ecology? I will draw comparisons between orchestrational techniques and the theories of acoustic ecology. However, the field of acoustic ecology has grown since its early days, and some of its fundamental assumptions have been questioned. The basic binary of soundscapes as a mere reflection of their spectral content has been called into question and we require a more sophisticated understanding of these concepts if we are interested in modelling ecological patterns.

I attempt to locate the "stutter of form" as described in Craig Dworkin's essay of that title in the realm of contemporary classical music. Lachenmann's piece Pression serves as a starting point which leads me toward Sept Papillons, a... more

I attempt to locate the "stutter of form" as described in Craig Dworkin's essay of that title in the realm of contemporary classical music. Lachenmann's piece Pression serves as a starting point which leads me toward Sept Papillons, a piece for solo cello by Kaija Saariaho.

Aspekt brzmieniowy, niezwykle ważny w polskiej twórczości ostatnich stu lat, z biegiem kolejnych dekad przybierał różne formy, które zaznaczyły się na osi czasu w trzech punktach węzłowych. Owe różnice dotyczyły genezy danego prądu czy... more

Aspekt brzmieniowy, niezwykle ważny w polskiej twórczości ostatnich stu lat, z biegiem kolejnych dekad przybierał różne formy, które zaznaczyły się na osi czasu w trzech punktach węzłowych. Owe różnice dotyczyły genezy danego prądu czy myśli (impresjonizm i spektralizm zaczerpnięte od kompozytorów zagranicznych, sonoryzm jako zjawisko rodzime), estetyki i typu ekspresji (wyrafinowana u Szymanowskiego, bruitystyczna u Pendereckiego, u Stańczyka w wielu odsłonach), a także techniki kompozytorskiej i samego procesu twórczego (intuicja – eksperyment – podbudowa teoretyczna). Wydaje się jednak, iż twórczość ta – nawet jeżeli ujmiemy ją w ramach jakiegoś nurtu czy prądu estetycznego – jest zawsze indywidualna i wynika z odczuwanej przez kompozytorów potrzeby rozwijania własnego języka muzycznego. Jako klucz do odczytania tej problematyki nasuwają się dwa pojęcia – natura i nauka. Rozwój nauk takich jak psychologia muzyki, akustyka, psychoakustyka czy informatyka, był warunkiem koniecznym do świadomego rozwoju brzmieniowości w muzyce i zaistnienia opisanych nurtów. Równocześnie elementem stale obecnym w myśleniu o muzyce skoncentrowanej na brzmieniu jest natura – zarówno w rozumieniu zjawisk przyrodniczych, do których odwołują się Szymanowski i Stańczyk, ale również natury samego dźwięku, jego rzeczywistej struktury, postaci, w jakiej występuje w przyrodzie i naturalnych praw, jakimi się rządzi.

There is evidence to suggest that Grisey’s music of the 1970s and early 80s can be described by the paradigm of progressive metamorphosis. In the late 1980s, however – after Espaces Acoustiques – Grisey sustained a crisis which he tried... more

There is evidence to suggest that Grisey’s music of the 1970s and early 80s can be described by the paradigm of progressive metamorphosis. In the late 1980s, however – after Espaces Acoustiques – Grisey sustained a crisis which he tried to surmount through studies in psychology, ecology and linguistics. This lead to a gradual transformation of his musical language and a new approach which could be called the »archaeology of sense«. By trying to define Grisey’s late style, Dufourt refers to G. W. Leibniz who associated the beauty of nature with fissures and unexpected intervals, with a delight intermingling the species.

The impact of timbre on musical structure is studied through several aspects of tonality and spec-tralism. The impact of spectro-morphology on musical composition is discussed. Sound spectra data are connected with two aspects of musical... more

The impact of timbre on musical structure is studied through several aspects of tonality and spec-tralism. The impact of spectro-morphology on musical composition is discussed. Sound spectra data are connected with two aspects of musical language: structure and timbre. Music structuring process and the quality of sonorities are organically linked by spectral phenomenon. Musical systems, such as tonality or spectralism, derive their origin from these sound structures and highlight the relationship between sonic material and its structure. A classification of various tendencies in French and Romanian spectral music is presented. The density of musical information influences the perception of timbre. The concept of "aperceptive modulations" (i.e. the transformations of sonic perception, according to the density of the musical texture) is proposed. This study concludes with a presentation of my own compositional responses to these matters. A sound phenomenon is understood through the network established between its components. Timbre is regarded as one of the principal forces that generates musical form and interacts with various types of syntax. Tonal music, as one of the systems that organizes the musical material, is based on the laws of sonic perception. The sound harmonic spectrum is the origin of tonality and the first seven harmonics of the sound spectrum reveal a gravitational phenomenon. Tonal music deals exclusively with discrete pitches but from the point of view of spectro-morphology, the "note proper" is only one of the spectro-morphological typolo-gies (Smalley 1986). Generally, pitch perception is interested mainly in fundamentals , rather than in harmonic frequencies. Sounds produced by traditional instruments in a conventional manner emphasize their fundamental frequency, owing to a balanced spectral energy and fusion of the harmonic spectrum. The "note proper" is the domain of absolute pitches, intervals and chords. Notes can support any intervallic or harmonic extension. Thus, pitch systems such as tonality, modality and serialism are territories of the "note-proper" spectral typology. Aural perception is interested primarily in the sonic result of the various combinations on both the horizontal and the vertical axes, and less on concurrent spectral qualities. Bi-spectral or poly-spectral energy (Dubnov et al. 1995) are not significant within the grammar of tonal music; in other words, classical music is based on a simplified model of the sound spectrum. In particular, this sound model takes into account only the harmonic spectrum and only the stationary portion of

Both Gerard Grisey and his posthumous philosophical apologist Hugues Dufourt emphasize Grisey’s innovative approach to temporality. Surprisingly, a processive model for analyzing Grisey’s forms has not emerged. Theorists have shied away... more

Both Gerard Grisey and his posthumous philosophical apologist Hugues Dufourt emphasize Grisey’s innovative approach to temporality. Surprisingly, a processive model for analyzing Grisey’s forms has not emerged. Theorists have shied away from modeling formal processes in Grisey’s music perhaps because the appropriate modeling conflicts with Grisey’s and Dufourt’s ideological pronouncements grounded in anti-quantitative polemics of French process philosopher Henri Bergson. Yet, resisting or overcoming Bergson’s, Grisey’s, and Dufourt’s limitations, to instead offer a mathematical modeling of Grisey’s music, we achieve a more ecological understanding of its distinctive processive temporality and holistic character.
Grisey’s Vortex Temporum presents a motif from Ravel’s Daphnis et Chloe, developed through naturalistic interaction between difference and repetition, a conceptual pairing celebrated by Bergsonian philosopher Gilles Deleuze. The motif changes are modeled (“curve fitted”) with basic mathematical equations also known for modeling such natural phenomena as circadian rhythms, respiration, climate cycles, sound, and hydrodynamics, including the spiral motion of vortices. Specifically: (1) The motif’s shape is modeled as “harmonically” related sine wave oscillators, a smooth, subtly complex, naturalistic wave, in a 2-dimensional plane: a twirling motion. (2) The motif’s timings are modeled as a sum of sinewave oscillation, linear trend, and random noise, relating to the fluidly semi-predictable teleology of these repetitions. (3) The motif’s transpositions are modeled as an exponentially amplifying oscillator; this amplifying oscillator form is shared with Ligeti’s Violin Concerto (Mailman 2016), composed only four years earlier. Both works exhibit a wavelike trend of increasing volatility, which can also be visualized as a spiral or vortex.
VIDEO: https://medias.ircam.fr/x439b59

Natura morta con fiamme (1991–1992) for amplified string quartet and electronics by Fausto Romitelli was conceived at a kernel moment on composer’s creative path, when he came into contact with spectral music composers and with the... more

Natura morta con fiamme (1991–1992) for amplified string quartet and electronics by Fausto Romitelli was conceived at a kernel moment on composer’s creative path, when he came into contact with spectral music composers and with the scientific research, in particular in the areas of acoustics and psychoacoustics, sound analysis and computer data processing. The article, based on the study of the preparatory materials, examines some of the new procedures conceived by the composer in order to develop and control the formal organisation of timbre in Natura morta con fiamme . Moreover, a number of theoretical statements from the composer’s unpublished article ‘Pertinence du timbre’ are discussed.

My presentation focusses on Fausto Romitelli’s (1963-2004) compositional techniques, whose I have investigated for my dissertation, analyzing the case of An Index of Metals (2003), Hellucination I – Drowningirl. This section of the... more

My presentation focusses on Fausto Romitelli’s (1963-2004) compositional techniques, whose I have investigated for my dissertation, analyzing the case of An Index of Metals (2003), Hellucination I – Drowningirl. This section of the video-opera presents a situation in which the morphological quality of the timbre configures the piece structurally: the so-called instrumental synthesis realized by the ensemble imitates a specific case of FM synthesis in which the modulator frequency comes progressively closer to the carrier frequency. In so doing the simulation process, together with its corresponding electronics, assumes the architectural principle of the composition.

This article aims at examining the relationship between spirituality and spectral thinking in Jonathan Harvey’s music; for this purpose I will consider three works by Harvey dating from 1994 to 2008: Tombeau de Messiaen (1994) for piano... more

This article aims at examining the relationship between spirituality and spectral thinking in Jonathan Harvey’s music; for this purpose I will consider three works by Harvey dating from 1994 to 2008: Tombeau de Messiaen (1994) for piano and tape, String Quartet no. 4 (2003) with live electronics and Speakings (2007–2008) for orchestra with live electronics. The analysis of these works enables us not only to highlight Harvey’s peculiar approach to spectralism, but also to see how new technologies were essential for him in order to create a spiritual music. There is a deep connection between Harvey’s idea of music as a path to emptiness and to a pure land (as Buddhist concepts) through detachment from body and suffering, and the concept of ambiguity in music. The latter is achieved through the melting of spectral thinking, intervallicism and new technologies. An ever changing and evolving sound, the difficulty for the listener to recognize sound origin, the halo that results from the creation of a spectral environment for a monodic line, the construction of timbral hybrids, all are aspects of ambiguity in music as a spiritual goal.

This paper describes an interactive sound and light system based on real-time analysis of an augmented musical instrument called the ‘motor bow’, that when played, makes new, unconventional, often ‘noisy’ tones. The interactive system... more

This paper describes an interactive sound and light
system based on real-time analysis of an augmented
musical instrument called the ‘motor bow’, that when
played, makes new, unconventional, often ‘noisy’ tones.
The interactive system comprises a timbre-matching
engine that performs real-time analysis of the motor bow
performance and algorithmically governed multi-channel
diffusion of harmonically similar, but timbrally
contrasting material coordinated with visual
representations. This interactive installation was
designed as part of the Tasmanian International Arts
Festival 2015. Of primary importance was that the
installation be an extension of the motor bow itself and
that it work smoothly in extended performance
scenarios. Particular emphasis was placed on extending
emergent properties of this interference based
relationship between bowed string performance and a
weighted, spinning motor placed at the tip of the bow.
The entire system can be viewed as an extension of an
augmented instrument, one that is multimodal in nature,
involving visual (a custom lighting-matrix), audio
(acoustic and computer music performance) and tactile
(motor bow) elements.

Le Soulier de satin de Marc-André Dalbavie a été créé le 21 mai 2021 au Palais Garnier. Les 6 articles et entretiens réunis dans ce dossier reviennent sur la genèse de l'oeuvre (écriture du livret, de la partition, conception de la mise... more

Le Soulier de satin de Marc-André Dalbavie a été créé le 21 mai 2021 au Palais Garnier. Les 6 articles et entretiens réunis dans ce dossier reviennent sur la genèse de l'oeuvre (écriture du livret, de la partition, conception de la mise en scène et de la scénographie....), les répétitions, le rapport de l'Opéra à la pièce originale de Claudel, et celui des artistes avec le poète.
> Sarah Barbedette, « Le pire n’est pas toujours sûr »
> Raphaèle Fleury, « Journal de bord de la librettiste (fragments) »
> Sarah Barbedette, « Une mélodie au-delà du souffle. Entretien avec Marc- André Dabalvie »
> Sarah Barbedette, « “Toutes les formes d’incandescence me fascinent”. Entretien avec Stanislas Nordey »
> Sarah Barbedette, «Prouhèze, mezzo-soprano. Entretien avec Ève-Maud Hubeaux »
> Pascal Lécroart, « Du livret à la dramaturgie opératique »

In recent studies, importance has been given to the use of natural products from renewable resources due to the decrease in the supply and price escalations of petroleum raw materials. Cardanol-based resole type phenolic resin has been... more

In recent studies, importance has been given to the use of natural products from renewable resources due to the decrease in the supply and price escalations of petroleum raw materials. Cardanol-based resole type phenolic resin has been synthesized by condensing cardanol with furfural in a particular mole ratio using a dicarboxylic acid catalyst such as phthalic acid. Polyurethane sheets were prepared by treating cardanol furfural resin with 4,41–methylene bis(cyclohexyl isocyanate) and the catalyst dibutyltin dilaurate. Natural fibers are prospective reinforcing materials and their use until now has been more traditional than technical. Among the various fibers, sisal is of particular interest in that its composites have high impact strength besides having moderate tensile and flexural properties compared to other fibers. Fiber-reinforced polyurethane composites have been prepared by treating sisal fiber (10%) into polyurethane. The physicochemical, spectral, and thermal properties of polyurethane and fiber-reinforced polyurethane composites have been studied

This is a website with analytic and critical texts on 20th and 21st century piano music, including performance notes. The site includes a list of solo piano music from c. 1900 to the present. Additions and comments welcome!

Affrontare la realtà della composizione contemporanea in Italia partendo dal rapporto che alcuni giovani compositori instaurano con la musica spettrale può assolvere a un duplice compito: da una parte stimola una riflessione critica su... more

Affrontare la realtà della composizione contemporanea in Italia partendo dal rapporto che alcuni giovani compositori instaurano con la musica spettrale può assolvere a un duplice compito: da una parte stimola una riflessione critica su quello che oggi rappresenta per le nuove generazioni l’esperienza spettrale e quali possono essere gli aspetti che rimangono tuttora attuali, dall’altra induce a indagare più da vicino la scena musicale contemporanea, compito alquanto urgente e necessario per una migliore comprensione delle correnti poetiche che modellano oggi il panorama italiano. Un breve sguardo sul rapporto tra i
compositori spettrali francesi e l’Italia servirà a delineare il contesto in cui si sviluppano affinità e avvengono fecondi scambi Sono illustrati alcuni esempi tratti dalla musica orchestrale di Giovanni Verrando.

The paper focuses on the relationship between Jonathan Harvey’s spiritualism and spectralism. Through the analysis of some of his works, which see the interaction of instruments and electronics, it is possible to elucidate this... more

The paper focuses on the relationship between Jonathan Harvey’s spiritualism and spectralism. Through the analysis of some of his works, which see the interaction of instruments and electronics, it is possible to elucidate this relationship.
There is a deep connection between Harvey’s idea of music as a path to emptiness and to a pure land (as Buddhist concepts) through detachment from body and suffering, and the concept of ambiguity in music. The latter is achieved through the melting of spectral approach, serial writing and new technologies. Therefore, in Harvey’s music the coexistence of post-Webern serialism and of spectralism is justified by the idea of ambiguity as a thread to a spiritual music.
An ever changing and evolving sound, the difficulty for the listener to recognize sound origin (is it a string sound, a voice sound, or an electronic sound?), the halo that results from the creation of a spectral environment for a monodic line, all are aspects of ambiguity in music as a spiritual goal.
This paper will provide some examples taken from the following works: Tombeau de Messiaen for piano and prerecorded electronics (1994) – which explores the ambiguity between identity and duality –, the Fourth String Quartet with real-time electronics (2003) – which explores sound spatialization, in other words moving sound, as a spiritual journey – and Speakings for orchestra and real-time electronics (2007/2008) – which aims at erasing the borders between musical sound and speech sound –.

This chapter examines Hugues Dufourt’s music-historical appreciations of Edgard Varèse, whose notion of “art-science” was an all-important inspiration for his conception of musique spectrale. For Dufourt, Varèse was the first composer to... more

This chapter examines Hugues Dufourt’s music-historical appreciations of Edgard Varèse, whose notion of “art-science” was an all-important inspiration for his conception of musique spectrale. For Dufourt, Varèse was the first composer to grasp the ramifications of then-recent discoveries in modern physics, particularly quantum field theory’s revision of the relationship between space and elementary particles. The chapter discusses how, in Dufourt’s view, this led Varèse to formulate analogous ideas about sonic space—above all, a fundamentally spatial understanding of sound objects as being co-constitutive with their surrounding medium. For Dufourt, this idea has been the foundation stone for the spectral approach, albeit in a radicalized form made possible by the psychoacoustic timbre space research of the 1970s. In order to take the full measure of Dufourt’s historiographical claims about this new field-inspired approach to sound, the chapter subsequently attends to some of his philosophical sources, particularly the work of Gaston Bachelard, founder of the French epistemological tradition. Dufourt follows Bachelard in insisting that “objectivity,” and thus the sound object, is a function of historically contingent processes of mediation, measurement, and visualization. The chapter concludes by reflecting on the extent to which Dufourt’s fusion of ideas from Varèse and Bachelard commits him to a new sonic ontology, or whether he can instead be read as arguing that ontologies are always thoroughly historical phenomena, tied up with changes in the scientific method, the scale of objects of measurement, and technical “relays.”

The crack present in the structure changes the physical nature of it as well as changes the dynamic response towards the vibration. For the analysis the depth and location of the crack are important parameters which change the response.... more

The crack present in the structure changes the physical nature of it as well as changes the dynamic response towards the vibration. For the analysis the depth and location of the crack are important parameters which change the response. So it is important to study these changes for the structural integrity, performance and safety. In the paper Vibration Analysis of Cracked Beam using Finite Element Method is predicted for both cracked and un-cracked beam. Also the responses for different crack depths are studied. In the present study, vibration analysis is done on a cantilever beam with and without crack. The beam is considered to be an Euler-Bernoulli beam which is the most ideal case for simple calculation. At first the problem was solved using the boundary conditions and the normal equations to find out the natural frequency of the beam. Here ANSYS is used for finding the natural frequency and amplitude of beam with crack and without crack and compare the results for different boundary conditions. Then the cracked beam was studied taking all the effects of the crack into consideration and the physical property of the material. The proposed method had been compared with the analytical calculation, experimental and then with the help of ANSYS the frequency response had been plotted to see the deviation from the natural response. The natural frequencies of free vibration of the beam with multiple cracks are computed. It is observed that with increase in number of cracks, the natural frequency decreases. The effect of cracks is more pronounced when the cracks are near to the fixed end than free end. The natural frequency decreases with increase in relative crack depth.

Este artigo busca investigar a poética de Gérard Grisey (1946-1998) e a estrutura composicional na obra Prologue (1976) para viola solo. Esta pesquisa apresenta não somente uma análise da obra contida na partitura publicada, mas também... more

Este artigo busca investigar a poética de Gérard Grisey (1946-1998) e a estrutura composicional na obra Prologue (1976) para viola solo. Esta pesquisa apresenta não somente uma análise da obra contida na partitura publicada, mas também explora os manuscritos e rascunhos contidos nos arquivos da Paul Sacher Stiftung (Basiléia, Suíça) para o ciclo Les Espaces acoustiques e uma versão de Prologue com live-electronics.