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AN ANALYTICAL METHODOLOGY for ACOUSMATIC MUSIC David Hirst Teaching, Learning and Research Support Dept, University of Melbourne Email: [email protected]

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AN ANALYTICAL METHODOLOGY for ACOUSMATIC MUSIC David Hirst Teaching, Learning and Research Support Dept, University of Melbourne Email: D.Hirst@Unimelb.Edu.Au AN ANALYTICAL METHODOLOGY FOR ACOUSMATIC MUSIC David Hirst Teaching, Learning and Research Support Dept, University of Melbourne email: [email protected] ABSTRACT This paper presents a procedure for the analysis of acousmatic music which was derived from the synthesis 2. DEFINING THE ANALYTICAL of top-down (knowledge driven) and bottom-up (data- METHODOLOGY driven) cognitive psychological views. The procedure is also a synthesis of research on primitive auditory scene The following procedure for the analysis of acousmatic analysis, combined with the research on acoustic, music was derived from the synthesis of top-down semantic, and syntactic factors in the perception of (knowledge driven) and bottom-up (data-driven) views everyday environmental sounds. The procedure can be since it has been found impossible to divorce one summarized as consisting of a number of steps: approach from the other. Segregation of sonic objects; Horizontal integration The procedure can be summarized as consisting of a and/or segregation; Vertical integration and/or number of steps: segregation; Assimilation and meaning. Segregation of sonic objects 1. Identify the sonic objects (or events). 1. INTRODUCTION 2. Establish the factors responsible for identification (acoustic, semantic, syntactic, Not only do we recognize sounds, but we ascribe and ecological) and their relative weightings (if meanings to sounds and meanings to the relationships possible). between sounds and other cognate phenomena. Music is Horizontal integration and/or segregation a meaningful and an emotional experience. Acousmatic 3. Identify streams (sequences or chains) which music uses recordings of everyday sounds, recordings of consist of sonic objects linked together and instruments and synthesized sounds. They are combined function as a unit that we could call a “pattern”. in their raw forms or processed then mixed together and The role of “trajectories” should also be recorded to a fixed medium (usually CD or tape). considered. (The term “gesture” has sometimes Acousmatic music may make use of traditional musical been used in this context.) relationships, but there can also be unique abstract 4. Determine the causal linkages between the relationships between the sonic attributes of sounds and sonic objects within the chain-type pattern. the perceiver of those sonic attributes that we don’t find 5. Determine the relationships between “pattern in traditional instrumental music. What is this “syntax” objects” – if this level of syntax exists. This of acousmatic music and how does it interact with the amounts to the investigation of higher-order semantic references afforded by some of the sonic relationships within a “hierarchy”. material within acousmatic musical works? 6. Consider local organization in time – pulse, We have previously reported on a bottom-up type of beat, accent, rhythm, meter. approach to the analysis of acousmatic music that 7. Consider the horizontal integration of pitch, adapted Bigand’s model of Event Structure Processing including emergent properties relating to timbre of tonal music (Hirst, 2003) [5], and discussed the (vertical overlap). interpretation of some of Smalley’s concepts (Hirst, Vertical integration and/or segregation 2002) [4]. In this paper we will examine some of the 8. Consider vertical integration as a cause of top-down processes that may operate in the perception timbre creation and variance: of Western tonal music and also consider top-down a. Timbre as a cause of integration processes in the recognition of environmental sounds. and/or segregation. Through combining these two bodies of previous work, b. The dimensional approach to timbre, where there has been some research activity, we may including emergent properties relating shed some light on the perception of acousmatic music, to pitch (horizontal overlap). where there has been only a meagre amount of research. c. Texture resulting from contrasting The combination has resulted in the definition of a timbres. methodology for the analysis of acousmatic works. 9. Also consider vertical integration or segregation in terms of the potential for Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that psychoacoustic dissonance and musical copies are not made or distributed for profit or commercial dissonance (and consonance). advantage and that copies bear this notice and the full citation on Assimilation and meaning the first page. 10. Consider the nature and type of discourse on © 2004 Universitat Pompeu Fabra. the source-cause dominant to typological- relational dominant continuum, and the way it clear cut. The most significant correlations were to do varies over time. with measures of rhythmicity and spectral mean. 11. Consider implication-realization, and arousal Gygi’s identification studies gives us a basis for and meaning on a moment-to-moment basis isolating acoustic features of environmental sounds that throughout the work. we may want to single out for analysis. 12. Consider global organization in time – identify formal structures, like sectional or continuous Syntactic and semantic factors organization, and the nature of the relationships In an article by Howard and Ballas (1980), they between sections, i.e. hierarchical relationships. documented their experiments which tested syntactic (temporal structure) and semantic factors (knowledge of 3. APPLYING THE ANALYTICAL source events) in the classification of non-speech METHODOLOGY transient patterns [6]. What is important about this series of experiments is that they are concerned with patterns Having outlined a methodology, and considered some of sounds (i.e. sequences of sounds) – both pure tones preliminary issues, let us examine each of the steps in and environmental sounds. the above procedure in more detail. Howard and Ballas found that a grammatical group of listeners performed significantly better than did a non- grammatical group for pure tones and for semantically 3.1. Segregation of sonic objects The first stages in our methodology are the identification sensible sequences. Listeners in the grammatical group the sonic objects (or events), and establishing the factors had actually learned something about the syntactic rules responsible for identification. (the grammar) used to generate the target patterns. Building on the work of Bregman, McAdams has postulated several stages in the recognition of sound 3.2. Horizontal integration and/or segregation sources and events (McAdams, 1993) [8]. The first two In this next phase of our analytical procedure we must stages are sensory transduction and auditory grouping of identify sequences (streams or chains). Such a sequence frequencies – both simultaneous and sequential. The would consist of sonic objects linked together and it third stage involves the analysis of auditory properties would function as a single unit that we could call a and features. “pattern”. The role of “trajectories” should also be There may be many factors responsible for considered. (The term “gesture” has sometimes been categorical matching so the next step in our used in this context.) methodology seeks to explore the varied factors and the Next we need to determine the linkages between the possible contribution made by each factor in sound sonic objects within each chain-type pattern. Which of event recognition. the relevant factors are operating, and what are the relative weightings of those factors? Then we shall determine the relationships between 3.1.1. Factors in the identification of environmental “pattern objects” – if this level of syntax exists. This sounds amounts to the investigation of higher-order Acoustic factors relationships within a “hierarchy”. Gygi (2001) presents results of similarity studies Finally we must consider local organization in time – conducted at the Hearing and Communication pulse, beat, accent, rhythm, and meter. Laboratory at Indiana University. He points out that for This phase is a lot like a melodic analysis in tonal “meaningful” sounds, there needs to be a consideration music. Transformations in pitch or frequency define a of their “psychological space”. [3] melodic form (or gesture). However, we shall treat pitch One experiment attempted to uncover the structure of as a quality that is emergent from the frequency such a psychological space by using multidimensional spectrum of sonic objects within acousmatic music. scaling (MDS) procedures. A sequence with large frequency transitions in a short Gygi conducted the experiment using 50 space of time will not remain perceptually coherent. environmental sounds. Recordings of 100 instances of Alternations of high and low frequencies will cause the environmental sounds were played to listeners who segregation between the two different registers and the were asked to rate the similarity of each pair on a seven perception of separate streams will result. point scale from least similar to most similar. Changes in timbre can effect the integration of a A two-dimensional MDS solution was derived. Gygi horizontal sequence, for example: Repeated and/or rapid searched for a meaningful interpretation of the two changes in timbre can fragment a sequence; Less rapid dimensions. He measured over twenty acoustic variables shifts in timbre can be used to delineate larger horizontal covering different aspects of spectral distribution. The units or “phrases”. highest correlations for Dimension 1 were spectral A distinction can be made between
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