Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Experiencing Sound: A Hybrid Approach to Electronic Music Analysis Andrew Selle Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC EXPERIENCING SOUND: A HYBRID APPROACH TO ELECTRONIC MUSIC ANALYSIS By ANDREW SELLE A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2018 Andrew Selle defended this dissertation on February 27, 2018. The members of the supervisory committee were: Evan A. Jones Professor Directing Dissertation Denise Von Glahn University Representative Clifton Callender Committee Member Mark Richards Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To my mother, for always supporting and believing in me, and to Elainie, for teaching me how to listen for the joy of it. iii TABLE OF CONTENTS List of Figures ..................................................................................................................................v Abstract ......................................................................................................................................... vii 1. INTRODUCTION ......................................................................................................................1 2. METHODOLOGICAL CONCERNS .......................................................................................51 3. SEGMENTATION AND FORMAL DESIGN ........................................................................78 4. BEHAVIOR OF SOUND OBJECTS AND FORMAL UNITS .............................................133 5. ELECTRONICS AND LIVE INSTRUMENTS .....................................................................174 6. EPILOGUE ..............................................................................................................................205 Bibliography ................................................................................................................................216 Biographical Sketch .....................................................................................................................223 iv LIST OF FIGURES 3.1 Example of Parametric Intensity Graph and 15-5 Value-Change Graph ................................85 3.2 Risset: Sud – Parametric Intensity Graph and 15-5 VC Graph for Overall Noise ..................91 3.3 Risset: Sud – 10-5, 15-5, 20-5, and 30-5 VC Graphs for Overall Noise .................................92 3.4 Risset: Sud – Parametric Intensity Graph and 15-5 VC Graph for Harmonic Density ...........94 3.5 Risset: Sud – Parametric Intensity Graph and 15-5 VC Graph for Tessitura .........................95 3.6 Risset: Sud – Parametric Intensity Graph and 15-5 VC Graph for Brightness .......................97 3.7 Risset: Sud – 15-5 VC Composite ...........................................................................................98 3.8 Chowning: Stria – Parametric Intensity Graph and 15-5 VC Graph for Brightness .............102 3.9 Chowning: Stria – Parametric Intensity Graph and 15-5 VC Graph for Dynamic Level ......104 3.10 Chowning: Stria – Parametric Intensity Graph and 15-5 VC Graph for Harmonic Density .........................................................................................................................................105 3.11 Chowning: Stria – Parametric Intensity Graph and 15-5 VC Graph for Onset Density ......107 3.12 Chowning: Stria – 15-5 VC Composite ...............................................................................109 3.13 Ligeti: Artikulation – Parametric Intensity Graph and 15-5 VC Graph for Onset Density .112 3.14 Ligeti: Artikulation – Parametric Intensity Graph and 15-5 VC Graph for Stereo Field Utilization ....................................................................................................................................114 3.15 Ligeti: Artikulation – Parametric Intensity Graph and 15-5 VC Graph for Glitchiness ......116 3.16 Ligeti: Artikulation – Parametric Intensity Graph and 15-5 VC Graph for Perceived Aural Distance ........................................................................................................................................118 3.17 Ligeti: Artikulation – 15-5 VC Composite ..........................................................................119 3.18 Lillios: Threads - Parametric Intensity Graph and 15-5 VC Graph for Tessitura ...............123 3.19 Lillios: Threads – Parametric Intensity Graph and 15-5 VC Graph for Harmonic Density 125 3.20 Lillios: Threads – Parametric Intensity Graph and 15-5 VC Graph for Pitched vs. Unpitched Sounds ..........................................................................................................................................127 v 3.21 Lillios: Threads – Parametric Intensity Graph and 15-5 VC Graph for Dynamic Level ....128 3.22 Lillios: Threads – 15-5 VC Composite ................................................................................130 4.1 Interaction between Noise and Gong Objects in Sud .............................................................141 4.2 Surrogacy of Plucking Gesture in Lösgöra ............................................................................143 4.3 Textural Motion from Smalley ..............................................................................................147 4.4 Textural Motion in Stria (A) ..................................................................................................151 4.5 Textural Motion in Stria (Whole Work) ................................................................................152 4.6 Motion and Growth Processes from Smalley ........................................................................154 4.7 Levels of Motion in Threads (Introduction) ..........................................................................157 4.8 Source Bonding Link in Mobilis in Mobili (Transition) ........................................................162 4.9 Listening Space Variances from Smalley ..............................................................................165 4.10 Re-conception of Smalley’s Spaces .....................................................................................167 4.11 Space in Vocalism Ai (Ending) ............................................................................................168 5.1 Synchronisms No. 6, Parametric Intensity Graph and 15-5 VC Graph for Spectral Unity ....182 5.2 Synchronisms No. 6, Parametric Intensity Graph and 15-5 VC Graph for Texture Streaming .....................................................................................................................................184 5.3 Synchronisms No. 6, Parametric Intensity Graph and 15-5 VC Graph for Electronic Salience ........................................................................................................................................187 5.4 Synchronisms No. 6, Parametric Intensity Graph and 15-5 VC Graph for Resonance ..........190 5.5 Synchronisms No. 6, Composite 15-5 VC Graph ..................................................................191 5.6 Saariaho - Prés, mvt. 2, Visualization of Texture Paradigm .................................................198 5.7 Saariaho – Prés, mvt. 2, Transfer of Motion Types in Closing Section ................................202 vi ABSTRACT This dissertation addresses one key question throughout: “How does the experience of hearing a piece of music inform the ways in which we understand its formal structure and syntax?” Because electronic music is typically solely an aural experience (often lacking any sort of appreciable musical score), it is especially suited to this investigation. In analyzing electronic music, traditional methodologies that rely on or depart from a musical score are often ineffective. Furthermore, the seemingly drastic aesthetic difference between electronic and acoustic music might lead one to infer that it is impossible to perceive musical structure in the first place. I argue, however, that by focusing on the listening experience itself as a tool for analysis, meaningful musical structures emerge. In Chapter 1, I outline related work that has been done in the field in both theoretical and analytical domains. I discuss many threads that have proven to be important in this dissertation, including theories of phenomenology and sonic definition (especially Smalley’s theory of spectromorphology). Chapter 2 furthers this discussion, focusing solely on Pierre Schaeffer’s theories of listening modes and musical objects, as well as defining the analytical methodologies that I use throughout the project. Chapter 3 revolves around the perceptual segmentation of works of electronic music into smaller syntactical units. I achieve this through a process I call “parametric analysis.” This involves focusing on one’s own listening in order to determine which sonic parameters (such as dynamic, density, texture, or timbre) are important and relevant to the musical experience and then tracking the development of these parameters over the course of the piece. I measure the intensity of each parameter at any given time (on a scale of 1-5) and also the total amount of change