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Justin Lepany -SpectralMusic

Justin Lepany -SpectralMusic

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Published by dundun

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Categories:Types, Reviews, Music
Published by: dundun on Jun 06, 2011
Copyright:Attribution Non-commercial


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 Cardiff UniversitySchool of PhysicsLecture: Sound SynthesisCourse Convenor: Professor Mike GreenhoughSpring Semester 2005
Principles and techniques of Spectral music
Written by:Justin LepanySenghennydd CourtD-6-1Salisbury RoadCF 24 4 DSSchool of MusicStudent Number:
1. Introduction2. Timbre, spectrum and envelope3. Instrumental synthesis and its different models4. Formalization of spectral music5. ConclusionAppendixReferences
1. Introduction
Spectral music – also called spectralism - appeared in the early 1970’s. To describe it in ashort and rough way, it is a music based on the sound itself. It was created as a possible solution toproblems of serial music and electronic music. For many composers, serial music of that time wastoo strict and abstract: the conceptualization was steady but the result was completely unpredictableand the listener’s perception was thus neglected, as well as sonority, timbre. On the opposite,electronic music of that time was of course based directly on sounds but lacked some writing andorganization principles due to the use of “already made” sounds. The spectralists’ goal was tocreate a music that would reconcile sonority and formalization. By the way, spectral music was torehabilitate consonance without looking back to the tonal era. This issue was however discussedfrom the 1960’s on and some composers as famous as Gyorgy Ligeti, Iannis Xenakis or Krzysztof Penderecki had already been trying to find a balance between sound and conceptualization.What started spectral music off were the great achievements of modern acoustic since they gaveaccess to the inside of sounds through devices as the spectrograph which analyses a sound and cangive a three-dimensional image of it, i.e. the frequencies, their dynamic and their behaviour in time.The Spectral music concept appeared under three different forms in different European places moreor less at the same time, around 1973. The first and most famous case is the French schoolcomposed of a fewOlivier Messiaen’s pupils whose most well-known composers are GerardGrisey (1946-1998) and Tristan Murail (b. 1947). At the same time, a spectral trend appeared inGermany with the group Feedback (Peter Eötvös, Mesias Maiguashca, etc.) whose members aremostly some Karlheinz Stockhausen’s disciples. The last trend started off in Romania and its mainrepresentative is Horatiu Radulescu (b. 1942).

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