Treatise on Musical Objects: An Essay Across DisciplinesBook one. Making music. The instrumental prerequisite ; Playing an instrument ; Capturing sounds ; Acousmatics -- Book two. Hearing. "What can be heard" ; The four listening modes ; Scientific prejudice ; The hearing intention -- Book three. Correlations between the physical signal and the musical object. Ambiguities in musical acoustics ; Correlation between spectra and pitches ; Thresholds and transients ; Temporal anamorphoses I: timbres and dynamics ; Temporal anamorphoses II: timbre and instrument ; Time and duration -- Book four. Objects and structures. Reduction to the object ; Perceptual structures ; Comparative structures: music and language ; The conventional musical system: musicality and sonority ; Natural sound structures: musicianly listening ; The reduced listening system: musical dualism ; Musical research ; Morphology of sound objects ; The laboratory ; Typology of musical objects (I): classification criteria ; Typology (II): balanced and redundant objects ; Typology (III): eccentric sounds ; Working at our instrument -- Book six. Theory of musical objects. Musical experience ; Generalising music theory ; Theory of homogeneous sounds: criterion of mass ; Theory of fixed masses: dynamic criterion ; Theory of sustainment ; Theory of variations ; Analysis of the musical object as it generally appears ; Implementation ; The meaning of music -- Penultimate chapter : in search of music itself -- Post-script |
Contents
The Historical Situation of Music | 1 |
Need for a Reappraisal 1 Three New Phenomena 2 | 15 |
BOOK ONE MAKING MUSIC | 21 |
Capturing Sounds | 46 |
Acousmatics | 64 |
What Can Be Heard | 73 |
The Four Listening Modes | 80 |
The Prestige of Logic | 94 |
Musical Research | 285 |
BOOK FIVE MORPHOLOGY AND TYPOLOGY OF SOUND OBJECTS | 307 |
The Laboratory | 321 |
of the Object 332 8 Transmutations of the Object 333 9 Electronic | 334 |
Classification Criteria | 340 |
the Diagram Column by Column 347 8 A Study of the Diagram Row by Row 348 | 348 |
Eccentric Sounds | 360 |
Working at Our Instrument | 367 |
The Hearing Intention | 109 |
BOOK THREE CORRELATIONS BETWEEN THE PHYSICAL | 117 |
Correlation between Spectra and Pitches | 130 |
Thresholds and Transients | 151 |
Time Constant of the Ears Physiological Power of Integration 157 8 Pitch | 161 |
Timbre and Instrument | 180 |
Time and Duration | 190 |
BOOK FOUR OBJECTS AND STRUCTURES | 203 |
Perceptual Structures | 220 |
the Phoneme to the Musical Note 227 9 Sound Object and Phonetics 228 | 228 |
The Higher Level 232 2 Language 233 3 The Rules of Language 234 | 234 |
Divergences 240 8 Language Systems and Speech 241 9 The | 247 |
Musicianly Listening | 263 |
Musical in Embryo 269 6 The Child with the Violin 270 7 Overview | 274 |
Musical Dualism | 276 |
BOOK SIX THEORY OF MUSICAL OBJECTS | 377 |
Generalizing Music Theory | 391 |
Criterion of Mass | 406 |
Dynamic Criterion | 422 |
Theory of Sustainment | 436 |
Typomorphology of Allures 444 10 Species of Allure | 446 |
and Structure 449 4 Typology of Variations 451 5 Variation Criteria 453 | 453 |
Typology of Melodic Variations 455 7 Musical Tradition of Melodic | 459 |
The Troublesome Example 462 2 Analytical Diagram 463 3 Summary | 474 |
15 The Two Musics 505 16 The Continuous | 511 |
The Meaning of Music | 513 |
Postscript | 561 |
| 564 | |
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Common terms and phrases
abstract acousmatic acoustic allure already analysis analyze anamorphosis attack bass calibrations causality chapter characteristics classification color complex composer composition concept concrete context criteria criterion decibels describe diagram distinct domain duration electroacoustic electronic electronic music example experience experimental experimental music fact facture finally frequency fundamental genre give glissando grain hear homogeneous sounds identify instrument intention Klangfarbenmelodie language system less linguistic linked mass meaning melodic ment modulation morphology music theory musical object musician musicianly musique musique concrète natural noise notation ondes martenot original ourselves particular perceived perception phonetic physical physicists Pierre Schaeffer pitch pizzicato played possible potentiometer precisely question recording reduced listening reference relationships resonance Schaeffer schema score sector serial music simple sonority sort sound bodies sound object specific sustainment tape tessitura timbre tion tonic traditional music Treatise typology variation vibrations violin words