Denis Smalley

Exploration of issues related to music composed for diffusion over loudspeakers, beginning with a historical overview. Subsequent chapters discuss terminology for the classification of such music, theories of listening, approaches to ear-training, the aesthetics of mimesis in music, and methods of analysis.

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.


This commentary accompanies the portfolio of electroacoustic works realised at the NOVARS Research Centre, and intends to provide insight into methodologies for acousmatic composition as researched at the University of Manchester between 2013 and 2016. Six compositions are presented in order of realisation, as follows: Frictions/Storms, Rise, Glitches/Trajectories, Transmissions/Intercepts, Reductions/Expanses, and Iteration/Banger. An analysis of each work in relation to research-specific topics is provided, adopting Denis Smalley's concepts of spectromorphology and space-form as appropriate syntax in the elaboration of compositional methodologies and overall outcomes.

The research focuses primarily on the appropriation of transformed and synthesised sound materials in acousmatic spatial composition. Resulting works are intended for presentation in concert via the practice of live sound diffusion performance. The portfolio documents an arc of development working in fixed media formats incorporating live electronics processes into the realisation of multi- channel compositions, to finally arrive at a methodological merging of fixed media studio composition and live electronics performance practices.

Additional supplementary materials in support of the portfolio and commentary are provided including Max coding patches, video tutorials, technical information and related audio materials.

This study examines the ways in which a relationship is created between the piano and electronic sound in order to clarify the prismatic structure of the piece. The analysis will both isolate the acousmatic material and consider it together with the piano part, using the listening experience, rather than analysis software, as its basis. The features of the piece will be defined employing the concepts and terminology of Denis Smalley's spectromorphology, cross referencing his definition of electroacoustic score. The analysis will explore, on the one hand, the relationship between the piano part and the notation employed for the acousmatic material, and on the other hand the piano-specific writing.
The dialectic interaction between the two sound spectra will lead to observations on how various declensions of the concept of mimesis, as expressed by Simon Emmerson, are realised. The concept of mimesis in this case also informs the syntactic aspect of the piece, in terms of both its writing and its micro-structure, which is largely contrapuntal, as well as presenting canonical-imitative situations.
Taking into account that the use of typo-morphological aspects would be more appropriate, particularly when considering the intertextual nature of the context, the study will define the functions of the segments of the piece in the light of their antecedent-consequent relationships and their function within the macroform, and will go on to propose further levels of formal synthesis. This methodology will identify a relationship with the figure of Messiaen and demonstrate the necessity for semantic listening.
The study will conclude by demonstrating how, in a mixed context with an objective bonding linked to concrete data, electroacoustic material might form part of the formal definition of the piece, re-contextualizing concepts of archetypically acoustic form.

Space is not the place (real or logical) within which things are disposed, but rather the means through which the position of things becomes possible. Instead of imagining space as a kind of ether that encompasses everything, or conceiving it as an abstract characteristic common to everything, we should think of it as the universal power that connects everything. (Merleau-Ponty 1945: 281) This article suggests a framework for the articulation of ambiophonic and geometrical spaces in electroacoustic composition and performance. Space-ambiophony explores the global perception of space, which is derived from the archetypal perception of surrounding environments. The term applies to usually large-scale observation but it can also include shifts in the listener's attention from gestalt perception to micro-structural observation. A spatial analysis of Smalley's Base Metals demonstrates the methods by which space-ambiophony is integrated into the composition. In space-geometry, relations and analogies are established between composed sonic events and principles of geometry and stereometry. Three primordial geometrical elements, drawn from Wassily Kandinsky's theoretical work on painting, serve as metaphorical cells for the construction and projection of this type of space: the point, the line and the plane. The interaction between the acoustic qualities of listening spaces, the configuration of loudspeakers, the composed space (sonic trajectories, background, foreground) and its projection by the interpreter in a concert, are all issues that occupy parts of the article.

The proliferation of spatialisation technology has encouraged a mass of unclassified techniques for the use of spatial manipulation in electroacoustic music. The complexity involved with theorizing the composers conception, the transmission of sound via electroacoustic means and the resulting listeners perception of a spatial work is a multifaceted and interdisciplinary task.
Composer and theorist Denis Smalley in his essay Spectro-morphology and Structuring Processes proposed arguably the most influential theory for sound spatialisation in electroacoustic music of the last three decades. The focus of this study is a critical analysis of Smalley’s theoretical framework for Spatial Articulation, and the contrast of these findings with recent developments in advanced spatialisation technology and successive theories.
The study consists of a literature review of proposed theoretical frameworks relating to and including Smalley’s Spatial Articulation.

Este projeto de pesquisa teve como objetivo a compreensão da obra teórica do compositor Denis Smalley, a fim de investigar as possibilidades do uso da teoria espectromorfológica como ferramenta de organização discursiva para a Música Eletroacústica de vertente Acusmática. Para tal propósito, este trabalho desenvolveu-se em três etapas. Primeiramente, selecionamos os textos do autor que tratam especificamente sobre a teoria espectromorfológica e os inter-relacionamos, buscando compreender como Smalley concebe o discurso musical em sua poética espectromorfológica. Posteriormente, visando verificar como a teoria de Smalley pode ser aplicada como ferramenta composicional no que tange à organização do discurso, fizemos a análise de uma peça acusmática sob os preceitos do autor e, como última etapa, propomos uma organização discursiva influenciada pelas ideias de Smalley.

Este trabajo presenta los resultados obtenidos en el análisis de la obra Alternancias, del compositor venezolano Alfredo del Mónaco (Caracas, 1938 - 2015), estrenada por el cuarteto del pianista ítalo- venezolano Corrado Galzio, en el Trigésimo Cuarto Festival Internacional de Música Contemporánea de la Bienal de Venecia de 1971, trabajo abordado a partir de la revisión de dos textos del compositor y teórico neozelandés Denis Smalley (n. 1946): Spectromorphology and Structuring processes (1986), y Spectromorphology: explaining sound-shapes (1997).

Partiendo del estudio espectromorfológico se realiza un abordaje exhaustivo de la interrelación entre los sonidos electrónicos pregrabados en banda magnética y los materiales del medio acústico: violín, viola, violonchelo y piano. Los conceptos implicados en la metodología de este análisis, tales como: arquetipos morfológicos, tipología espectral, morfología, gesto, textura, procesos de estructuración, estrategias de organización en la percepción, etc., ofrecen un amplio panorama de la red dialógica generada entre los materiales acústicos y electrónicos, propiciando hallazgos significativos sobre el modo en que es configurado el proceso estructural, en sus niveles macro, meso y micro, y cómo esto define el carácter morfológico de esta pieza.

This article suggests a framework for the articulation of ambiophonic and geometrical spaces in electroacoustic composition and performance. Space-ambiophony explores the global perception of space, which is derived from the archetypal perception of surrounding environments. The term applies to usually large-scale observation but it can also include shifts in the listener's attention from gestalt perception to micro-structural observation. A spatial analysis of Smalley's Base Metals demonstrates the methods by which space-ambiophony is integrated into the composition. In space-geometry, relations and analogies are established between composed sonic events and principles of geometry and stereometry. Three primordial geometrical elements, drawn from Wassily Kandinsky's theoretical work on painting, serve as metaphorical cells for the construction and projection of this type of space: the point, the line and the plane.The interaction between the acoustic qualities of listen...

This paper is predicated on the argument that searching for the meaningful in electroacoustic music is to use different means for different pieces, while remaining situated within the historical context of electroacoustic music. The important factors here are, first, that the meaningful in music is different than meaning in music, and, second, that methods for examining the meaningful in electroacoustic music can be quite different than the means of investigating the meaningful in acoustic music. This paper surveys three works in order to demonstrate the diversity of the meaningful by applying different perspectives to each work. These works were chosen for the ways in which they are related yet distinct. All three works fall within the greater definition of electroacoustic music. That is, all pieces are intended for the concert hall paradigm, and the musical material relies fundamentally on electronic technologies. Yet, the musical material arises from different techniques and purposes within electroacoustic media. Two pieces use recorded and processed sounds, while one synthesizes its own timbres. Additionally, two are single-moded (music alone) while one is multimodal (ballet). Ultimately, all three have their own philosophies that require different starting points for analysis. This survey does not provide exhaustive investigations of each work. Rather, it demonstrates the advantage of diverse avenues of inquiry.

"Con il saggio di Mariachiara Grilli, la direttrice di indagine dei Quaderni volge dal versante ermeneutico a quello analitico: a restare immutate sono però le prospettive multiple dell'approccio, che in questo caso sono gli stessi oggetti dell'analisi a suggerire. Si tratta infatti di due composizioni particolari in cui la facies acustica del pianoforte si confronta con quella elettronica della parte preregistrata su nastro, in un rimpallo sonoro che chiama in causa dualità seminali – per così dire – della comunicazione musicale contemporanea. In questi lavori riecheggia infatti (è il caso di dire) il rapporto fertile e problematico fra oralità/scrittura, puro/impuro, suono/rumore, acusmatico/referenziale. Più in generale, le due composizioni incarnano quel paradigma elettroacustico che François Delalande individua come cifra della musica del nostro tempo, un sistema che pone l'ascolto come modalità centrale dell'esperienza del suono. E in modo significativo l'autrice sceglie di condurre l'indagine proprio attraverso un approccio esclusivamente uditivo, senza quindi l'ausilio di software di analisi: un ritorno all'archetipo acustico per comprendere come, a livello sintattico e semantico, l'oggetto sonoro configuri una possibile esperienza d'ascolto." - Luca Bertazzoni, Introduzione al volume: 8-9.

In this paper, I use the program for a concert of electroacoustic music as a point of departure for discussing issues related to teaching electroacoustic music in the musicology or music theory classroom. Specifically, I examine the implied pedagogical framework of the Masterpieces of 20th Century Multi-channel Tape Music concert (hosted by Columbia University in the summer of 2000 as part of the Lincoln Center 2000 Festival) as it presented six works to a general, non-academic audience. In conclusion I suggest educators resist the urge to establish new canons of electroacoustic works,  and instead employ pedagogical approaches that encourage critical engagement with contemporary musical works from a variety of perspectives.

Una primera reflexión que apunte en dirección a preguntarnos por nuestra escucha del mundo, en tanto receptores y productores sonoros capacitados para desenvolvernos a partir del sonido que llega a nuestros oídos (y que es producto de nuestro accionar acústico cultural), aspecto que significa asumir una actitud o posicionamiento frente a este fenómeno, constituye una reflexión que bien podría permitirnos hacer un preliminar, pero necesario sondeo, de cómo acercarnos a la presente pieza electroacústica. En efecto, se presentarán los resultados obtenidos de este análisis luego de aplicar el estudio de la espectromorfología planteada por Denis Smalley, así como consideraciones principalmente de orden acústico y psicoacústico que se desprenden de esta aplicación, trabajo que permitirá, a su vez, ofrecer una comprensión de la naturaleza de los procesos de estructuración de los materiales sonoros estudiados, y su articulación en los niveles macro, meso, y micro, como estrategia de organización en la percepción.