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A Rise–Fall Temporal Asymmetry of Intensity in Composed and Improvised Electroacoustic Music

Published online by Cambridge University Press:  06 July 2010

Roger T. Dean  and
Freya Bailes
Roger T. Dean*
Affiliation:
MARCS Auditory Laboratories, University of Western Sydney, Locked Bag 1797, Penrith DC, NSW 1797, Australia
Freya Bailes*
Affiliation:
MARCS Auditory Laboratories, University of Western Sydney, Locked Bag 1797, Penrith DC, NSW 1797, Australia
*
E-mail: *[email protected]; **[email protected]
E-mail: *[email protected]; **[email protected]
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Abstract

A computational analysis of temporal patterns of acoustic intensity is applied to a series of recorded electroacoustic works in order to discern whether there are recurrent patterns in the intensity rise–fall structure. The works range from 1962 (Xenakis) to 2001 (Normandeau), and include composition and improvisation, large-scale (>25 minutes) and small-scale (<2 minutes) pieces, and acoustic, electronic and manipulated and synthesised sound. Contrary to Huron’s 1991 finding of long and gradual crescendi compared to short and abrupt decrescendi in classical music notation, it is found that in successive rise–fall events the rise phase (crescendo) is commonly shorter than the fall, and has a greater absolute rate of change of intensity than the fall. Correspondingly, crescendi occupy a smaller portion of the piece than decrescendi. When categorised into dynamic steps (such as p, mp, mf etc.), crescendi are usually less numerous than decrescendi. The results are considered from a cognitive point of view, in that this structuring may influence and thus result from listener attention and arousal patterns; and from a creator/performer point of view, in that embodied or virtualised effort may be key to the impact of an electroacoustic piece.

Type
Articles
Information
Organised Sound , Volume 15 , Issue 2: Organising electroacoustic music , August 2010 , pp. 147 - 158
Copyright
Copyright © Cambridge University Press 2010

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