Spectral music: Theory and practice

Specific Foundation

Specific Foundation / Core

The course is also offered to exchange programme students.

By the end of the semester, students will be able to: Understand the basic principles and concepts of spectral music Recognize the aesthetic and technical characteristics of spectral music Have a broader understanding of the relationship between pitch material and sound and of the listening to music with a focus on sound, in general Understand basic techniques and tools for composing spectral music, such as additive synthesis, subtractive synthesis, FM synthesis, etc.

Spectral music is the music that focuses on timbre over all other musical parameters, and draws its musical material from the acoustic properties of the sound itself (sound spectra), the harmonic series, electronic music techniques, and psychoacoustics. Through the morphological and temporal perception and analysis of sound components through new technologies (composition algorithms, organic spectral models, etc.), spectral composers attempt to incorporate sound into musical writing, thus blurring the distinction between fluorescent material and and turning audio into evolving music. The course explores the field of spectral music from an aesthetic/theoretical, analytical, and compositional point of view. Over the semester, we will look at the different ways in which composers have incorporated these ideas into their music from the 1970s to the present, and approach works by composers such as Grisey, Murail, Levinas, Dufourt, Radulescu, Vivier, Romitelli, Sciarrino, Haas, Leroux, etc. They will be studied and used as analytical and synthetic tools, main features, and techniques such as Spectral Aggregation - Spectral Aggregates, Additive Synthesis, Instrumental Synthesis, Harmonic Harmonic / Inharmonic Spectra), Formants, Spectral Envelopes, Modulations, Transformations, etc. The process through which the objectives will be achieved includes a) practical contact with the examined objects (hearings/screenings and discussion), b) familiarity with the relevant essay and bibliography and c) critical analysis / critical creative work through works or composition, respectively, depending on the direction of the student. Scores, recordings, and articles will be distributed throughout the semester through elearning. There is no textbook. The course is addressed to all students. Depending on the number of students and the general dynamics of the class, more or less computer use will be made.

05-04-2022