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that quickly or gradually decays towards termination. The closed form represents a quick decay which is strongly attack-determined. The open form reflects a more gradual decay where the ear is drawn away from the formative influence of the attack into the continuing behaviour of the sound on its way
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phase which eventually closes in a graduated termination. The onset is perceived as a much less formative influence than in the other two archetypes. Attention is drawn to the way in which the sound is maintained rather than to its
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Smalley's term refers to the descriptive analysis of perceived morphological developments in sound spectra over time, and it implies that the "spectro" cannot exist without the
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in 1966. Smalley's notion of spectromorphology builds upon
Schaeffer's theories relating to the use of a classification system for various categories of sound.
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attack-impulse. Modeled on the single detached note: a sudden onset which is immediately terminated. In this instance the attack-onset is also the termination.
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in 1986 and is considered the most adequate
English term to designate the field of sound research associated with the French writer, composer, and academic,
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Thoresen, L. & Hedman, A. (2007), Spectromorphological analysis of sound objects: an adaptation of Pierre
Schaeffer's typomorphology,
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Smalley defines three different spectral typologies that exist in what he calls the noise-note
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attack-decay (closed and open) - modeled on sounds in which the attack-onset is extended by a
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graduated continuant - Modeled on sustained sounds. The onset is graduated, settling into a
27:. A descriptive spectromorphological analysis of sound is sometimes used in the analysis of
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the note, which is in turn subdivided into note, harmonic spectrum and inharmonic spectrum.
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The theoretical framework of spectro-morphology is articulated mainly in four parts:
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in Paris, beginning in the late 1940s, culminated in the publication of the book
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the node (an event having a more complex texture than a single pitch).
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187:: Vol. 2, no. 2. Cambridge: Cambridge University Press: 107–126.
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Smalley, D. (1997), Spectromorphology: Explaining sound-shapes,
99:. This continuum is subdivided into three principal elements:
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118:Smalley also designates different morphological
174:Spectro-morphology and Structuring Processes
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194:, 12:129-141 Cambridge University Press.
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19:is the perceived sonic footprint of a
178:The Language of Electroacoustic Music
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180:. London: Macmillan: 61–93.
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52:Traité des objets musicaux
35:. The term was coined by
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114:Morphological archetypes
86:structuring processes.
65:Theoretical framework
29:electroacoustic music
172:Smalley, D. (1986),
46:Schaeffer's work at
91:Spectral typologies
23:as it manifests in
17:Spectromorphology
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218:Musique concrète
213:Musical analysis
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41:Pierre Schaeffer
33:acousmatic music
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192:Organised Sound
185:Organised Sound
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159:(Thoresen:2007)
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142:initiation.
208:Musicology
202:Categories
167:References
139:continuant
120:archetypes
103:the noise.
80:morphology
59:morphology
131:resonance
97:continuum
75:typology
48:INA/GRM
83:motion
147:Notes
73:the
25:time
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