Structural attributes

The listening strategy structural attributes is an expansion of taxonomy. Like

taxonomy, a discussion of structural attributes attempts to take into account the global design of the work. The concept of structure is discussed characteristically using formal terms, and listeners may embrace descriptions of morphological units to enable the process, but metaphors and imagery can additionally be utilized if their ultimate goal is to describe and otherwise illuminate structure. The latter is liable to be a predominant behaviour with listeners who lack a ‘formal’ vocabulary.

The findings from the listening experiment reveal numerous inclinations regarding the perception of structure. Although the experiment consisted of one short acousmatic work and three extracts, making a global apprehension of form problematic, listeners, on occasion, demonstrated an interest in one or more segments in lieu of a ‘global form’, inherent in the extract, thus offering an alternative to the quest to ‘memorise all this data’ (Delalande, 1998: 27). Delalande also maintains that taxonomic listening is an unwieldy construction and that it impinges on and conflicts with the natural formation of other behaviours. However, he observes it does not preclude other strategies from materialising and suggests that taxonomic listening develops predominantly in tandem with other listening strategies in that it exerts influence on them although it does not affect their outcome. Apprehension of structure is allied to our own experiential basis. However, I envisage this behaviour as a natural by-product of experience. The findings from the experiment indicate that listener interest in structure does not appear to conflict with the natural formation of other behaviours. Indeed, there is evidence it can, on occasion, foster and otherwise enhance their development. Additionally, listeners occasionally seemed to apprehend structure to the exclusion of other strategies as evidenced by their decision to discuss the perceived architecture of the music and the way it evolved in time. They also exhibited a non-linear (non-temporal) comprehension of the structure in addition to an awareness of a linear (temporal) organisation. Moreover, listeners who took into account the organisation of the music at times added personal observations that did not necessarily appear to be ‘laborious’, an adjective Delalande associates with taxonomic listening.

Finally, listeners noted similarities and continuities in the global image apprehended in addition to contrasts and discontinuities. The category of structural attributes therefore includes the following criteria:

(i) Listener discussion that comprises partial as well as global structure.

An example of the perception of a global temporal structure illustrated using metaphorical terms, occurs in a design from International School of Brussels Listener E

regarding the extract from The Gates of H where individual drawings of birds, a thunderstorm, animals, trees and a human being exist in tandem with a swirling cyclone, a church and a bell. At first glance, the designs appear to be arbitrary;

however, on further analysis they are organized temporally. The cyclone appears on the left side of the page, the church, and bell in the bottom centre of the page, thus creating a ‘frame’. The various animals emanate from the cyclone in rightward moving poses above the church and bell, and are organized spatially to correspond with natural principles of gravity: the snake, rabbit and deer are placed above the church steeple, each subsequent animal in a slightly more elevated position. Drawings of birds and the thunderstorm appear near the top of the page. All seem to pursue the human being, whose image appears at the right margin, apparently fleeing in a rightward direction (Anderson, 2001: 41). An example of the apprehension of partial structure appears in the response to the extract from Crystal Music from City University Listener F: “[…]

high/low immediately – mysterious, breath-length gestures with intrusions, it’s body centred, very imagistic, dissonant ruptures: the resonant electronic world comes to the fore, fragments, then continues busily […]” (ibid.: 32). It is notable that this discussion about structure is bereft of closure. Possibly the listener altered strategies in the course of listening or otherwise decided to disengage from the perception of form.

(ii) Listener interest in structural components that are non-linear (non-temporal) as well as interest in linear (temporal) components, including deliberation about the density or mass of the sounding flow.

An example of this occurs in the response to Brümmer’s The Gates of H from City University Listener F “[…] polyphony of plans/layers, clear sensation of space/time, dramatic exchanges […]” (ibid.: 47). It is interesting to remark that this listener first addressed non-linear structure with the remark, “polyphony of plans/layers”, before delving into temporal significances.

(iii) Observations about structure in which other listening strategies co-exist and where evidence exists revealing the impact of structural attributes on the formation and outcome of other behaviours (or vice versa), notably sonic properties, personalised assessments or evaluations (which will be defined in self-orientation), or imaginary themes (which will be defined in imaginary realms).

An example of this type of dual strategy exists in the response to the second movement of Deux aperçus du jardin qui s’éveille from City University Listener B: “[…] I related

to bird-like sounds, too random for my comfort, I needed a different kind of structure […]” (ibid.: 26). Despite a remark about source-bonded sounds, the apprehension of the structure clearly influenced the listener’s personal assessment of the work.

(iv) Listener recognition of similarities and continuities in the form as well as contrasts and discontinuities.

An example of this strategy exists in the response to Bois from Académie de Musique de Soignies Listener K who notes, “Superb landscape, all the sounds gather together almost as one [.] Lets the imagination discover it; it can make us think of a workshop, machines busy with workmen [.] End of the mix is special […] indeed a bit contrary […] everything stays in the same landscape and never changes orientation […]” (ibid.:

31).¹⁹ Although this response comprises several strategies, the remarks, “[…] all the sounds gather together almost as one […]” and “[…] never changes orientation […]”, indicate a perception of structure that is synergistic.