Variation Within a Setting

The examples so far have largely focused on the variation of single identities or variations emerging from families of related identities. However, it is also likely that the different constituents of a setting may vary simultaneously in a more apparent manner than that evident in the Capture éphémère extract, changing the overall

impression as the music progresses and resulting in shifting perceptions of that setting.

While a setting might still convey a sense of permanence, the balance among the constituents can change, with particular identities coming to the fore and becoming dominant while others recede, exhibiting varying behavioural relationships (see 4.4.2 above). Consequently, subgroups of identities may emerge from the overall setting, drawing attention to the constituents’ particular features and, in turn, any significant aspects of variation. In extreme shifts in balance, apparently absent elements may still exist in consciousness, provided the setting is still perceived as continuing (i.e.

provided a sufficient number of defining identities remain). In these cases, the absent identities may potentially reappear, recurrence and variation serving to confirm or develop the nature of the setting. Furthermore, new identities may be introduced, providing another aspect of potential change, but the key issue is whether such changes maintain, subvert, enhance or destroy the setting.

For example, the opening six minutes of Bayle’s Grandeur nature (1980) feature different degrees of variation within the main constituent elements, as well as regular shifts in the weighting among those constituents. This results in a seemingly stable environment, yet with a sense of variation and gradual progression that ultimately brings about a shift in balance in the acousmatic image (audio ex. 2_13, 0’00–6’40).

Beginning in a quasi-environmental location of spectral contrasts, diverse spatial dispositions and slowly changing contours, the music eventually arrives at a higher

point of registral and spectral focus in proximate space, including pitch-based spectromorphologies possessing animal/bird-like source bondings.

The opening section (0’00–0’38) ⁷⁹ features three main elements differentiated by their contrasting spectromorphological details as well as their occupation of spectral space:

• arc-shaped graduated continuants in low and medium registers;

• noise-based graduated continuants in low- to medium-registers;

• high-frequency texture comprising an iterative, flocked stream and longer, graduated continuant morphologies. ⁸⁰

Their general features and variations are summarised in Table 8, while their occurrences are indicated in Figure 13 and Figure 14. These elements establish a setting whose spectral stratification might evoke further metaphorical ‘environmental’

associations (discussed in 4.4.4.b above). A fourth element emerges most prominently at around 2’00, a medium register iterative texture characterised by noise- and pitch-based spectral content, and including bird-like pitch impulses. This textural identity,

possessing outdoor, environmental, possibly ‘forest’ source associations, briefly becomes dominant in the setting (along with the noise-based graduated continuants) and further contributes to the environmental feel conveyed at the opening.

In addition to the main setting elements, a separate stratum of ‘discrete events’ is established by the three descending pitch sweeps (0’43) and the long

pitch-descent/ascent (0’58). These additional events (purple curvilinear symbols on Figure 13) provide a further degree of variation within the main setting, and while spectrally related to the high-frequency texture (they originate within and descend from it), they

79 This sectional distinction correlates with the marker indications listed in the booklet

accompanying the compact disc recording (Bayle 1980). Letters B–J on Figure 13 and Figure 14 correspond to the timings of the subsequent listed sectional divisions.

80 Despite their morphological differences, these two textural elements are grouped together due to the timbral consistency between them.

are clearly separate due to their distinct trajectories, extended tessitura and variable spatial disposition.

Each of the identities recurs and varies to differing degrees. These variations occur within certain limits, yet the identities alter just enough to remain interesting. A sense of permanence is therefore created through limited variation, retaining listening attention without destroying the environmental setting.

Recurrences and variations establish a range of spectro-temporal energy profiles over different timescales, whose rates of spectromorphological change affect

impressions of forward-motion or permanence. From 0’00–5’00, the recurring arc-shaped graduated continuants gradually decrease in duration, ascend in register, and feature increasingly pronounced contours due to the faster rates of spectral change.

This creates an impression of urgency, increased energy and forward motion, enhanced by registral ascent. Thus, recurrence and variation in the lower spectral range provide energetic focus, driving the music towards and through the shift in spatial emphasis at 4’15. Conversely, the contours of the noise-based graduated continuants become less pronounced, yet these spectromorphologies still contribute to the general accumulation of energy by climbing in register. However, recurrences of the high-frequency texture are more static and less energetic overall, adding to the spatial feel of the passage rather than propelling the music forward.

Combinations of identity-types, and the resulting spatial characteristics, become significant recurrent features that provide contrasting views of the setting. For

example, the opening combination of material, S1 in Figure 13, ⁸¹ creates a distal, environmental panorama, while the combination at S2 (0’40) results in a more

proximate spatial focus. These identity combinations and spatial impressions recur at S1’, S1’’ (featuring an upward registral shift in all the main identities) and S2’.

81 Shadings indicate the different setting variations over the first two minutes.

Through recurrence and variation the setting gradually evolves from one of low energy and permanence to one of increased energy and activity in a higher region of spectral and registral focus. This progression builds towards the more permanent shift to proximate space at around 4’15, retaining the earlier environmental feel but

featuring:

• high-frequency continuant morphologies characterised by occasional and sudden pitch changes;

• repeated bird-like phrases. ⁸²

These spectromorphologies evoke insect noise and bird-calls, and offer a more intimate impression of the environmental atmosphere of the piece. The returning arc-shaped graduated continuants at 5’23 and 6’02 (here similar to the original lower registers) remind of the opening, yet their brevity allows focus to remain on the medium- to high-register proximate space. However, the scale of the opening always lingers in consciousness, partly due to the gradual temporal unfolding, which enables the measured consideration of the different facets of the environment. ⁸³

82 These identities are indicated by the three types of turquoise symbols appearing from H to J in Figure 14: horizontal parallel ‘waves’; horizontal parallel lines (both indicating different kinds of high frequency continuants); and vertical dashes (repeated bird-like phrases).

83 Smalley’s discussion of space-form includes the idea that a series of experiences can be collapsed into a present moment, and that they can reside in memory in this way (2007, 36–37).

This concept is relevant here. In memory, the gradual unfolding becomes less significant than the combined effect of the different experiences, which merge into a single impression of an environment of expansive scale combined with specific detail.

Identity Variation

Arc-shaped graduated continuants

• Arc-like ‘ascent/descent’ contours; slow rate of change

• Two spectral strata

• Upper stratum in medium register

• Lower stratum in very low register; contours are the mirror image of the upper stratum

Register

• 0’05–0’40 (lower) compared with 1’28–2’00 or 3’48–

4’10 (higher)

Duration: decreasing, enhancing the dynamic profile and increasing the rate of contour change

• 0’05 (long) compared to 2’43 and 4’52 (successively shorter)

Segmentation of contours

• Ascent only (3’07 and 3’36), descent only (3’45), separated ascent/descent (3’06)

Spectral addition/enhancement of formants

• In higher stratum e.g. 0’51-1’22 compared with 1’28–

2’00

• In lower stratum e.g. 1’28–1’58 compared with 0’50–

1’10 Noise-based graduated continuant

• Occupying low to medium registers

• Ascending and descending contours

Register

• Higher at ~1’40 and ~2’00

• Multiple layers in different registers e.g. two layers at 0’25–0’40 and three layers1’55–2’20

Rate of contour change

• 0’00–0’40 (fast rate of change) compared with 1’50–

2’30 (slower, largely static) High-frequency texture: iterative flocked stream

• Randomness in the pitch and regularity of the iterations.

• General pattern of

emergence/maintenance/disappearance

• Timbral consistency with high-frequency texture:

graduated continuant identities

Register

• Compare 0’20–0’30 with 1’35–1’50 (higher register) Iterative density

• Compare 0’30–1’15 with 1’30–1’50 (lower density) Amplitude, affecting iterative intensity and impressions of closeness

• Compare 0’05–0’30 (lower amplitude) with 0’35–0’52 (higher amplitude)

Occasional iterative pitch ascent and descent phrases

• 0’13–0’35 and 3’58 High-frequency texture: graduated continuants

• Shallow pitch contours

• Ascending and descending patterns

• Timbral consistency with high-frequency texture:

iterative flocked stream identities

Register

• Compare 0’18–0’23 to 1’35–1’50 (higher) Rate and depth of contour change

• Compare 0’05–0’40 (faster) to 1’40–2’00 (slower) Static high-frequency continuants with enhanced spectral content

• Featuring occasional and sudden pitch changes (4’20–

6’33) Medium register iterative texture

• Noise/pitch mixture

• Densely iterative texture

• ‘Environmental’ source bonding – wind-like and bird-like elements

Table 8: Identities and variations in Bayle's Grandeur nature.

Figure 13: Annotated sonogram of Grandeur nature.

Figure 14: Annotated sonogram of Grandeur nature (continued).