A Roughness Model Implementation to Analyze Sound Mass Composition: A Case Study in Ligeti’s Continuum for Harpsichord (1968)
Resumo
We present in this paper an implementation of a roughness descriptor based on the model of Pantelis Vassilakis. We apply the implemented descriptor to perform a computer-aided musical analysis of György Ligeti’s Continuum for harpsichord (1968). Our analysis establishes a parallel between the roughness model, concepts of sound mass composition, and Ligeti’s ideas of timbre of movement and permeability. As a result, we display a graphical representation for the roughness present in the Continuum’s recording, propose a formal segmentation for the piece, and analyze its formal development from a musicological point of view.
Palavras-chave:
Computational Musicology, Music Perception, Psychoacoustics, and Cognition
Referências
Jason Noble and Stephen McAdams. Sound mass, auditory perception, and ‘post-tone’ music. Journal of New Music Research, 49(3):231–251, May 2020.
György Ligeti and Péter Várnai. Ligeti in conversation. Da Capo Press, 1983.
Stephen McAdams, Philippe Depalle, and Eric Clarke. Analyzing musical sound. In Empirical musicology: Aims, methods, prospects, pages 157–196. Oxford University Press, Oxford, 2004.
Pierre Couprie. Graphical representation: an analytical and publication tool for electroacoustic music. Organised Sound, 9(1):109–113, 2004.
Danilo Rossetti, William Teixeira, and Jonatas Manzolli. Emergent Timbre and Extended Techniques in LiveElectronic Music: An Analysis of Desdobramentos do Contínuo Performed by Audio Descriptors. Revista Música Hodie, 18(1), 2018.
Danilo Rossetti, Micael Antunes, and Jônatas Manzolli. Compositional Procedures in Electronic Music and the Emergence of Time Continuum. Organised Sound (preprint), 2020.
Mikhail Malt and Emmanuel Jourdan. Le “BSTD”–Une représentation graphique de la brillance et de l’écart type spectral, comme possible représentation de l’évolution du timbre sonore, 2009.
Ivan Eiji Simurra and Rodrigo Borges. Combining Automatic Segmentation and Symbolic Analysis based on Timbre Features – A Case Study from Ligeti’s Atmosphères. In Proceedings of the 11th International Conference of Students of Systematic Musicology, page 4, 2019.
Micael Antunes, Danilo Rossetti, and Jônatas Manzolli. Emerging structures within micro-time of Ligeti’s Continuum (pre-print). In Proceedings of the 2021 International Computer Music Conference, Santiago, Chile, 2021.
Micael Antunes, Guilherme Feulo, and Jônatas Manzolli. A perceptual approach to Ligeti’s Continuum with a Roughness descriptor. In Livro de Resumos do II EINEM Encontro Internacional de Investigação de Estudantes em Música e Musicologia, pages 18–19, Évora, 2020.
Curtis Roads. Microsound. MIT Press, Cambridge, Mass, 2001. 18th Brazilian Symposium on Computer Music - SBCM 2021
Pantelis Nestor Vassilakis. Perceptual and physical properties of amplitude fluctuation and their musical significance. PhD Thesis, University of California, Los Angeles, Califórnia, 2001.
Jane Piper Clendinning. The Pattern-Meccanico Compositions of György Ligeti. Perspectives of New Music, 31(1):192, 1993.
Emilios Cambouropoulos and Costas Tsougras. Auditory Streams in Ligeti’s Continuum: A Theoretical and Perceptual Approach. Journal of interdisciplinary music studies, 3(1-2):119–137, 2009.
Chelsea Douglas, Jason Noble, and Stephen McAdams. Auditory Scene Analysis and the Perception of Sound Mass in Ligetis Continuum. Music Perception, 33:287–305, 2016.
Karlheinz Stockhausen and Robin Maconie. Stockhausen on Music Lectures and Interviews. Marion Boyars Publishers Ltd, London, 1989.
Frederik Knop. Making it home? The natural sciences as a site of belonging in György Ligeti’s music. In György Ligeti’s Cultural Identities. Rioutledge, New York, 2018.
György Ligeti. Neuf essais sur la musique. Éditions Contrechamps, Genève – Suisse, 2010.
Jane Piper Clendinning. Contrapuntal techniques in the music of György Ligeti. PhD thesis, Yale University, 1990.
György Ligeti and Bernard Jonathan W. States, Events, Transformations. Perspectives of New Music, 31(1):164, 1993.
Eric Drott. Ligeti in Fluxus. Journal of Musicology, 21(2):201–240, April 2004.
Pierre Couprie. EAnalysis: aide à l’analyse de la musique électroacoustique. 2012.
William Sethares. Tuning, timbre, spectrum, scale. Springer, London, 2nd ed edition, 2005.
Micael Antunes, Danilo Rossetti, and Jônatas Manzolli. A computer-based framework to analyze continuous and discontinuous textural works using psychoacoustic audio descriptors. In Proceedings of the 17º Brazilian Symposium on Computer MusicFederal, pages 4–11, São João del Rey, 2019.
Reinier Plomp and Willem Johannes Maria Levelt. Tonal consonance and critical bandwidth. The journal of the Acoustical Society of America, 38(4):548–560, 1965. Publisher: Acoustical Society of America.
Eberhard Zwicker, Gordon Flottorp, and Stanley Smith Stevens. Critical Band Width in Loudness Summation. The Journal of the Acoustical Society of America, 29(5):548– 557, May 1957.
Micael Antunes. Redução da dissonância sensorial em uma escala temperada utilizando timbres inarmônicos: uma abordagem experimental e aplicações artísticas. Dissertação de Mestrado, Universidade de São Paulo, São Paulo, 2018.
Brian McFee, Colin Raffel, Dawen Liang, Daniel Ellis, Matt McVicar, Eric Battenberg, and Oriol Nieto. librosa: Audio and Music Signal Analysis in Python. pages 18–24, Austin, Texas, 2015.
Micael Antunes and Jônatas Manzolli. A psychoacoustical approach to Ligeti’s concept of permeability. In Livro de Resumos do II EINEM Encontro Internacional de Investigação de Estudantes em Música e Musicologia, pages 20–21, Évora, 2020. 18th Brazilian Symposium on Computer Music - SBCM 2021
Micael Antunes, Danilo Rossetti, and Jônatas Manzolli. A computer-aided analysis of the Orchestration in Iannis Xenakis’ Aroura (pre-print). In Procedings of the 10th European Music Analysis Conference, Moscow, 2021.
David Huron. Tone and voice: A derivation of the rules of voice-leading from perceptual principles. Music Perception: An Interdisciplinary Journal, 19(1):1–64, 2001.
György Ligeti and Péter Várnai. Ligeti in conversation. Da Capo Press, 1983.
Stephen McAdams, Philippe Depalle, and Eric Clarke. Analyzing musical sound. In Empirical musicology: Aims, methods, prospects, pages 157–196. Oxford University Press, Oxford, 2004.
Pierre Couprie. Graphical representation: an analytical and publication tool for electroacoustic music. Organised Sound, 9(1):109–113, 2004.
Danilo Rossetti, William Teixeira, and Jonatas Manzolli. Emergent Timbre and Extended Techniques in LiveElectronic Music: An Analysis of Desdobramentos do Contínuo Performed by Audio Descriptors. Revista Música Hodie, 18(1), 2018.
Danilo Rossetti, Micael Antunes, and Jônatas Manzolli. Compositional Procedures in Electronic Music and the Emergence of Time Continuum. Organised Sound (preprint), 2020.
Mikhail Malt and Emmanuel Jourdan. Le “BSTD”–Une représentation graphique de la brillance et de l’écart type spectral, comme possible représentation de l’évolution du timbre sonore, 2009.
Ivan Eiji Simurra and Rodrigo Borges. Combining Automatic Segmentation and Symbolic Analysis based on Timbre Features – A Case Study from Ligeti’s Atmosphères. In Proceedings of the 11th International Conference of Students of Systematic Musicology, page 4, 2019.
Micael Antunes, Danilo Rossetti, and Jônatas Manzolli. Emerging structures within micro-time of Ligeti’s Continuum (pre-print). In Proceedings of the 2021 International Computer Music Conference, Santiago, Chile, 2021.
Micael Antunes, Guilherme Feulo, and Jônatas Manzolli. A perceptual approach to Ligeti’s Continuum with a Roughness descriptor. In Livro de Resumos do II EINEM Encontro Internacional de Investigação de Estudantes em Música e Musicologia, pages 18–19, Évora, 2020.
Curtis Roads. Microsound. MIT Press, Cambridge, Mass, 2001. 18th Brazilian Symposium on Computer Music - SBCM 2021
Pantelis Nestor Vassilakis. Perceptual and physical properties of amplitude fluctuation and their musical significance. PhD Thesis, University of California, Los Angeles, Califórnia, 2001.
Jane Piper Clendinning. The Pattern-Meccanico Compositions of György Ligeti. Perspectives of New Music, 31(1):192, 1993.
Emilios Cambouropoulos and Costas Tsougras. Auditory Streams in Ligeti’s Continuum: A Theoretical and Perceptual Approach. Journal of interdisciplinary music studies, 3(1-2):119–137, 2009.
Chelsea Douglas, Jason Noble, and Stephen McAdams. Auditory Scene Analysis and the Perception of Sound Mass in Ligetis Continuum. Music Perception, 33:287–305, 2016.
Karlheinz Stockhausen and Robin Maconie. Stockhausen on Music Lectures and Interviews. Marion Boyars Publishers Ltd, London, 1989.
Frederik Knop. Making it home? The natural sciences as a site of belonging in György Ligeti’s music. In György Ligeti’s Cultural Identities. Rioutledge, New York, 2018.
György Ligeti. Neuf essais sur la musique. Éditions Contrechamps, Genève – Suisse, 2010.
Jane Piper Clendinning. Contrapuntal techniques in the music of György Ligeti. PhD thesis, Yale University, 1990.
György Ligeti and Bernard Jonathan W. States, Events, Transformations. Perspectives of New Music, 31(1):164, 1993.
Eric Drott. Ligeti in Fluxus. Journal of Musicology, 21(2):201–240, April 2004.
Pierre Couprie. EAnalysis: aide à l’analyse de la musique électroacoustique. 2012.
William Sethares. Tuning, timbre, spectrum, scale. Springer, London, 2nd ed edition, 2005.
Micael Antunes, Danilo Rossetti, and Jônatas Manzolli. A computer-based framework to analyze continuous and discontinuous textural works using psychoacoustic audio descriptors. In Proceedings of the 17º Brazilian Symposium on Computer MusicFederal, pages 4–11, São João del Rey, 2019.
Reinier Plomp and Willem Johannes Maria Levelt. Tonal consonance and critical bandwidth. The journal of the Acoustical Society of America, 38(4):548–560, 1965. Publisher: Acoustical Society of America.
Eberhard Zwicker, Gordon Flottorp, and Stanley Smith Stevens. Critical Band Width in Loudness Summation. The Journal of the Acoustical Society of America, 29(5):548– 557, May 1957.
Micael Antunes. Redução da dissonância sensorial em uma escala temperada utilizando timbres inarmônicos: uma abordagem experimental e aplicações artísticas. Dissertação de Mestrado, Universidade de São Paulo, São Paulo, 2018.
Brian McFee, Colin Raffel, Dawen Liang, Daniel Ellis, Matt McVicar, Eric Battenberg, and Oriol Nieto. librosa: Audio and Music Signal Analysis in Python. pages 18–24, Austin, Texas, 2015.
Micael Antunes and Jônatas Manzolli. A psychoacoustical approach to Ligeti’s concept of permeability. In Livro de Resumos do II EINEM Encontro Internacional de Investigação de Estudantes em Música e Musicologia, pages 20–21, Évora, 2020. 18th Brazilian Symposium on Computer Music - SBCM 2021
Micael Antunes, Danilo Rossetti, and Jônatas Manzolli. A computer-aided analysis of the Orchestration in Iannis Xenakis’ Aroura (pre-print). In Procedings of the 10th European Music Analysis Conference, Moscow, 2021.
David Huron. Tone and voice: A derivation of the rules of voice-leading from perceptual principles. Music Perception: An Interdisciplinary Journal, 19(1):1–64, 2001.
Publicado
24/10/2021
Como Citar
ANTUNES, Micael; ESPÍRITO SANTO, Guilherme Feulo do; MANZOLLI, Jônatas.
A Roughness Model Implementation to Analyze Sound Mass Composition: A Case Study in Ligeti’s Continuum for Harpsichord (1968). In: SIMPÓSIO BRASILEIRO DE COMPUTAÇÃO MUSICAL (SBCM), 18. , 2021, Recife.
Anais [...].
Porto Alegre: Sociedade Brasileira de Computação,
2021
.
p. 82-87.
DOI: https://doi.org/10.5753/sbcm.2021.19430.
