Morphologie (Morphology)

Musicology of Electroacoustic Music [MEM]  >  Schaefferian Theory  ]

In Schaeffer’s description of his solfège, the second procedure of the programme of musical research, morphology, is a descriptive procedure of sound objects, once they have been identified and classed by typology. This description essentially consists of distinguishing features called criteria in fine detail, their number being limited to 7. The seven morphological criteria are: mass, harmonic timbre, dynamic, grain, allure, melodic profile, profile of mass - which are examined one by one, and which are each assigned to different classes. (Paraphrase of Michel Chion (1983). Guide des Objets Sonores. Eds. Buchet/Chastel, Paris. 1995 translation by John Dack/Christine North.)

 

See also:

PROGREMU, Solfège

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Bayle, François (1986a). Écouter et comprendre
Bayle, François (1989b). Savoir-faire
Bayle, François (1998). L’espace des sons et ses ’’défaut’’
Besson, Dominique (1991). La transcription des musiques électroacoustiques : que noter, comment et pourquoi ?
Couprie, Pierre (2001d). Le vocabulaire de l’objet sonore
Delalande, François (1986b). Pertinence et analyse perceptive
Dhomont, Francis (1995). Éléments pour une syntaxe
Frémiot, Marcel (2001). De l’objet sonore à “l’unité temporelle de sens”
Mailliard, Bénédict (1986). À la recherche du studio musical
Palombini, Carlos (1993b). Pierre Schaeffer’s Typo-Morphology of Sonic Objects
Régnault, Cécile (2001). Correspondances entre graphisme et son : les représentations visuelles de “l’objet sonore”
Thomas, Jean-Christophe (1994). Bayle : évidence et baroquisme
Vaggione, Horacio (2003). Composition musicale et moyens informatiques : questions d’approche

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