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34. Analysis of the Musical Object as It Generally Appears

© 2019 University of California Press, Berkeley

© 2019 University of California Press, Berkeley

Chapters in this book

  1. Frontmatter i
  2. Contents vii
  3. The Treatise on Musical Objects and the GRM xv
  4. Translators’ Introduction xxi
  5. Pierre Schaeffer’s Treatise on Musical Objects and Music Theory xxix
  6. Acknowledgments xxxv
  7. Preface xxxvii
  8. Introductory Remarks: The Historical Situation of Music 1
  9. Book One: Making Music
  10. 1. The Instrumental Prerequisite 23
  11. 2. Playing an Instrument 31
  12. 3. Capturing Sounds 46
  13. 4. Acousmatics 64
  14. Book Two: Hearing
  15. 5. “What Can Be Heard” 73
  16. 6. The Four Listening Modes 80
  17. 7. Scientific Prejudice 94
  18. 8. The Hearing Intention 103
  19. Book Three: Correlations between the Physical Signal and the Musical Object
  20. 9. Ambiguities in Musical Acoustics 119
  21. 10. Correlation between Spectra and Pitches 130
  22. 11. Thresholds and Transients 150
  23. 12. Temporal Anamorphoses I: Timbres and Dynamics 163
  24. 13. Temporal Anamorphoses II: Timbre and Instrument 180
  25. 14. Time and Duration 190
  26. Book Four: Objects and Structures
  27. 15. Reduction to the Object 205
  28. 16. Perceptual Structures 220
  29. 17. Comparative Structures: Music and Language 232
  30. 18. The Conventional Musical System: Musicality and Sonority 249
  31. 19. Natural Sound Structures: Musicianly Listening 263
  32. 20. The Reduced Listening System: Musical Dualism 276
  33. 21. Musical Research 285
  34. Book Five: Morphology and Typology of Sound Objects
  35. 22. Morphology of Sound Objects 309
  36. 23. The Laboratory 321
  37. 24. Typology of Musical Objects (I): Classification Criteria 340
  38. 25. Typology of Musical Objects (II): Balanced and Redundant Objects 352
  39. 26. Typology of Musical Objects (III): Eccentric Sounds 360
  40. 27. Working at Our Instrument 367
  41. Book Six: Theory of Musical Objects
  42. 28. Musical Experience 379
  43. 29. Generalizing Music Theory 391
  44. 30. Theory of Homogeneous Sounds: Criterion of Mass 406
  45. 31. Theory of Fixed Masses: Dynamic Criterion 422
  46. 32. Theory of Sustainment 436
  47. 33. Theory of Variations 447
  48. 34. Analysis of the Musical Object as It Generally Appears 462
  49. Book Seven: Music as a Discipline
  50. 35. Implementation 479
  51. 36. The Meaning of Music 513
  52. Penultimate Chapter: In Search of Music Itself 530
  53. Postscript 561
  54. Index 563
Treatise on Musical Objects
This chapter is in the book Treatise on Musical Objects
https://doi.org/10.1525/9780520967465-040

Chapters in this book

  1. Frontmatter i
  2. Contents vii
  3. The Treatise on Musical Objects and the GRM xv
  4. Translators’ Introduction xxi
  5. Pierre Schaeffer’s Treatise on Musical Objects and Music Theory xxix
  6. Acknowledgments xxxv
  7. Preface xxxvii
  8. Introductory Remarks: The Historical Situation of Music 1
  9. Book One: Making Music
  10. 1. The Instrumental Prerequisite 23
  11. 2. Playing an Instrument 31
  12. 3. Capturing Sounds 46
  13. 4. Acousmatics 64
  14. Book Two: Hearing
  15. 5. “What Can Be Heard” 73
  16. 6. The Four Listening Modes 80
  17. 7. Scientific Prejudice 94
  18. 8. The Hearing Intention 103
  19. Book Three: Correlations between the Physical Signal and the Musical Object
  20. 9. Ambiguities in Musical Acoustics 119
  21. 10. Correlation between Spectra and Pitches 130
  22. 11. Thresholds and Transients 150
  23. 12. Temporal Anamorphoses I: Timbres and Dynamics 163
  24. 13. Temporal Anamorphoses II: Timbre and Instrument 180
  25. 14. Time and Duration 190
  26. Book Four: Objects and Structures
  27. 15. Reduction to the Object 205
  28. 16. Perceptual Structures 220
  29. 17. Comparative Structures: Music and Language 232
  30. 18. The Conventional Musical System: Musicality and Sonority 249
  31. 19. Natural Sound Structures: Musicianly Listening 263
  32. 20. The Reduced Listening System: Musical Dualism 276
  33. 21. Musical Research 285
  34. Book Five: Morphology and Typology of Sound Objects
  35. 22. Morphology of Sound Objects 309
  36. 23. The Laboratory 321
  37. 24. Typology of Musical Objects (I): Classification Criteria 340
  38. 25. Typology of Musical Objects (II): Balanced and Redundant Objects 352
  39. 26. Typology of Musical Objects (III): Eccentric Sounds 360
  40. 27. Working at Our Instrument 367
  41. Book Six: Theory of Musical Objects
  42. 28. Musical Experience 379
  43. 29. Generalizing Music Theory 391
  44. 30. Theory of Homogeneous Sounds: Criterion of Mass 406
  45. 31. Theory of Fixed Masses: Dynamic Criterion 422
  46. 32. Theory of Sustainment 436
  47. 33. Theory of Variations 447
  48. 34. Analysis of the Musical Object as It Generally Appears 462
  49. Book Seven: Music as a Discipline
  50. 35. Implementation 479
  51. 36. The Meaning of Music 513
  52. Penultimate Chapter: In Search of Music Itself 530
  53. Postscript 561
  54. Index 563
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