Society for Music Theory Milwaukee, WI November 7 th, 2014 Sharp as a Tack, Bright as a Button: Timbral Metamorphoses in Saariaho s Sept Papillons Nate Mitchell Indiana University Jacobs School of Music nadmitch@indiana.edu Abstract In this paper, I argue that the acoustical information captured by the audio descriptor known as sharpness provides a musically insightful window into the timbral structures of Kaija Saariaho s Sept Papillons for solo cello. In Papillon I, I utilize Saariaho s concept of a sound/noise axis as a means of interpreting both the succession of timbral states at the surface as well as the distribution of sharpness energy over time. I also investigate timbre s narrative role in binding together distinct and seemingly opposing thematic gestures into a symbiotic relationship in Papillons IV and VII. The analyses as a whole demonstrate that audio descriptors provide a useful representation of timbral structures. By interpreting these representations through appropriate analytical lenses, analysts can begin to engage in more detailed inquiries into timbre s crucial role in many contemporary musical languages. Sharpness Acum: The reference sound producing 1 acum is a narrow-band noise one critical-band wide at a center frequency of 1 khz having a level of 60 db (Zwicker and Fastl, 239). Total Loudness: N = 24 z=0 N dz Where z is the critical band rate and N dz is the specific loudness of each band. Sharpness: S = 0.11 24 z=0 N g (z) z dz N Where { z < 14, g (z) = 1 z 14, g (z) = 0.00012z 4 0.0056z 3 + 0.1z 2 0.81z + 3.51 Figures Figure 1a. Papillon I: Pitch analysis.
Figure 1b. Papillon I: Sharpness (Alexis Descharmes, Cello). Figure 1c. Papillon I: Sharpness (annotated). 2.5 2 1.5 1 1.29 2 1.83 1.25 2.05 1.56 1.66 1.13 1.61 1.47 1.22 1.19 1.64 1.551.43 1.03 2.23 1.99 1.63 1.5 0.5 0 Figure 1d. Papillon I: Sharpness quartile analysis.
Figure 2a. Papillon IV: Associative set definition. Figure 2b. Papillon IV: Sharpness graph with aligned bar graph schematic. Figure 2c. Papillon IV: Annotated sharpness detail of A1 and B1/A5.
Figure 2d. Papillon IV: Pitch analysis. Figure 3a. Papillon VII: Associative set definition. Figure 3b. Papillon VII: Annotated sharpness graph with aligned bar graph schematic.
Figure 4, Three sharpness examples: A.) Cello range from C2 to E6 (Daron Kirsch, Cello); B.) Messiaen, Quatuor pour la fin du temps, iii., "Abîme des oiseaux," m. 13 (Guy Deplus, Clarinet); C.) Saariaho, Papillon I, mm. 1-2.
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