Sound objects in creativity and theoretical works by Pierre Schaeffer

Abstract

The purpose of the article is to study the specifics of the sound object as a central element of creativity and the theoretical concept of P. Schaeffer. The methodological basis of the work is a structural-functional methods that helps to identify the elements of sound matter and trace the features of their deployment and mutual location. The scientific novelty lies in the fact that for the first time in Ukrainian musicology the provisions of P. Schaeffer's theory of sound objects are systematized, the specifics of the functioning of electronic complexes in «Railway Etude», which is one of the representative works of concrete music. Conclusions. Analysis of P. Schaeffer's «Railway Etude», based on the terminological apparatus proposed by the composer, showed the presence of two groups of sound objects united by a common source: for the first group such a source is a locomotive horn, and for the second – a train. According to the spectral characteristics, these objects are differentiated into noise and sound bands concentrated in a certain area of ​​the frequency range. It was found that a sound object, the specificity of which is determined by the set of physical characteristics of the acoustic signal, in a certain musical context can acquire the properties of the thematic or structural element of the composition. The sound object is considered in terms of pitch, duration and intensity, their location outside the generally accepted discrete scales is indicated. It was found that the disclosure of the creative potential of a sound object is inextricably linked with the specific conditions of perception of concrete music (acousmatic situation and reduced listening).