(40) L'espace composé dans l'acousmatique stéréophonique
(51) Des nombreuses partitions spatiales et spectrales réalisées pour Chat Noir, j’ai choisi de me concentrer sur une série qui illustre une transition, de 3’08” à 3’14”, qui connecte deux sections de la pièce. Les partitions de la transition révèlent comment l’identité spectrale et l’évolution d’un son peuvent sembler renforcer sa trajectoire spatiale tridimensionnelle et lui donner assez d’élan pour éradiquer un univers sonore et en introduire un nouveau.
Of the many spectral and three-dimensional spatial scores made for Chat Noir, I have chosen to focus on a series that illustrates a transition, from 3’08” to 3’14”, which connects two sections of the piece. The scores of the transition reveal how the spectral identity and evolution of one sound can be perceived to collude with its three-dimensional spatial trajectory and gain sufficient impetus to eradicate one sonic universe and usher in another. (51) The sound is also salient because it re-appears several times throughout the piece, often announcing other structural changes; furthermore, its motion-trajectory in the form of a rotation is a model which is replicated by other sound material that also announces structural divisions, or can otherwise be apprehended within the sections. The discussions on spectral and three-dimensional space are based on my own poietico-esthesic analysis. They are followed by a discussion of space from the viewpoint of the four reception behaviours.