(40) L'espace composé dans l'acousmatique stéréophonique
The score of spectral space in Figure 3, which corresponds to sound example 1, illustrates the transition between 3’08” and 3’14”. Sound example 2 is a longer extract, from 2’23” to 3’41”, where the transition can be heard in a wider context.
Figure 3. Spectral space in Chat Noir from 3’08” to 3’14” [enlarge]
Sound example 1: Chat Noir 3’08” to 3’14”
Sound example 2: Chat Noir 2’23” to 3’41”
(52) Par souci d’organisation, la discussion des partitions spectrales et spatiales de la transition est divisée en trois sous-sections. La première, de 3’08” à 3’09” (0”-1” dans l’exemple sonore 1), est un univers sonore au spectre strié qui, d’un point de vue structurel, clôt l’introduction de l’œuvre.
For organisational purposes, the discussion of the spectral and three-dimensional scores of the bridge is divided into three subsections.[1] The first, from 3’08” to 3’09” (0” – 1” in sound example 1), is a spectrally striated, sustained sonic universe that, from a structural viewpoint, terminates the introduction of the work. (52) The two sustained sounds present at 3’08” – 3’09” include a high-pitched, whistling (Ia, in light blue), and a drone in the guise of a transparent, harmonic ‘veil’ based on the interval of a major seventh, (Ib, in dark blue). The higher pitch in the ‘veil’ is louder, and, thus, its morphological design is more opaque. The other two sounds present from 3’08” to 3’09” are iterative or fragmented in nature and include a transparent, metallic ‘scampering’ sound (IIa, finely etched in green), and a fragmented, ‘chortling’ transformation that rises and falls, repeatedly, in pitch and ‘tumbles’ forward in time owing to the small circumference of its cyclical morphology (IVa, in pink and orange).
(53) Dans la deuxième sous-section (3’10” – 3’11”) (2”-3” dans l’exemple sonore 1), le sifflement aigu tenu (Ia) prend de l’ampleur et l’univers sonore précédent est brutalement tranché par un glissando descendant prégnant, sous forme d’une rotation (IIIa), noté par une diagonale violette.
(54) Un nouvel univers sonore se déploie dans la troisième sous-section (3’12” – 3’14”) (4”-6” dans l’exemple sonore 1), constitué d’enregistrements filtrés, légèrement fragmentés et répétés, d’un accordéon d’enfant (IVb, en rouge orangé), ainsi que du voile tenu continu (Ib).
In the second subsection (3’10” – 3’11”) (2” – 3” in sound example 1), the high-pitched, sustained whistling sound (Ia), grows louder and the preceding sonic universe is abruptly severed by a prominent, downward-moving glissando in the form of a rotation (IIIa), denoted by a purple, oblique slash. (53) The sustained veil (Ib) continues during this subsection.
A new sonic universe unfolds in the third subsection (3’12” – 3’14) (4” – 6” in sound example 1), comprising lightly fragmented, delayed, filtered recordings of a toy accordion (IVb, in red-orange), and the ongoing sustained veil (Ib). (54) The latter can be interpreted as a ‘binding element’ that unites disparate sound-shapes before, during and after the bridge.