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Contemporary Music Review

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Spectra and pixies

Tristan Murail
Published online: 24 Aug 2009.

To cite this article: Tristan Murail (1984) Spectra and pixies, Contemporary Music Review, 1:1, 157-170, DOI:
10.1080/07494468400640141

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 Spectra and pixies
TRISTAN MURAIL
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NEW TONALITY, neo-romanticism, new simplicity, net~-serialism,

minimalism, Boulez in the grass, little Stockhausens, Xenakis copies,
neo-impressionists, Donatoni cloning h i m s e l f . . . If you look at
concert program notes or festival brochures you might think that an
entire generation of composers is fixated on the past.
"I don't know what note to write anymore", a terribly confused
composer told me recently ...
"Well, let's write a lot, as much as we can~ indecipherable masses
for eye and ear", answer certain people (who Would probably want to
cover their own tracks).
"Let's limit the number of musical notes as much as possible and
repeat them until saturation point" is the counterattack of some
others (who admittedly enjoy an excellent performing rights/fatigue
ratio).
"Let's borrow from our predecessors who seemed after all quite
satisfied and, if we forget complexes about writing style, we can
express ourselves freely", says the majority (and, in this case at least,
with the agreement of music critics).
It is true that after permutating twelve poor notes for three
centuries it might seem as if all were well used up (a small reminder to
all you unrepentent serialists: since there are 479,001,600 different
possible series, you've still got a sunny future).
Let's forget this dizzying algebra of permutations: we have
obviously heard over and over "significant" combinations of the
notes of the tempered scale, usually with connotations, "classifi-
cations". The same could be said about other musical phenomenon:
rhythm, form, orchestration ...
But why do we always have to speak of music in terms of notes?

ContemporaryMusic Review, 9 Harwood Academic

1984, Vol. 1, pp. 157-170 Publishers GmbH and OPA Ltd., 1984
0749-4467/84/0101-0157 $25.00 Printed in the United Kingdom
 158 TRISTANMURAIL

BEYOND CATEGORIES

O u r conception of music is held prisoner by tradition and by our

education. All has been cut into slices, put into categories, classified,
limited.
There is a conceptual error from the very beginning: the composer
does not work with twelve notes, x rhythmic figures, x dynamic
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markings, all infinitely permutable - - he works with sound and time.

T h e sound has been confused with its representations, and we work
with these, with symbols. Since these symbols are limited in number,
we quickly come up against the wall ...
And then the Situation becomes absurd: representations of unbe-
lievable complexity, which in fact no longer represent anything at all,
since the music becomes unperformable, or literally inaudible in the
sense that there is no correspondence between the music perceived by
the listener and that conceived by the composer. No, note and sound
are not the same, nor is the note any more the elementary atom of
music, nor the "object sonore" in Pierre Schaeffer's sense. It is only a
symbol that gives a more or less precise indication to the performer of
what gesture he should make and what result he should try to
produce. Therefore all fossilized categories must be abandoned. W h y
try to distinguish the concept of h a r m o n y from that of timbre? T h e
only reason is our cultural conditioning. It is perfectly easy to perceive
many distinct frequencies in a singl~ sound (for example a low cello
note): conversely, we can also perceive a single sound that results from
the addition of m a n y frequencies: this is the very principle of organ
stops. One can progressively separate timbres to create the effect of a
harmony, and conversely, progressively fuse harmonic relations until
they create a timbral effect. Sometimes with very little change a quite
differentiated conglomerate can become a single sonic object, fused.
T h e relative amplitudes of the sonic components, their frequency
relations, their quality, make all the difference.
Therefore there is a harmony-timbre continuum. A timbre can be
defined as an addition of primary elements, pure frequencies,
sometimes white noise bands, a h a r m o n y caused by added timbres...
in other words, there is theoretically no difference between the two
concepts, it is all a question of perception, of habits of perception.
In the same way there are other continuums, for instance rhythm/
 SPECTRA AND PIXIES 159

dynamics or rhythm/frequency (since one may descend the frequency

scale until beating occurs), and the continuum made up by the
frequency space itself, before being divided into steps.
In fact, why divide this frequency space into octaves in the first
place, and then the octave into 12? T h e only reasons are historical
and practical. It is well known that for ages people have tried to
divide the octave differently: into 24 (quarter-tones), into 18 (third-
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tones) ... sometimes even into wild numbers like Harry Partch. Even
"non-octave space" has been discussed. But finally all this is also
arbitrary. And there isn't even an historicaljuutification any more for
any such division; micro-intervals are usually just plain painful if they
are thought of as extensions of normal octave divisions. Frequency
space is continuous and acoustical reality only has to define its own
temperaments~ I f we push this reasoning to an extreme, the combin-
ation of pure frequencies could be used to explain all past categories of
musical discourse and all future o n e s . . . Harmony, melody, counter-
point, orchestration, etc . . . . , become outdated and are included in
larger concepts. These fundamental elements, these pure frequencies
(sine waves) have their own life, separate, fuse, converge or diverge,
and create diverse perceptual p h e n o m e n a according to their loud-
ness, interrelations, movements . . .
O f course electronic music destroyed these categorical limits long
ago. Electronics opened our ears. But electronic music often suffers
from the opposite excess: a lack of formalization, of "6criture" or
writing in the largest sense, of structuring the sonic universes that it
discovers.
How in fact is it possible to organize these infinite sonic spaces
which are continuous and unlimited? How to organize the frequency
space if all temperament is negated, equal or not, or durations if
c o m m o n ones are not used? Since there are no longer any "absolute"
reference points it is necessary to fall back on "relative" ones, and
work on differences, on relationships between the elements them-
selves, and not on the relationship between objects and an external
frame of reference. This is the definition of a new kind of music: a
"differential" conception where the interest is in the relationship
between objects rather than in the objects themselves, where time is
organized by flux and not by segment.

C.M.R.--F
 160 TRISTANMURAIL

APPEARANCE OF SPECTRA

Musical notation no longer exists as a given, nor as a point of

departure; it only serves as the end point of a compositional process
and to transcribe the results obtained for the observer (quite often in a
necessarily approximate manner).
Establishing links between these elements is a matter of conceiving
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"functions" in the mathematical sense. In principle it would suffice to

describe the structure of durations and primary partials in order to
describe everything. In fact this just about describes the process of
classical synthesi s on a computer.
In the domain of durations, it is easy to organize the appearance of
elements in terms of functions (number of elements on the axis, time
on the abcissa, or perhaps the number of elements on the abcissa, time
on the axis, or even duration on the axis, time on the abcissa ...).
With simple functions, it is possible to generate m a n y types of
ralentando or accelerando (more or less exponential, for example); by
complexifying, superimposing and adding functions, one can dis-
cover m a n y sorts of fluctuation which can be used to introduce
surprise or "humanize" the process, or to describe patterns of
durational organization and disorganization. None of this is arbit-
rary: instinctive tempo fluctuations made by musicians obey these
same laws.
In the frequency domain that I will consider in a bit more depth,
functions are used to construct "spectra". A spectrum is a group
composed of a certain number of elements, each of which has:

- - a frequency (perhaps modulated)

- - an amplitude (which can modify over time)
- - an "ordering" which allows each component to be calculated as
a function of the generating sound(s), and may allow the spectrum
to evolve over time.

The frequency of each component is therefore defined as:

freq = f(order).
Most known spectra obey a linear relation ( y = a x + b). Specifi-
cally, the harmonic series has the function: f r e q - - a x r, " a " being the
fundan~ental, " r " the harmonic order. The graph representation of
this function is of course a straight line stemming from the origin.
 SPECTRA AND PIXIES 161

In reality, interesting harmonic spectra are not so simple: they are

defective, meaning that only certain partials are heard, or put
another way, certain are missing. In addition, each component
has a relative amplitude. Generally, with instrumental sounds, the
lower the partial, the higher the amplitude. But there are many
exceptions (that make our orchestra interesting...). Often the second
harmonic is stronger than the first (also called the fundamental), or
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the fundamental may be completely absent which is the case for low
notes on the piano. Also harmonics are often louder in a certain
spectral region, and define a "formant", which is typical of instru-
mental timbres.
To construct harmonic spectra, two processes are possible: to define
an alogrithm or to base it on an instrumental timbre.
Simple waveforms (such as those generated by classic synthesizers)
correspond to simple algorithms. For example, "square" and
"triangle" waves consist only of uneven partials. Pulse waves are
defective series: 1,2,4,5,7,8,etc . . . . , for a cycle 1/3, 2/3. There is also a
function for partial amplitudes: i = f(r). For a triangle wave, ampli-
tude equals i = l / r z (r still being the ordering), for the square wave:
1 = l/r. It is of course possible to construct more complex series by using
these basic procedures. One can also "filter" the harmonic series in
m a n y ways, fragment it, only use certain parts, manipulate ampli-
tudes...
Instruments provide an enormous quantity of interesting models
that are revealed through spectral analysis. Here for example is the
spectral analysis of C-0 of the piano (the lowest C). T h e left column
indicates partial number, the right relative amplitude (in reference to
the loudest partial present). This list stops at the 50th harmonic, but
the analysis detects energy up to partial 118 (Figure 1)!
M a n y of these principles were used in my work Dgsint~grations,
realized at I R C A M in 1982/83. All of the material for the piece
(which is scored for orchestra and tape), its microforms and systems of
evolution, were determined from such spectral analyses, from the
decomposition or artifical reconstruction of harmonic and inhar-
monic spectra.
Most of the spectra were of instrumental origin: low piano notes,
brass instruments, and the cello, were used most often.
The tape does not try to imitate instrumental sounds which only
serve as models for the construction of timbres or harmonies. M a n y
 162 TRISTAN MURAIL

2.
J.
4.
l.UBOudU
~,2bJl?b
O.SO1411
22.
25.
24.
~,187619
0.31413U
0.016412
[ 43,
47.
44,
'~.1:951~
e.12Bu
U,~2bbY7
J
b. 0.544941 25. 0,048377 45. e.e$0187
D. ~.543653 2b, 0.05383~ 4o. ~.u19848
I ? " 0.9649~6 27, 0,3453.89 1 47. ~.e29756
--0,004.356 28. ~,340021 48. e.e~662b
9, ~,234125 ~9. 0.483649 49. 8.010768
tU.
11.
12.
B,41~792
~0.869B08
~.70262~
] 3~.
31,
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0.285539
0,052427
~.0~6994
5e. e.e2448~
Downloaded by [Florida International University] at 01:38 21 December 2014

IJ, 8.703479 J3, ~005620~

14. ~,u30799 J4, O.gOl93S
15. 0.275385 35. 0,|b8016 1
16. ~.0~9540 36. ~,112062
17. 0,239186 37. 0.19627O
10. ~|94920 38. ~.10~19~
19. ~,3946B7 ] ]9, 0,043469
2~. 0.2b~476 40. 0.~1319~
2I. 0.69~779 41. 0.031904

FIGURE 1

types of spectral treatment are employed in this piece:

- - "Splitting": only one spectral region is used (for example, the
"bell" sOunds at the beginning and end are obtained by splitting a
piano spectrum);
-- filtering: to exaggerate or enhance certain partials;
- - spectral exploration: movement within a sound; one hears the
partials one by one, timbre becomes melody (for example, in the third
section, small bells made by disintegrating flute and clarinet spectra);
- - inharmonic spectra: "linear" by adding or subtracting fre-
quencies, "non-linear" by distorting a spectrum or applying a new
frequency curve (for example, in the penultimate section, progressive
distortion of a low trombone sound).
T h e tape was produced using additive synthesis, which involves the
description of all dimensions of each partial. This seemed necessary to
allow me to play with each spectrum with the precision that I wished.
I had for a long time applied similar techniques to instrumental and
orchestral works, and in D~sint~grationsthe same processes are found in
both orchestra and tape.
Classic synthesis programs were too ponderous and too slow, so the
4X real-time digital synthesizer was used. Even so, each sound
required the definition of hundreds of parameters which were
calculated by the "Syntad" program which I had written on
I R C A M ' s central computer. T h e computer was also used in the
writing of the orchestral score and in the choice of pitches and
 SPECTRA AND PIXIES 163

calculation of durations. Certain microforms were also directly

generated by "Syntad".
Tape and instruments are complementary. The tape often exagger-
ates the character of the instruments, diffracting and disintegrating
their timbre, or amplifying the orchestra. The synchronization
between the two must be perfect in performance, which is the reason
for the "click track" that the conductor listens to during the piece.
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The piece is made up of eleven connected sections. It progresses

from one section to the next by transition-transformation, or by
passing a "threshold". Each section emphasizes one type of spectral
treatment, the description of which is beyond the scope of this article.
Suffice it to say that within each type of treatment, each section
evolves from harmonic to inharmonic, or vice versa. This creates
changes of light and shade accompanied by agitation, and by
rhythmic order and disorder.
Let us look at a specific example of spectral treatment, taken from
the beginning of D~sint~grations. The entire opening is based upon
aggregates taken from the formants of a low piano spectrum (boxed
zones in Figure 1), that serve both for the tape and the instrumental
writing. In Figure 2, the aggregates noted "a" come from the
spectrum with a virtual fundamental of AS-l, aggregates "b" from
fundamental CS-1 (the relationship between fundamentals is charac-
teristic of bell spectra, explained below). The small numbers corre-
spond to the partial number, an approximation being made to the 1/8
tone (a short parenthesis: these procedures for spectral construction
always produce "non-tempered" frequencies, that must then be
approximated for instrumental performance. For electronic synthesis
this problem obviously doesn't exist).
In reality, the piano spectrum is not perfectly harmonic. It contains
aslight distortion, that stretches the highest frequencies. This is how
the transition is made naturally to the inharmonic domain, for which

9 ,lt~ .. , , i t 0%
. . . . . . . .=- , ..... =-~ :
9 ~"" " - " ' r',, "~-~- c~.
,); JL. 9 dr= g d !
-,~ ~,-. _- ~ . -_~ :

FIGURE 2
 164 TRISTAN MURAIL

we have m a n y instrumental models (notably most percussion instru-

ments). Take for example the bell: bell manufacturers try especially to
obtain a characteristic spectrum which contains inharmonic partials,
in particular the minor third over the fundamental:
$

.f
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9: ~[-"
FIGURE 3
Electronic music has tried to imitate such sonorities, and has
usually employed two techniques to achieve this: ring modulation
(for analogue synthesis) and frequency modulation (for digital
synthesis). In both cases, the relationship between frequency and
partial n u m b e r is linear, as with the harmonic series, but the graph of
the function is a straight line which does not pass through the origin:
that is the major difference from a harmonic series. Here is the graph
of a typical frequency modulation, whose equation is: f r e q = m • i
+ c(m = modulator, c = carrier, i = index).

HERTZ
Frbquences(Hertz

1000

J m = sol#O
~ d/l./g p=la3
500 - 9

j YSOL~ 1 ~ 4 3 2 1 1 2 3 4 5 6 7 8 9 10 11 12 Indice

FIGURE 4
 SPECTRA AND PIXIES 165

If the value of"i" is large enough, the frequencies of the equation

"m x i-c" finish by becoming negative. Since a negative frequency is
identical to a positive one, the phenomenon of "foldover' occurs.
Indicated by the dotted line, a phenomenon which considerably
enriches from spetra. The trick is to vary "i" over time in order to
produce spectral fluctuations.
Finally, let's leave the domain of linear functions. The analysis of
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the piano sound discussed above suggests such a "move. The "real"
piano spectrum could be calculated by using a power function
(y = ax b + c). If"b" is close to 1, there will only be a slight distortion in
relation to a harmonic spectrum.

FREQ.

t
2000

1500
Sol 5
Sol ~ 5

Sol 5
Fa5 Va~5
Rc~g5 Mi,~5
R~5
Do.# 5
Do5
1000 si~ 4
.Si~4
Sol ~ 4
Sol 4

Mi4 Mi~,4

Do4
500
Sol 3

Do3

Do2

l 2 3 4 5 6 7 8 9 10 Il 12 RANG

FIGURE 5
 166 TRISTANMURAIL

I f this p h e n o m e n o n is exaggerated, eccentric spectra are obtained

that have violent compressions or expansions of partials. Here are two
examples, with b ) 1 and b ( 1:

Fr~qucncc (hz) [F=25~933 x ( R - 1)1"92899 + 2 2 0 ]

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Si5

(soL~5)
1500

Mi5 [ F = 4 0 0 , 4 3 7 x ( R - 1) ~ +587 ]

(Si~4)
100t]

(So14)

' R~ 4 = 589 R~ 4 = 589

1500 (Soil3),

! (si2)

Ra2 = 220

1 2 3 4 5 6 7 8 9 I'0 11 12 Rang

FIGURE 6

Whatever the nature of the spectrum, harmonic, inharmonic,

linear, non-linear, the most important thing is for these spectra to
evolve over time: to become more or less rich, enhance their
harmonicity or inharmonicity, linearity or non-linearity. This is how
musical forms are born, micro-forms or macro-forms, where all is
connected and interdependent, frequencies, durations, combinations
of frequencies - - therefore harmonies and even orchestration. Here is
a simple example of micro-form: a collision of high sounds, crotales,
glockenspiel, piano, tape - - again from D~sint~grations:
 Downloaded by [Florida International University] at 01:38 21 December 2014

-"
"7
,
,

FIGURE
r.

7
L

E
b.

1
I
SPECTRA AND PIXIES

I
t,
167
 168 TRISTANMURAIL

All of these sounds derive from harmonic spectra, whose funda-

mentals will be heard later when they fuse together to create spectra
of a flute, clarinet and muted trombone (doubling instruments that
are playing live); the jangling of bells will be reabsorbed by sustained
instrumental sounds.
It is harder to give an example of macro-form since it would be
necessary to analyse an entire section of the piece. Here is a small
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plan, which corresponds again to the end of the same piece, or rather
to the section just before the end. The process represented lasts about
three minutes (and consists of m a n y other levels.)

~ . . . . ~ Crc~~176176 , *

s
O
Tbn ,.4
r

-e-

Mounting tension _~.

FIGURE 8
It should be clear that these compositional procedures demand
certain calculations (many calculations in fact ...): simple calcul-
ations for linear functions, much more complex ones for other
functions, power, exponential or logarithmic. M u c h more, the results
of these calculations, expressed in frequency (hertz) or in duration
(seconds), must themselves be transcribed into musical notation - - a
long and tedious process.
This is the first task to delegate to the computer, incontestable
champion of repetitive processes: all sorts of calculations, transcrip-
tion of results, and then visualization - - why not - - in the form of
musical notation, staves, notes, and accidentals... The newer micro-
computers can define graphic entities which have been prettily
baptized "pixies", and which move around the screen: a good thing
for us. At the end of a calculation of a frequency modulation, or any
other, the screen will fill up with these pixies in the form of musical
 SPECTRA AND PIXIES 169

notes so that we can immediately appreciate the sonic result of our

investigations.
Data could then be entered quite easily, with a light pen or
digitizing tablet or even a piano keyboard. To go a step further:
thanks to present interfacing technology and computer-controlled
oscillator banks, it is possible to imagine being able to hear these
sounds at the same time as they are represented graphically, or to
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print the results of automated composition algorithms, without

needing to use large and costly machines. With thirty or forty
oscillators and the proper software, the (additive) synthesis resources
are already quite powerful, and could equal, in speed if not in power,
the larger systems found in research institutes. This was the second
role of the computer. In fact, a generalized additive synthesis system is
capable of generating timbres as well as micro-forms, macro-forms, or
long evolutions.
Even so, the necessary instructions, the data to enter, are
enormous. A n d if an attempt is made to generalize certain of the
previous ideas concerning large-scale form, the system will become
too complex to be integrated and controlled by the creator. Therefore
one must think of automatizing at an even higher level, to build a
computer-assisted composition system (C.A.C.). This use of the
computer is rather novel; rather than sound synthesis on the one hand
and automated compositional alogrithms on the other, it involves the
construction of an interactive, "inviting" environment, similar to
systems that exist in other domains (industrial design, architecture:
C.A.D. = computer-aided design).
T h e challenges for the ful~ure are staggering. Take the example of
orchestration: how can we go further than the empiricism to which we
are presently reduced? Obviously the rules found in treatises are
usually well-founded, the instinct of the great composers has often
(though not always) been sure-footed... Nevertheless, couldn't we go
even further? We now understand, thanks to acoustical analysis, the
solidity of empirical recipes, but there is still an infinity to discover (I
would even say that practically everything remains to be discovered).
Ideally, one would have to account for the interaction of each timbre
with all others (this being the idea of "instrumental synthesis"),
implying knowledge of every instrumental spectrum (which all vary
depending on loudness, pitch, and articulation).
I f we wish to achieve the necessary finesse in this work, the use of
 170 TRISTANMURAIL

computers, yet again, becomes indispensable: we need a real com-

puterized orchestration treatise, or rather a C.A.O. system
(computer-assisted orchestration). Even better we can dream of
having "orchestration machines" in a few years, which the composer
could experiment with, while listening to the combinations that he
imagines ...
There is a great future in the alliance of spectra and pixies.
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Translated by Tod Machover