Table 1
Sonic characteristics and typologies of the Perceptual Grammar (Wanke, 2021; 2015).
| TYPES | ATTRIBUTES/CHARACTERISTICS |
|---|---|
| Morphologies | • The use of an expanded spectrum |
| • Interactions between neighboring frequencies (e.g., microtonality, binaural beats) | |
| • Systematic frequency-based glides (glissando) | |
| • Static masses of sound (e.g., sustained tone-based aggregates, drones) | |
| Evolutions | • Metric structures (e.g., rhythm, repetitive clusters) |
| • Dynamic and Timbric Contrasts | |
| Effects | • Hypnotic Reiterations |
| • Auditory challenges (e.g., distortions, illusory effects, psychoacoustic phenomena). | |
| • Macro/micro constructions. | |
| Arrangements | • A plastic and sculptural arrangement of sound |
| • Restricted number of elements conceived globally | |
| • Limited dialectic among elements |
Figure 1
Spectrogram [30 – 5700 Hz/31’11” – 35’21”/bars 343 – 413] of Haas’ in vain (2000).
Figure 2
Left side: schematic representation of the results sorted by participants’ musical training. Bar graphs where pale grey bars represent “dynamic” drawings (linear and spectrotemporal evolution) and dark grey bars represent “static” drawings (Static portrait). Right side: the nine pairs of drawings.
Figure 3
Top: pitch-based representation of interlaced glissandi of Haas’ String Quartet nº2, bars 87 – 96 [06’45” – 07’25”]; Bottom: corresponding drawings.
Figure 4
Top: spectrogram [59 – 2000 Hz/15’27” – 17’08”/bars 215 – 227] of Haas’ String Quartet nº2. Bottom: corresponding drawings.
Figure 5
Schematic representation of the multi-level pathway which connects the physical level to the symbolic level (Petitot, 2011).