Spectralism

Spectral music (or spectralism) is a compositional technique developed in the 1970s, using computer analysis of the quality of timbre in acoustic music or artificial timbres derived from synthesis.

Defined in technical language, spectral music is an acoustic musical practice where compositional decisions are often informed by sonographic representations and mathematical analysis of sound spectra, or by mathematically generated spectra. The spectral approach focuses on manipulating the spectral features, interconnecting them, and transforming them. In this formulation, computer-based sound analysis and representations of audio signals are treated as being analogous to a timbral representation of sound.

The (acoustic-composition) spectral approach originated in France in the early 1970s, and techniques were developed, and later refined, primarily at IRCAM, Paris, with the Ensemble l'Itinéraire, by composers such as Gérard Grisey and Tristan Murail. Murail has described spectral music as an aesthetic rather than a style, not so much a set of techniques as an attitude; as Joshua Fineberg puts it, a recognition that "music is ultimately sound evolving in time".Julian Anderson indicates that a number of major composers associated with spectralism consider the term inappropriate, misleading, and reductive. The Istanbul Spectral Music Conference of 2003 suggested a redefinition of the term "spectral music" to encompass any music that foregrounds timbre as an important element of structure or language.

The term "spectral music" was coined by Hugues Dufourt in an article written in 1979 and first published two years later. Dufourt, a trained philosopher and composer, was the author of several important articles on spectral music.

The term was initially associated with composers of the French Ensemble l'Itinéraire, including Dufourt, Gérard Grisey, Tristan Murail, and Michael Levinas, and the German Feedback group, principally Johannes Fritsch, Mesias Maiguashca, Peter Eötvös, Claude Vivier, and Clarence Barlow. Features of spectralism are also seen independently in the contemporary work of Romanian composers Ştefan Niculescu, Horațiu Rădulescu, and Iancu Dumitrescu.

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