The Noise–Pitch Continuum in Timbral Music

Abstract

The rich acoustic world of noisy sounds has been used to different effects by composers during the last decades. However, only limited theorisation exists of noise composition and methodical saturated timbral composition, a lack which this study will address. Analysis of musical scores is conducted on recent works by acclaimed composers such as Bauckholt, Furrer, and Sciarrino. Passages are analysed using a set of timbral-morphological descriptors that are developed for the pitch–noise continuum and its intermediate timbral region. A spectrally reductive analytical tool is proposed to facilitate theory formation and composing, particularly with the rare instrumental sounds that lie perceptually between noise and pitch, here labelled Froise. Different functions and contexts of Froise sounds are demonstrated in the repertoire to derive common strategies of timbral movement.