THE MORPHOLOGICAL AND AUDIATIVE INTERCONNECTEDNESS OF SOUND: EQUIVALENCE IN A MULTIDIMENSIONAL SOUNDSCAPE

Abstract

Article is dedicated to the morphological and audiative interconnectedness of sound: equivalence in a multidimensional soundscape. To underline my goal of aiding guitarists, performers, composers, and researchers, the underlying purpose of this text is the development of pedagogical tools. Drawing on personal recent theoretical and practical research into the morphology of sound and audiation we will explore the notion of ‘equivalence in a multidimensional soundscape’. Correlations between the interconnectedness of sound-based morphologies emanating from extended guitar techniques, and comprehending internal realisation of the senses to hear and feel when sound is not physically present will be assessed. By outlining recent relevant texts that have made forward strides in guitar and music theory, pedagogy, and analysis we gain useful knowledge on all sounds, and listening strategies. To express an all-encompassing mental and visual image of apprehending the value of sound from a morphological and audiative perspective, three-dimensional topological diagrams will be evaluated; a development of previous two-dimensional visualisations from prior work. In regard to morphologies, topics of interest are spectromorphology, spatiomorphology, spectral quality, performance space, and performance aspects. Studying these aspects will help in the understanding of morphological value. Learning to comprehend morphologies in relation to the listening experience will deepen all round musical abilities. We will therefore investigate audiation through encompassing deep listening, reduced listening, inherent and external qualities, psychological experience, imagination, and improvisation. The perception of spectral motions in space involve dynamic thinking and action, and as more mutual inclusivity is discovered we can start to contemplate more adventurous pedagogical tools from which future.