Spectral, Spatial and Temporal Complexity in Electroacoustic Composition: A Statistical, Theoretical and Cognitive Analysis of Morphological Form

This thesis investigates the relationship between the varying complexities of spectromorphology, spatiomorphology and temporal morphologies, their visualisations in computer music notation and the impacts of each on listener preference and understanding in electroacoustic settings. An analysis of existing theoretical examples and visualisations of Smalley’s (1986, 1996, 1997) sound-shape are presented alongside a notational system developed to explore ways in which morphological complexity can be articulated visually and translated into compositional practice. A series of musical experiments and perceptual tests are presented, demonstrating that higher rates of morphological complexity and fluctuation lead to increased listener preference, interest and understanding of both short auditory stimuli and longer electroacoustic compositions. A composition portfolio informed by the results of both analyses and notational system is presented. A discussion of this portfolio alongside subsequent cognitive enquiry examines ways in which to inform future directions of electroacoustic composition, notation, diffusion, analysis and experience in technologically driven environments