chapter  5
19 Pages

Timbral architectures, aurality’s force: sound and music: Chris Salter

ByCHRIS SALTER

A single sound is heard in the theatre. It resembles, at least in the first moments, a stringed instrument playing an out-of-tune, pentatonic scale. As the sound continues, it has difficulty completing its phrase, as if something were prohibiting its resolution. The sound comes apart, decelerating and simultaneously continuing its search for an end. Other sounds gradually enter this strange aural field to which we somehow cannot rapidly enough adjust our perception: percussive glissandos and longer, legato lines that start and suddenly fade. There is a feeling of suspension that some great storm of force is about to erupt in the theatre.