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[9] Preface,by Pierre Schaeffer

It is almost ten years since Michel Chion thought of providing a guide for readers of the

Trait des Objets Musicaux, which could form the basis of a dictionary. It was doubtless as a

result of hearing me constantly returning to the same key words (value and characteristic,

sonority and musicality, permanence and variation, which always sing in duet) when he was a

Pupil-Teacher at the Conservatoire, that he was one of the first to understand the strange

musical dualism that lies at the basis of all music (a fact which, alas, eludes most of our

contemporaries). As a result his Guide is a sort of variation on the Trait or more precisely a

reprise of the themes with a simplified itinerary. It is always good to hear another person

restate what the first meant to say, and which is never altogether said, nor fully understood.

These few words of introduction give me the opportunity to repeat once again, and

definitively, what will and what will not be found in the Trait des Objets Musicauxto which

Michel Chions Guide gives a method of approach which is personal and original, but kept

within the strict limitations of his purpose.

I could not in any case make myself clear without mentioning the fundamental

hypothesis which underlies both of these works. This is the hypothesis of a three-stagemusical problematic, or, as linguists would say, in two articulations: the sonorous/the

musical/meaning. We should explain that in this triad, acoustics is already considered as

superseded, developed and filtered by the sense of hearing. The triad is therefore quite

specific to music, and involves no other discipline, scientific or humanistic, except, of course

in the frontier zones. In traditional music, these three stages are clearly evident: the notes that

are heard (including the sonority of the piece, the instrument, the virtuoso), then the

musicalityof the whole, and finally, for the involved, informed and sensitive listener, what,

for lack of any other word or any way of describing or clarifying it, we must call the meaning:

this is precisely what makes music irreplaceable, and interchangeable with no other form of

expression. My hypothesis was that no other music, primitive or new, could exist outside

these three categories.

Now, the Trait des Objets Musicaux, as I am constantly repeating, concentrates its

research right in the middle of the triad. It takes on the sonorous, all the sonorous, for the first

time, and this is doubtless its merit; then it suggests ways of accessing the musical,

particularly with the idea that not all sound is suitable for music, that choices of the suitable


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chance determines its creations. You would think that a sub-culture had taken hold of Art

(because this does not apply just to music) in order to slap the worn-out label of Chance and

Necessity on to it.

Indeed, when cleverly manipulated, these two terms can sometimes be the short-termkey to a number of things we dont know. Far from being the key to true knowledge, they are

catch-alls for when theory fails or practice falters. Science is also and principally the will to

power, prediction and challenging the possible. Art, by contrast, was also mans attempt to

situate himself, to develop through self-expression, at the same time escaping from

determinism. Oddly, fashion is blowing the other way, and has promised [11] machines,

instruments, deus ex machina to help us undertake ridiculous journeys.

The researchers who have decided to follow me over the last thirty-five years or so are

fully aware of the contradictory field into which I have led, and sometimes retained, them in

relation to and against the current fashion. So it is not surprising to find in the Pupil-Teachers

guide, discreet but perceptible traces of these debates and warnings. Perhaps the limits of this

research have not been indicated clearly enough. Its thesis remains open, its discoveries,

certainly full of possibilities, are incomplete, and its conclusion, alas, desired by everyone, is

totally lacking: i.e. a treatise, not on musical objects, but on the musical work! The future,

gentlemen, belongs to you. Do not complain if I have left the most difficult part to you. All

you will find is a way of proceeding: not one real rule of Art.

But perhaps, on the other hand, you will come across something unexplained,

surprising. Indeed, is not musical meaning, to which I am constantly referring without being

able to define it, like other questions in life to which we do not know the answer? After all,

does life have a meaning? Who can define it? Is there consensus about it?

And even if we limit ourselves to music to Music even can these questions be

answered? What is music? What is its function? (or functions). Is it universal, singular,

plural? Are musical works objects, in the sense of a product, or means of communicationamongst human beings, or more than that, a glimpse beyond, into that which we call, for

example, the spiritual?

Now, without replying to such questions, since the sphinx itself gives up, we can

accept or not accept that they are asked, that they prevail, somewhere, in the individual or

collective unconscious. In short, in Music as well, we could distinguish, not atheists and

believers, but those who believe in the here and now and those who believe in the beyond of

music.


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With the result that across this whole debate there is a subtext (or a misunderstanding)

which it would be good to clarify once and for all. Yes, for my part, I believe that music is

more than music, that it is not a run of the mill, utilitarian or aesthetic object, but a spiritual

undertaking, or as an old Master used to say, a beingful exercise, an activity of the wholebeing. So I cannot deny that, sometimes, in the course of the most trivial musical theory, the

most apparently technical experiment, the thesis of the spiritual reappeared, the intention of a

going beyond which is difficult to name, but even more impossible to deny.

That is why I advised Michel Chion to add to this preface a text which he wrote in

former times (when, exactly?), half-way between mockery and tenderness, and in which I

shall never cease to admire his story-telling talents and his attention to the essential. I hope

you will read this text without frowning. It is indeed a send-up, but also in this treasure

chest can be found the savour of a precious wood, a scent of friendship and nostalgia for a

Master in despair at the limitations of his knowledge.

Pierre SCHAEFFER


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[12] At that time Peter was with his disciples, and one of them said unto him: Master,

which is the greatest commandment in the law?

Peter answered and said unto him: The greatest of all the commandments is this:

thou shalt work at thine instrument. This is the commandment of my Father, and the second is

like unto it: thou shalt work at thine ear as at thine instrument.

He spake to them again: There is a time to hear (entendre) and a time to listen

(couter); those that have ears to perceive (our), let them comprehend (comprendre).

Another of his disciples said unto him: Master, it hath been said: thou shalt structure

thy music, and thou shalt speak only of the Object.

Peter answered and said unto him: Dost thou not see that whoso understands the

Object, he alone understands Structure? For Structure was made for man, and not man for

Structure.

But the Chief Priests murmured amongst themselves and said: He speaketh

blasphemy against Structure.

And again he said unto them: The hand is willing, but the ear is weak. Harken ye

therefore unto to what ye make. For there is a time to prepare and a time to play. Let thy right

ear know what thy left hand doeth.

Harken unto to the sounds around you, they program not, neither do they calculate,

and yet I say unto you that the Grand Computer in all his glory has never sung like one of

these.

Verily, verily I say unto you, unless ye reduce your hearing, ye will not find the

Sound Object, and unless ye find the Sound Object, ye will not touch man with your music, for

the Musical Object is but a suitable Sound Object.

And again he said unto them: That which varies, is that which is constant. Whoso

beholdeth the Object, beholdeth Structure. Yet still they understood not.

Peter spake unto them this parable: A man went forth to plough a closed groove. At

the tenth turn his neighbours and his friends mocked him. But at the thirtieth turn there was

more music than in all the fields around. Verily, verily I say unto you, cultivate your

Perceptual Field, and the Kingdom of Music shall be yours.

But the crowd reviled him saying: Thou that sayest thou canst change the sonorous

into the musical, change it! And they stoned him with great words.

Peter said: Father, forgive them, for they hear not what they do.

M.C.


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[13] Introduction, by Michel Chion

Our ambition, with this Guide to Sound Objects, has always been to give researchers,

musicians, music-lovers and all who are directly or indirectly interested in the sound-universe

an unbiased, clear and dependable tool (if this can be done) for a better knowledge and

understanding of Pierre Schaeffers considerable contribution to this field, by means of an

inventory of the ideas and concepts developed in his most important work, the Trait des

Objets Musicaux.

This imposing book, published in 1966 and twice re-edited (the first with very slightcorrections, the second in 1977, with a new postscript by the author) has often been consulted,

but the breadth and complexity of its architecture, the diffuseness of the style and

presentation, and the lack of an index at the end of the book makes it difficult to use. We

wanted to resolve this problem by means of this work, which is the result of a commission

from the Groupe de Recherches Musicales in 1972! So, we have taken ten years to begin it,

put it aside, take it up again and complete the definitive version.

For this undertaking presented numerous problems. Should we, for one, go throughthe theses in the Trait des Objets Musicaux, keeping only those which could be judged to be

tried and tested or beyond doubt? We decided against this, considering that it was important

to include everything and leave the reader to come to his own conclusion. Of course we have

not forgotten to point out, in every case, where the author is venturing into rushed hypotheses,

and where he is presenting results which he can guarantee. But a bold and on the spot concept

such as weight or impact can open up new avenues almost as much as a slowly developed

idea. Time will put all these new concepts to work and we cannot know in advance which

will bear the most fruit.

Although wishing to be faithful, this book is not a digest of the Trait des Objets

Musicaux. A quick comparison of the two works will show that it is the result of a long and

far-reaching process of reduction, reclassification, interpretation and reformulation (aiming

for a more synthetic, succinct style of writing), which makes it quite different from an

abridged version.

This Guide to Sound Objects has been written with three complementary aims in

mind:


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- the modest but indispensable aim of providing the Index lacking in the Trait des

[14]Objets Musicaux(with page references to the Traitat the end of each section; here we

should point out that the pagination is the same in the three editions, and that the index can

therefore be used for any version of the Trait):- the aim, right from the start, of providing a Dictionary of the main key-concepts

(often presented in pairs) in the Trait des Objets Musicaux, bringing together all the

approaches to them which that work puts forward. We have chosen 100 of these concepts -

and these pairs - , designated by terms in common usage to which the author gives his own

particular meaning: Grain, Facture, Sustainment, Mass They can be found in alphabetical

order in theAlphabetical Indexat the beginning of this work, which gives the number of each

section;

- finally, the more recent aim of providing aReaders Guidegoing from the first to the

last page, and summarizing the main themes of the Trait in a logical order.

As a result of these three aims, the Guide to Sound Objects has two parallel

superimposed structures:

- a logical progressive structurein five parts, which only very minimally reflects the

structure of the Trait des Objets Musicaux, and which is in essence completely new;

- a numbered list of 100 sections within the sections of the above structure, but

which can be read independently and separately, as each section has its ownIndex.

To make the independent reading of each section possible, without requiring too many

back-references, we have had to repeat ourselves from time to time, but the few repetitions

when the book is read through systematically are, we believe, a minor inconvenience when

compared to the usefulness of being able to read the book in two ways.

To sum up our project, let us say that the Trait des Objets Musicauxis a work largely

written from a diachronic viewpoint, like an itinerary, an almost initiatory journey whose

meanders, regressions, difficult gestations should be followed through (no important conceptis presented without an accountof the intuitions, the trials and errors which gave rise to it),

and that we have cut out much of the synchronicmaterial even though this means compacting

and flattening out the text. Otherwise our work could have been of hardly any interest if it had

simply been a digest of the Trait. Our wager is that this reduced vision will allow a more

thorough, better guided, more informed new reading of the Trait, because of the other

viewpointit gives.

Similarly, we have selected fiveof the most important diagrams in the Trait (which

contains very many), and have appended them so that the reader can find linked together most


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[16] ALPHABETIC TABLE

This table allows the reader to consult this Guide like a dictionary; the numbers indicated refer to the

numbering of the articles from 1 to 100.

ABSTRACT/CONCRETE, 15.ACCIDENT/INCIDENT, 87.

ACCUMULATION, 83.

ACOULOGY, 39.

ACOUSMATIC, 1.

ALLURE, 98.

ANALYSIS/SYNTHESIS, 48.

ANAMORPHOSIS, 5.

ARTICULATION/STRESS, 59.

ATTACK, 97.

BALANCE/ORIGINALITY, 70.

BALANCED (SOUNDS), 71.

CALIBRATION, 18.

CALIBRE: seeSITE/CALIBRE, 51.

CELL, 79.

CHANNELLED (SOUND), 91.

CHARACTERISTIC: see

VALUE/CHARACTERISTIC, 28, GENRE, 47.CHARACTEROLOGY, 46.

CLASS, 44.

CLOSED GROOVE, 2.

COMPLEX (SOUND, MASS), 66.

COMPOSED/COMPOSITE, 86.

CONTEXT/CONTEXTURE, 24.

CONTINUOUS/DISCONTINUOUS, 26.

CORRELATIONS, 4.

CRITERION/DIMENSION, 50.

CULTURAL: seeNATURAL/CULTURAL, 13.

CULTURAL (LISTENING MODE): see

NATURAL/CULTURAL (LISTENING MODES), 8.

CUT BELL, 2.

DENSITY/VOLUME, 94.

DEPONENT (SOUNDS), 45.

DESCRIPTION: see

IDENTIFICATION/DESCRIPTION, 23

DURATION/VARIATION, 69.DYNAMIC (CRITERION), 96.

POCH, 10.

EXCENTRIC (SOUNDS), 76.

FACTURE, 62.

see alsoMASS/FACTURE, 68.

FORMED (SOUNDS), 72.

FORM/MATTER, 60.

FOUR SECTORS: seeFOUR LISTENING

(MODES), 6.

FRAGMENT, 80.

GENRE, 47.

GRAIN, 95.

GROUP, 85.

HARMONIC TIMBRE, 93.

HEARING: seeMAKING/HEARING, 14.

HOMOGENEOUS (SOUNDS), 74.

IDENTIFICATION/DESCRIPTION, 23.IDENTIFY: see

IDENTIFICATION/DESCRIPTION, 23

IMPACT, 55.

IMPULSE, 63.

INCIDENT: seeACCIDENT/INCIDENT, 87.

INSTRUMENT, 21.

INTENTION, 9.

INTERDISCIPLINE, INTERDISCIPLINARY, 36.

INTONATION: seeARTICULATION/STRESS, 59.

ITERATIVE, ITERATION, 64.

LANGUAGE AND MUSIC, 32.

LARGE NOTE, 77.

LISTENING MODES, (THE) FOUR, 6.

MAKING/HEARING, 14.

MASS, 89.

MASS/FACTURE, 68

MASS PROFILE, 100.


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MATTER: see FORM/MATTER, 60.

MEANING/SIGNIFICATION, 35.

MELODIC PROFILE, 99.

MODULE, 56.[17] MORPHOLOGICAL CRITERION, 88.

MORPHOLOGY, 43.

MOTIF, 84.

MUSIC THEORY, 38.

MUSICAL/MUSICIANLY, 16.

MUSICALITY/SONORITY, 27.

MUSICAL (OBJECT): see SOUND (OBJECT), 12,

NATURAL/CULTURAL, 13.

NATURAL/CULTURAL (LISTENING MODES), 8.

NODE, NODAL SOUND, 90.

NOTE, 19.

OBJECT/STRUCTURE, 22.

ORDINARY/SPECIALISED (LISTENING

MODES), 7.

ORIGINALITY: see BALANCE/ORIGINALITY,

70.

OSTINATO, 81.PERCEPTUAL FIELD, 25.

PERMANENCE/VARIATION, 29.

PHYSICAL SIGNAL, 3.

PITCH, 17.

POLYPHONY/POLYMORPHY, 31.

PROGREMU: see MUSIC THEORY, 38.

PROSE COMPOSITION/TRANSLATION 37.

PURE (MUSIC), 34.

REDUNDANT (SOUNDS), 73.

REDUCED (LISTENING), 11.

RELIEF, 54.

SAMPLE, 82.

SIGN, 33.

SIREN, 75.

SITE/CALIBRE, 51.

SONORITY: as opp. to MUSICAL, see

MUSICALITY/SONORITY, 27.

SOUND (OBJECT), 12.SPECIALISED (LISTENING): see

ORDINARY/SPECIALISED (LISTENING

MODES), 7.

SPECIES, 49.

SUITABLE (OBJECT), 40.

SUSTAINMENT, 61.

SUSTAINMENT/INTONATION: see

ARTICULATION/STRESS, 59.

SYNTHESIS: see ANALYSIS/SYNTHESIS, 48.

TABLATURE, 57.

THRESHOLD: see CORRELATION, 4.

TIMBRE, 20.

TONIC (SOUND, MASS), 65.

TRANSLATION: see PROSE

COMPOSITION/TRANSLATION 37.

TYPE, 42.

TYPOLOGICAL CRITERION, 67.TYPOLOGY, 41.

TYPO-MORPHOLOGY, 58.

VALUE/CHARACTERISTIC, 38.

VARIATION, 30.

VARIATION/TEXTURE: see

VALUE/CHARACTERISTIC, 28.

VARIATION: see PERMANENCE/VARIATION,

29 and DURATION/VARIATION, 69.

VOLUME: see DENSITY/VOLUME, 94.

WEFT, 78.

WEIGHT, 53.

WHITE NOISE, 92.

WIDTH, 52.


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We would like to express our thanks to Michel Chion for his co-operation in producing this

translation. Chions exegesis of Pierre Schaeffers theories has, in our opinion, the rare merit of being

as indispensable as Schaeffers original work. We hope that our translation captures something of the

spirit of both Michel Chions Guide des objets sonores and Pierre Schaeffers Trait des objets

musicaux.

We would also like to express our gratitude to Daniel Teruggi, the current director of the Groupe des

Recherches Musicales, for supporting this project. His enthusiasm for the translation of French texts

into English was greatly encouraging.

Lastly, we would like to thanks Professor Leigh Landy, the director of the Music, Technology andInnovation Research Centre at De Montfort University, UK. Without Professor Landys help this

translation would, without doubt, still be seeking a suitable academic home. We hope his

considerable patience during the course of many revisions has been finally rewarded.

John Dack, Christine North.

March, 2009, London


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