In musical composition, a sound mass or sound collective is the result of compositional techniques, in which, "the importance of individual pitches", is minimized, "in preference for texture, timbre, and dynamics as primary shapers of gesture and impact", obscuring, "the boundary between sound and noise".[2]
Techniques which may create or be used with sound mass include extended techniques such as muted brass or strings, flutter tonguing, wide vibrato, extreme ranges, and glissandos as the continuum for "sound mass" moves from simultaneously sounding notes – clusters etc., towards stochastic cloud textures, and 'mass structure' compositional textures which evolve over time.[2] In a sound mass, "the traditional concept of 'chord' or vertical 'event' [is] replaced by a shifting, iridescent fabric of sound".[3]
The use of "chords approaching timbres" begins with Debussy, and Edgard Varèse often carefully scored individual instrumental parts so that they would fuse into one ensemble timbre or sound mass.[4] Explored by Charles Ives and Henry Cowell in the early part of the twentieth century, this technique also developed from the modernist tone clusters and spread to orchestral writing by the mid 1950s and 1960s.[2] "Unlike most tonal and non-tonal linear dissonances, tone clusters are essentially static. The individual pitches are of secondary importance; it is the sound mass that is foremost."[5] One French composer active in this period whose music takes a sound-mass approach directly influenced by both Debussy and Varèse is Maurice Ohana.[6]
- ^ Erickson 1975, pp. 166, 168.
- ^ a b c Edwards 2001, pp. 326–327.
- ^ Kostka, Payne, and Schindler 1995, 546.
- ^ Erickson 1975, pp. 18, 21.
- ^ Reisberg 1975, p. 355.
- ^ Rae 2001.