Composing interruptions: A visual sound-shape view

Abstract

This article illustrates the central role that interruptions play within works of acousmatic music and proposes a practical methodology for composers seeking to employ interruptions creatively in sound-based work. A new typology of sonic interruptions is introduced, drawing on experiential insights gained from practice-based research and observing examples extant in the wider electroacoustic repertoire. This new contribution appreciates the full range of interruptions, defining different types of this technique, taking heed of terminology and conceptualisations of interruption from external areas and disciplines, while introducing a new model for assessing and analysing all instances of interruption based on three components: (i) the pre-existing (ii) the interruption and (iii) the resumption. A close examination of these overlooked yet crucial structural components provide valuable insights for further study. To fully express the inner workings of sonic interruptions, visual sound shapes are activated to represent sound which simultaneously ignites discussions on the ongoing value of visual representation within the field of electroacoustic music studies that continue to serve multiple purposes. This research significantly extends how Smalley’s spectromorphology is used to inspire the creation of visual sound shapes and introduces fresh perspectives of structural functions.