Eine Reflexion über die formale Funktion der inharmonischen Spektren in Beziehung zur Zeit und Form in Les Espaces Acoustiques

In this paper, the attention is focused on a very specific form of inharmonic spectra which is proximate to the upper threshold of the Grisey’s scale of com- plexity theorized in his article »Tempus ex machina. A composer’s reflexions on musical time«, i.e. to white noise. Various functions which this particular spectro-morphological element performs in the temporal and formal organi- zation are examined trough some extracts from works of the cycle Les Espaces Acoustiques. Different occurrences of inharmonic spectra are also observed from the perception point of view, as elements that are capable of building a sort of a »point of orientation«. Therefore, they contribute to the directional- ity of spectral transformation processes control. This later is discussed on the basis of some categories recurrent in Grisey’s sketches, subordinate to catego- ries derived from the previously mentioned scale of complexity and informa- tion theory. The composer’s aim is to reduce the gap between composed and perceived temporal and sonic phenomena.