What takes place in the minds of composers when they struggle to incorporate a given temporal concept into a musical work? Spectral composers have produced detailed theoretical proposals about time in music, but how exactly those ideas influenced their musical practices remains an extremely challenging question. Graphical representations in their sketches provide invaluable clues. Through the analyses of Gérard Grisey’s and Kaija Saariaho’s manuscripts, we show how the theoretical frameworks for the basic cognitive operations of blending and anchoring, which underlie the construction of complex meanings, can shed light on the intricate musical uses of timelines by spectral composers. We combine the universal claims of this cognitive analysis with the diachronic perspective of a musicological study, teasing out the mental paths that these composers may have followed to create novel aesthetic proposals from their experience with graphic representations of sound, mainly spectrograms, and from techniques of electroacoustic studios. Thus we pave the way towards a common language for understanding time representation across electroacoustics and music in general, based on this mixed methodology. Through such shared tenets, the cognitive study of music can reciprocally contribute to burgeoning fields such as time representation, meaning construction and creativity.

中文翻译：

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谱组成的时间线：音乐创造力的认知方法

当作曲家努力将给定的时间概念融入音乐作品时，他们的脑海中会发生什么？光谱作曲家已经提出了关于音乐时间的详细理论建议，但这些想法究竟如何影响他们的音乐实践仍然是一个极具挑战性的问题。他们草图中的图形表示提供了宝贵的线索。通过对 Gérard Grisey 和 Kaija Saariaho 手稿的分析，我们展示了混合和锚定的基本认知操作的理论框架，这些理论框架是复杂意义构建的基础，可以阐明光谱作曲家对时间线的错综复杂的音乐用途。我们将这种认知分析的普遍主张与音乐学研究的历时观点结合起来，梳理出这些作曲家可能遵循的心理路径，从他们对声音图形表示的经验（主要是频谱图）和电声工作室的技术中创造出新颖的美学建议。因此，基于这种混合方法，我们为理解跨电声和音乐的时间表示的通用语言铺平了道路。通过这些共同的原则，对音乐的认知研究可以相互促进新兴领域，如时间表征、意义建构和创造力。因此，基于这种混合方法，我们为理解跨电声和音乐的时间表示的通用语言铺平了道路。通过这些共同的原则，对音乐的认知研究可以相互促进新兴领域，如时间表征、意义建构和创造力。因此，基于这种混合方法，我们为理解跨电声和音乐的时间表示的通用语言铺平了道路。通过这些共同的原则，对音乐的认知研究可以相互促进新兴领域，如时间表征、意义建构和创造力。