This article considers the ‘representation of decay’ in selected concert works by the Australian composer Cat Hope. It draws on a mixed-method research methodology, comparing the conceptual aspects of Hope's oeuvre with analyses of studio and live recordings of Hope's work and discussing how such ideas of ‘decay’ may play out in the sonic world. Two forms of spectral analysis are employed: firstly the analysis of spectral parameters roughness, noisiness, brightness, pitch, and centroid, and secondly a visualisation of the music as a spectrogram. The data for the spectral analyses are derived from Alexander Harker's spectral descriptor tools for MaxMSP which record a value for each parameter every 25 milliseconds. At times, values are normalised within a range of 0 and 1, as representative of how listeners experience parametrical changes (i.e. dynamics, in relative terms rather than absolutes in relation to other sounds in the work). Importantly, perception of noisiness is more acute at frequencies in which the auditory critical bands are wider, below 250 Hz (roughly below middle C), precisely the upper range specified by Hope to define instruments suitable for the Australian Bass Orchestra.

中文翻译：

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CAT HOPE 作品中腐朽的表现

本文考虑了澳大利亚作曲家 C​​at Hope 选定的音乐会作品中的“衰变表现”。它采用了一种混合方法的研究方法，将霍普作品的概念方面与对霍普作品的工作室和现场录音的分析进行了比较，并讨论了这种“衰变”的想法如何在声音世界中发挥作用。采用两种形式的光谱分析：首先是光谱参数分析粗糙度,嘈杂,亮度,沥青， 和质心，其次将音乐可视化为频谱图。光谱分析的数据来自 Alexander Harker 的 MaxMSP 光谱描述符工具，该工具每 25 毫秒记录每个参数的值。有时，值会在 0 和 1 的范围内进行归一化，以代表听众如何体验参数变化（即动态，相对于作品中的其他声音而言，相对而言是相对的，而不是绝对的）。重要的是，在听觉临界频带较宽、低于 250 Hz（大致低于中间 C）的频率下，噪声感知更为敏锐，这正是 Hope 为定义适合澳大利亚低音管弦乐队的乐器而指定的上限。