This article re-orientates Denis Smalley’s work on spectromorphology and space-form through a case study of electronic dance music (EDM) on YouTube. An EDM track and its related YouTube comments are analysed concurrently in order to examine how sound-shapes and sonic spatiality are experienced in practice on the social web. Using Stephen Feld’s notion of acoustemology as a theoretical base, I argue that semantic and somantic ways of knowing through sound are thoroughly entangled. A hybrid acoustemology model is outlined, merging spectromorphology and space-form with elements of ecosemiotics and music psychology. The model is then deployed during an acoustemology of the trance/breakbeat trackFinished Symphonyby Hybrid (1999). Selected YouTube comments onFinished Symphonyuploads are coded deductively using the descriptive system of Gabrielsson and Wik (2003). A larger set of comments is subsequently collected for inductive content analysis, which highlights some wider issues relating to the words we use for music and sound. The article concludes by calling forvantage point shiftsin music research.

中文翻译：

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通过混合声学重新定位光谱形态学和空间形态

本文通过 YouTube 上的电子舞曲 (EDM) 案例研究重新定位了 Denis Smalley 在光谱形态学和空间形态方面的工作。同时分析 EDM 曲目及其相关的 YouTube 评论，以检查在社交网络上的实践中如何体验声音形状和声音空间性。使用斯蒂芬费尔德的声学概念作为理论基础，我认为语义和 s○通过声音来认识的方式被彻底纠缠在一起。概述了混合声学模型，将光谱形态学和空间形式与生态符号学和音乐心理学的元素相结合。然后在 trance/breakbeat 轨道的声学中部署该模型完成交响曲混合（1999）。选定的 YouTube 评论完成交响曲上传使用 Gabrielsson 和 Wik (2003) 的描述系统进行演绎编码。随后收集了更大的评论集用于归纳内容分析，这突出了与我们用于音乐和声音的单词相关的一些更广泛的问题。文章最后呼吁制高点转移在音乐研究中。