This paper draws on the authorʼs recent theoretical and practical research into the morphology of sound and audiation. In particular, it explores the notion of equivalence in a multidimensional soundscape. Correlations between the interconnectedness of sound-based morphologies emanating from extended guitar techniques and comprehending internal auditory imagination when sound is not physically present will be assessed. To express an all-encompassing mental and visual image of apprehending the value of sound from a morphological and audiative perspective, three-dimensional topological diagrams will be evaluated ‒ a development of previous two-dimensional visualisations. In regard to morphologies, topics of interest are spectromorphology, spatiomorphology, spectral quality, performance space, and performance aspects. Studying these topics will help in the understanding of morphological value. Learning to comprehend morphologies in relation to the listening experience will deepen all round musical abilities. We will therefore investigate audiation through encompassing deep listening, reduced listening, inherent and external qualities, psychological experience, imagination, and improvisation. As more mutual inclusivity is discovered we can start to contemplate more adventurous pedagogical tools from which future nurturing of musicians may be drawn.
Vishnick, M. (2023). The morphological and audiative interconnectedness of sound: Equivalence in a multidimensional soundscape. In R. Torres, A. Brandon, & J. Noble (Eds.), Proceedings of The 21st Century Guitar Conference 2019 & 2021 (pp. 128-144). https://digitalcommons.du.edu/twentyfirst-century-guitar/vol1/iss1/9