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Originally Posted by Glice
I was thinking of Kaija Saariaho when I was writing that, but Murail's one of the 'instigators' of spectralism, along with Gerard Grisey. The lineage runs (roughly) from Xenakis, Varése and takes in bits of concrete (which makes it very close to Lachenmann) and sound-art (say, Naumann).
There's a great piece by Horaitu Radelescu, 'Infinite cannot be anti-infinite' which is worth checking out - he split up an octave into something like 140 intervals.
Spectralism is kind of interesting to me because it's the first movement which uses new technology for the experiment, rather than as material. So the 'spectral analysis' - where aspects of a sound are physically interrogated with spectroscopes or whatever they are - are the experiment which informs the resultant music (and necessary slippage between that analysis and what is possibly with the orchestra as is) rather than using (for instance) record players as material (Cage's Williams Mix/ radio stuff). It's a load of geeks in sound labs rather than a load of geeky composers seeking new musical instruments in modern technology.
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Great, thanks. Reading the wiki page, the fundamental idea seems quite similar to
Divisionism (and to a lesser degree Pointilism) in painting. Although clearly less abstract in its end result:
