A sound object is analyzable into attack, body, and decay

Evidence

We may call the sound object the smallest self-contained particle of a soundscape. Because it possesses a beginning, middle and end, it is analyzable in terms of its envelope. Envelope is a graphic term but the ear can be trained to hear its characteristics, which are defined as attack, body (or stationary state) and decay. — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 442

When sounds are projected visually on a graphic level recorder, they may be analyzed in terms of what is called their envelope or signature. The principal characteristics of a sound envelope are the attack, the body, the transients (or internal changes) and the decay. When the body of the sound is prolonged and unchanging, it is reproduced by the graphic level recorder as an extended horizontal line. — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 269

Categorization

• DEFINE: Core term of the soundscape field: sound object and its three-phase envelope.
• SEED: Audio recording and cataloging workflows could be organized around attack/body/decay envelopes.
• XREF: Connects to audio production and recordist vocabulary the reader likely already knows. — connects to: A sound envelope is defined by attack, body, transients, and decay — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 269; An instrument’s normal attack transient is essential to its characteristic timbre; Instrument sound envelopes are described by attack, decay, sustain, and release phases (+1 more)
• corroborated: 3 independent passages support this claim — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 442; Schafer, Murray R, The Soundscape- Our Sonic Environment…, 269