Experimentation as a Central Element in Music Composition
Experimentation as a Central Element in Music Composition
Research-Creation Project Report
Author
Nicolás Medero Larrosa (Université Strasbourg) and Pierre Michel (Université Strasbourg) [PI]
Published: May 1st, 2025
Summary
The composition of sound is a complex process that requires the implementation of numerous strategies and circumstances to achieve a successful outcome. Each musical work is the result of countless preliminary stages, prerequisites, and chance occurrences. The complexity of creation cannot be easily reduced, and the development of specific concepts for the direct experimentation with sound is necessary to navigate through the vast array of creative approaches found in the contemporary instrumental and electroacoustic repertoire. The gestation of a musical work is a mysterious process that surpasses our understanding. Working directly with sound allows us to follow a portion of this process, whether it begins with an idea seeking a sound to materialize or with a "found" sound emerging from an unexpected accident.
Experimentation involves bold exploration of different sound sources, techniques, and processes to create unique and original sounds. Composers and sound artists often use electronic tools and sound processing software to manipulate and transform recorded or real-time generated sounds. Sound creation is an open and creative process that involves playing with the possibilities and limitations of technology, acoustics, and imagination. The art of sound experimentation also requires sensitivity and attentive listening to the environment in which the sounds are created and diffused.
In Search of the Active Relationship between Gesture and Sound: How Transducer Movement Influences Composition: From Experimentation to Music Creation
Beyond the hybridization of my two practices as a composer––of instrumental music and acousmatic music–– lies the expressivity of the tools employed in my music. This expressivity gives me the opportunity to fulfill a very personal desire, which is to carry electronic sound in my hands. Gesture, along with musical notation, accompanies the morphological description of all my works. This aspect always facilitates communication with performers by offering them a precise sonic image of my expectations. It is possible that this reflection originated from my practice as an amateur multi-instrumentalist and the need to thoroughly experiment with and understand musical instruments, allowing me to bring forth and conceive intriguing sounds.
At the core of my interest in gesture, I can recognize certain landmark works such as Le corps à corps by Georges Aperghis, Musique de tables by Thierrey De Mey, and Time & Money, by Pierre Jodlowski, which have been influencial in my own development. In the following section, I will present important steps of the experimentation and development process using transducers as a means of creating haptic control of sound.
Towards an organic form: Development of the transducer glove
Figure 1. Transducer on drum head
The paths towards an organic form of control have been explored ever since we first placed a transducer on the skin of a percussion instrument and sent sound through it. With each attempt, as the transducer was moved, the timbre, intensity, and sometimes even the frequency of the resulting sound changed. Through these initial experiments, we realized the importance of controlling the position of the transducer on the surface. The manual adjustment of the transducer's position allows us to closely follow the resulting micro-changes. This is a crucial element in achieving organic control over the sound production.
Placement, movement, and contact
Upon reviewing the video recordings of our initial experiments, we noticed that the speed of movement and the pressure applied applied to the transducer were also factors that modified the restulitng timbre. We also observed that a simple choreography emerged from each action performed, which led us to incorporate a gestural dimension. Therefore, we had to adapt the transducer in an organic and comfortable manner to the performer's hand while keeping their hands free. We started by creating a few rudimentary prototypes, but the initially straightforward idea proved more complex than anticipated, requiring several revisions of the materials used before arriving at the final prototype.
Prototypes
Prototype 1
Figure 2. Prototype 1
The first prototype was made using velcro tape, allowing it to be adjusted to the hand and attached to the transducer.
Prototype 2
Figure 3. Prototype 2
The second solution that emerged was a handcrafted modified glove, which allowed the transducer to be placed inside the glove, in contact with the palm of the hand. The transducer itself was not in direct contact with the surface of diffusion but rather through the glove. This led us to conceive the next prototype.
Prototype 3
Figure 4. Prototype 3
The third prototype is a continuation of the glove from the previous prototype, this time modified to allow direct contact of the transducer with the surface.
Prototype 4
Figure 5. Prototype 4
Finally, the fourth prototype, in the form of a glove, is currently the latest and the one we are using. The glove can be adjusted to fit the hand and allows for a tight grip of the transducer in the palm, seamlessly integrating it with the movement.
N1 (2021) study for snare drum and hybrid device
Figure 6. Performing with the glove
After the research phase on the device and the finalization of the glove-shaped prototype, we embarked on a stage of experimentation and composition. The first piece composed, titled N1, is a study for snare drum and transducer glove. It has the constraint, which I imposed on myself, of having a fixed position to ensure the contact of the transducer with the drumhead in order to fully explore the possibilities and simplify the information.
With the composition of this study, I aimed to:
• Define a notation that allows for a clear and readable coexistence of gesture and instrumental playing.
• Integrate instrumental and electronic writing within the same acoustic space.
• Test the performer's approach towards the device.
The use of this device made me realize the importance of dividing the actions performed by each hand into different systems. In the upper system, I annotate the actions intended for the right hand, which wears the transducer glove. It is important to add that the requirement to keep the palm of the hand in constant contact with the snare drumhead limits the number of possible techniques available to the performer.
Figure 7. Fixed position for the right hand.
However, the following actions remain possible:
1) Stick on the rim 2) Fingertips on the skin
Figure 8. N1, work description p. 2.
Therefore, the lower system is intended for the left hand and includes the following techniques:
1)Stick on the rim 2) Stick on the drumhead 3) Stick on the stick of the opposite hand (right hand)
Figure 9. N1, work description p. 2.
The micro-form of the study N1 is based on a meta-gesture divided into two, which gives a physical entity to the electronic sound by connecting it to a specific movement. This meta-gesture consists of two linked electronic materials called magnetic and clock. The magnetic gesture involves a movement of the stick towards a precise point on the rim of the snare drum, performed with the left hand. The diagram in Figure 3 breaks down this gesture into three parts to facilitate musical notation and control. The first part represents the starting point, symbolized by a square notehead (Figure 4). The second part shows the path of the stick between the starting point and the final point of contact, indicated by a black line (Figure 4) Finally, the third part represents the percussive contact point with a cross-shaped notehead accompanied by a circle indicating the placement of the stick on the drum rim (Figure 4). The electronic sound that accompanies the gesture is an ascending or descending glissando, accompanied by a crescendo in intensity, which reinforces the magnetic attraction effect, evoking the start of a mechanism. This gesture serves as a visual and sonic reference point for the listener, repeating in various forms throughout the study.
Figure 10. Diagram of the magnetic gesture
Figure 11. N1 , work description p. 2.
Figure 12. Notation of complete action.
Figure 13. Spectrogram and waveform of excerpts from the electronic component of the "magnetic" gesture.
The complementary gesture, referred to as the clock gesture, involves a circular movement, specifically a half-circle.
Figure 7 shows one possible sequence for this action. From left to right or vice versa, the maximum movement is a half-circle. The notation for the half-circle gesture (Figure 8) is simpler than the previously defined gesture in Figure 5. The starting point is specified––which will typically be the endpoint of the magnetic" gesture– –as well as the duration of the action with noteheads and a cross on the second line, the system corresponding to the left hand where the actions of the drumstick against the edge of the snare drum are notaded, as previously explained.
Figure 14. Diagram of the clock gesture.
Figure 15. N1 , work description p. 2.
Similar to the magnetic gesture, the circular gesture is associated with an electronic sound. It is characterized by a band of white noise accompanied by two sinusoidal tones of approximately 50 hertz and 880 hertz, which repeat with each occurrence of the gesture.
Figure 16. Sonogram of the clock gesture.
The example illustrated in Figure 8 is taken from the beginning of the study and highlights the interaction between instrumental playing techniques, gesture, and hybrid electronic sound diffused through the transducer glove.
Figure 17. N1, Score excerpt, mesures 1 to 7.
In an introductory perspective, the impact of hybridizing electronic sound with the acoustic instrument can be illustrated by observing the effects of filtering on frequencies and energies. As shown in the following figures, the frequency of approximately 50 hertz completely disappears in the next figure, while the frequency of approximately 880 hertz is notably amplified. This phenomenon is due to the acoustic resonator's ability to enhance certain areas of the spectrum, which depends on the resonant frequency of the snare drum and the tension of the drumhead.
Original electronics:
Figure 18. Sonogram of the digital export. Extract from Study N1, measures 1 to 7.
Electronics filtered by the snare drum
Figure 19. Sonogram of the filtered digital export by the snare drum. Extract from Study N1, measures 1 to 7.
In the following video, we see an excerpt from the first section of the piece performed by Marin Lambert. In the excerpt, we can see the combination of gestures used as well as the device in action.
The Bass-Shaker Prototype
Among the transduction speakers that I use, I also utilize the bass-shaker, a large transducer capable of transmitting frequencies ranging from 20 to 80 hertz. This type of transducer operates similarly to a subwoofer speaker and is designed to be attached to a solid surface, often used as a complement in home surround systems. From the beginning, the idea was to couple this transducer with low-pitched percussion instruments, such as the bass drum. This choice naturally emerged because the instrument has a fundamental frequency within the frequency range emitted by the bass-shaker.
Figure 20. The bass-shaker transducer on the skin of a bass drum (left) and the comparison between its size and the size of a hand (right).
As illustrated in the photographs, the relative large size of the transducer compared to the hand poses challenges to the handling of the device. To address this issue, I have developed a handle-shaped prototype that fits more comfortably in the user's hand. This prototype was created using a highly durable plastic material through 3D printing technology. By designing a handle-shaped prototype, I aim to improve the ergonomics and usability of the Bass-shaker transducer. The handle provides a secure grip and allows for better control and manipulation of the device. It enhances the user's ability to apply the transducer onto the skin of the bass drum and ensures a stable connection for optimal transmission of vibrations.
The use of 3D printing technology enables us to customize the prototype according to the specific needs and preferences of the user. The robust plastic material used in the fabrication ensures durability and longevity, making it suitable for repeated use in various performance settings. Overall, the handle-shaped prototype addresses the size discrepancy between the transducer and the hand, offering a practical solution for improved handling and enhanced performance when using the Bass-shaker on the bass drum.
Figure 21. Prototype Bass-shaker
Figure 22. Test of Prototype.
This adaptation has facilitated the manipulation of the tool and allowed us to apply the necessary pressure to achieve the desired sound without encountering any physical distortions such as unwanted vibrations or false contacts. Moreover, the addition of the handle has allowed for an intuitive placement of the speaker based on the resonant reaction of the instrument. In the following video, we observe a portion of the experimentation with the prototype, where it is used on a large bass drum to set the instrument in vibration and place vibrating objects that will produce sound when they bounce off the surface.
The Touch of Sound, to renounce the body for Floor Tom and Hybrid Performer
Program Note for the Concert on February 23, 2023:
to renounce the body for Floor Tom and Hybrid Performer is a work that explores transmigration—the transfer of consciousness to another body. In a ritualistic fashion, the performer sends their voice through the instrument by touching it, thus creating a new voice and giving life to an inanimate object. Music is used as a means of transformation, where the instrument and the body become one on stage. Among the compositions of 2022, there is a piece that explores the boundary between the acoustic and the hybrid. to renounce the body is a work that explores the interaction of the transducer glove with the performer's voice, creating an extension of oneself and allowing the voice to be sent through the instrument, generating combined morphologies between normal playing and hybridization. The only sound material used in this piece outside the percussion playing is the performer's voice. It is amplified through a headset microphone and sent without any direct processing to the transducers placed on their hands. The performer's voice will only come into presence on stage when their hands touch the surface of the floor tom, thereby filtering and amplifying the result. One of the challenges of this piece concerned the notion of transmission. In other terms, how to incorporate the possible combinations of instrumental playing techniques with the possibilities afforded by the use of the voice in the composition? This led to the decision to separate each hand into different systems, as shown below.
Figure 23. Part of score to renounce to body.
According to figure 16, we can observe that both hands, the right hand at the top and the left hand below, share at least three kinds of notation. The bottom line indicates the contact of the hand with the surface of the floor tom, the middle line indicates only the fingers in contact with the surface, and finally, the execution on the edge of the instrument. The bottom system is used to notate the performer's voice, which in this particular work is always unvoiced.
So far, we have encoded the fundamental information to convey the contact area and the sound material. However, a series of additional indications will be added to deepen the gestural and timbral experience.
Figure 24. Additional indications for the performer
In this work, I have explored the combination of multiple possibilities to fully integrate the device into the musical composition. As can be seen below, exhalations and inhalations have been notated, as well as the timing of the hand's descent onto the instrument surface. Different vocal utterances that affect the instrument in various ways have also been included, creating an expressive range of gestures and maximizing the potential of the device.
Figure 25. Excerpt from to renounce the body, mesures 9-12
Working on this piece has allowed me to delve deep into the different craetive afforances of the glove device, exploring combinations that I have subsequently used in other works in a complementary and integrated manner. One could say that this work, while being a standalone piece, also served as a technical study to discover the capabilities of this new hybrid instrument. A thorough examination of the piece's form will be undertaken in my final written work, as the formal aspect is crucial in this composition. The block-like structuring of the sections allows for an organic development of the form over eight minutes using a series of repetitive cells with micro-variations, which are also present in my most recent works.
In the following video, we can observe a part of the experimentation with the device before and during the composition of the piece. Exploring the connection between the voice and transducer gloves, understanding their mechanics and possibilities.
Next, we witness the evolution in the following two stages, first the rehearsal of the final piece with the lighting system,
and finally, an excerpt from the premiere performance of "To Renounce the Body. »
I can no longer distinguish between combat and resuscitation
Following the work done in to renounce the body, I have developed a short five-minute piece that focuses on the theatrical aspect of performance as a germinal factor. This was then elaborated through composition. I can no longer distinguish between combat and resuscitation¡ for bass drum, transduction, and electronics is a musical composition inspired by the maneuver of resuscitation using a defibrillator.
Figure 26, Photograph of the device during the dress rehearsal
The symphonic bass drum serves as the action surface, where the recurring gesture of the resuscitation maneuver is transformed into a musical discourse with minimal variations and new elements, blurring the origin of the gesture and creating a confusion between resuscitation and combat.
The role of the lighting device is essential to accentuate the gesture and its spatiality. Unlike the previous piece, this one does not use transducer gloves, but two types of devices are placed on the surface of the instrument: One 40W transducer and one 50W bass shaker that are used as playback speakers for the electronic stereo track.
The entire electronic part was produced on the DAW Reaper, allowing for meticulous editing of the micro-orchestration of gestures and actions, in order to build a space between the exterior and interior side of the instrument.
Figure 27. Photo of the studio work for the composition of the piece
In order to achieve a well-balanced and effective result, as with other works composed during this recent period, it was necessary to work in the presence of the device. This was made possible through access to the working studio of the Linea ensemble, which allowed me to set up my studio around the instruments and work on-site. This means that the germination and assembly of the piece, as well as the instrumental writing, were done in the presence of the device. This allowed for very efficient work, knowing the specific result at every moment, as seen in the previous photo for the lighting work.
Instrumental and Gesture Writing
Through the experience gained from the writing the piece for floor tom, a series of graphics and techniques have been reused in the creation of the score. Here, the different forms of contact with the instrument’s surface have been emphasized, differentiating between the fist, fingertips, palm, among others, as seen in the excerpt below.
Figure 28. I can no longer…, Notation examples of several actions
For this particular piece, I decided to write both hands in the same system, which facilitates reading. As we can see in the excerpt from the piece below, a highly dynamic concentration of gestures and rhythms is integrated into the electronic writing, which I will further explore during my presentation. Additionally, I will also address the formal analysis of the piece.
Figure 29. I can no longer…, score excerpt
Figure 30. I can no longer… Sequence of performance gestures
Here we have an excerpt of the piece during the rehearsal, followed by the live concert version, where the gesture is accentuated by the lighting system.
Finally, we have two videos showcasing a part of the experimentation process with the consequence of sympathetic vibration. The surface of the bass drum is set in vibration to make a snare drum react based on its proximity, allowing for a choreography that emerges from the approach gesture.
No Map for These Territories
No maps for these territories is a musical composition within the cycle of pieces for percussion featuring a set of multiple percussion instruments, transduction, and real-time as well as fix media electronics. In this piece, I aimed to integrate the characteristics of all the previous works into a much more dynamic and diverse composition. It is the first of three pieces composed for Ensemble Linea.
Program note from the concert on February 26th:
"No maps for these territories is a musical piece that explores the sonic territory emerging from hybridization. The work creates a map of this unknown territory through the use of acoustic instruments, transformed by transduction and electronics. The trajectories and unheard voices of the acoustic instruments create an immersive and physical sound universe, where the discovery of a territory is attempted.”
Instruments used in the piece:
1 Suspended Thunder Sheet mounted on a frame (2mtx x 1mt)
1 Floor Tom (18’ x 18’)
2 Snare Drums (one lighter as to be easily manipulated by hand)
1 Symphonic Bass Drum on a stand
1 Timbal with objects on the surface (1 low Tibetan bowl in F, 3 crotales in C6, D6 and F#6)
1 Big Waterphone
1 or 2 Ratchets mounted on a frame
3 Glass Bottles or Metalic Sheets with three different tunings
Among the instruments used, only certain ones are used as diffusion surfaces using transducers. These include the snare drum, bass drum, thunder sheet, and waterphone. Additionally, a single transducer glove is used to allow for the use of voice and to switch between the floor tom and timpani.
Figure 31. No maps for these territories. Pictures in order from left to right: waterphone, thunder sheet, snare drum and bass drum
To better understand the excerpt from the score, it is necessary to start with the notation, where it can be seen that it is divided into sections. On one hand, similar to the piece for floor tom, the voice is notated on the lower staff, then a staff is dedicated to the larger percussion surfaces (thunder sheet, bass drum, timpani, floor tom, and snare drum). Finally, in the upper system, the smaller objects used are represented, such as the waterphone, bowls, crotales, among others.
Figure 32. No maps for these territories. Performance notes.
Below, we see an excerpt from the score in which we can recognize writing techniques derived from previous works but in a richer instrumental context. Therefore, this can be seen as the logical consequence of previous works, the understanding and integration of an ever-evolving vocabulary. Here, we find the same technique used in To Renounce the Body applied to a variety of instruments, where each of the instruments filters the performer's voice in a different way, resulting in a multitude of colors and resonances.
Figure 33. No maps for these territories. Score excerpt.
Finally, an excerpt from one of the live performances of the piece by percussionist Marin Lambert.
Towards a Hybrid Harmony: Oil Rainbow for Six Instruments
In the context of my practice of instrumental composition for ensemble, I collaborated on three projects with Ensemble Linea. Among these projects, we created a piece for multiple percussion and hybrid electronics, a piece for ensemble with a transduction device installed inside the piano, and a piece for trio and hybrid electronics.
For the two ensemble pieces, I explored specific subjects that I had not previously addressed, beyond the exploration and integration of the hybrid universe. I particularly studied harmony in a spectral sense, as well as the search for sound material based on pitch rather than the sound object, a practice I had developed in my previous works. This approach allowed me to achieve a wide timbral variety by adapting hybridization to a realm closer to frequency rather than the sound object.
In 2019, I composed a large ensemble piece titled Static Memories. It was an initial attempt at writing that was heavily based on harmony, combining multiple instrumental timbres with highly defined harmonic fields, but without a very in-depth development.
During my studies in electroacoustic music, in Tom Mays' class, and while analyzing works that interested me, I developed tools that allowed me to work with harmony more effectively, even in a very intuitive form, by combining spectral techniques and processes I developed for myself. It was a period of in-depth study of the use of technological tools in music, as well as the development of instrumental writing techniques with electronic influences.
In 2021, I created Bardo and Dark Materials, two pieces that timidly started to integrate the harmonic space but without a direct consequence on the sound material, more like a kind of support or background.
During the year 2022, aware of the need to compose two ensemble works where pitch could play a fundamental structuring role, I decided to start developing a compositional strategy that could allow me to find a common material for my works, a kind of harmonic thread that would connect several pieces and provide a general coherence to the cycle of works composed during this period.
Oil Rainbow
This sextet can be understood as the interaction of three universes: classical instrumental writing, the incorporation of acoustic resonators in woodwind instruments, and the use of a transduction device installed on the piano that allows me to transform it into a kind of acoustic synthesizer. The characteristics of the piano are adapted to the rest of the ensemble by merging the sounds without losing the acoustic image of the sextet. In "Oil Rainbow," I sought to integrate the hybrid universe into my acoustic writing, like a seed that allows for subtle but perceptible sonic mutation.
Program Note:
"Oil Rainbow" poetically evokes the complex phenomenon that occurs when oil evaporates on a puddle of water, creating a rainbow of colors. The goal of this work was to capture the subtlety of the interaction between water and oil and transpose it into a sonic interaction. This idea was inspired by the image of a contaminated and distorted nature, present in universes such as "Things from the Flood" and authors like David Cronenberg.
• Transduction Device:
When I started the "Oil Rainbow" project, my main question was how to adapt the transduction device to an acoustic context while still allowing the acoustic aspect to prevail. To achieve this, I had to find a balance between the ensemble's characteristics in terms of sound power and timbre. I decided to impose a limit on the device: the non-acoustic sound used in the work would be played like an instrument, with the most basic parameters (volume, sustain, pitch) controllable using a controller. Thus, the pianist could perform their score using the controller as an extension of the piano, adding an additional timbral dimension while preserving the dominant acoustic character.
The device used is an 88-key MIDI controller placed on top of the piano. This allows the pianist to play different sounds from a sampler created simply in the Reaper software with the Reasamplomatic5000 VST. The piano keys can also be combined with the sampler sounds for dynamic access to both universes. Two additional controls were added to the controller, a volume pedal and a pitch bend wheel, providing acoustic interaction possibilities that are not natural to the piano, such as glissando or the production of sounds dal niente or al niente.
A 40W transducer is attached 7 cm from the end of the piano's three lowest strings (the notes A, B-flat, and B, which are not used in the work). This transducer allows the sounds played by the sampler to be sent directly to the piano strings, reconstructing and filtering the sound to obtain an acoustic response to a synthetic sound.
Figure 34, Transducer fixed on piano strings
Another constraint imposed was the context: the work would be presented alongside four other pieces by composers from the composition class. This compelled me to find a simple and quick installation solution that should not take more than 3 minutes. During these 3 minutes, the transducer had to be attached to the strings using a Velcro adaptation, and the MIDI controller had to be placed in the designated position.
• Vibration through sympathetic resonance
As I described earlier, the only tactile transduction device used in the piece is the one installed on the piano. Once this initial hybrid territory was defined, I began to think about how to generate a timbral connection with the rest of the ensemble, something that could be easily installed beyond the possibilities of the instruments themselves. That's when I started experimenting with sympathetic vibration, which I had already explored in works like « Appels » of Levinas and utilized in pieces such as "Dark Materials" and "Feeding my barely alive freesias with murmurs." The next level of preparation would involve incorporating two snare drums into the ensemble, which would allow me to distort the sound of the bass flute and bass clarinet, imitating an electric sound. This interaction would be the result or consequence of the timbral development of the ensemble, elaborated through the musical writing.
Figure 35, Ayako Okubo (flutist) sympathetic vibration on the snare drum
The tuning of the snare drums allowed me to incorporate them at very specific moments in the piece where the flute and clarinet combined vocal and instrumental playing techniques to produce a complex sound resulting in beatings that would enhance the timbral excitement of the snare drums. The musical writing creates the gesture of playing towards the snare drum to achieve a more prominent result or moving away to return to the classic instrumental sound.
Figure 36, Excerpt of the score Oil Rainbow, mesures 44-47, flûte and clarinette
In the previous figure, we can observe the musical notation representation of the dynamic use of sympathetic vibration. The two instruments alternately use the combination of pitch and voice, with the voice gliding to produce differential sounds. At the top, the proximity or distance to the snare drum is indicated in a very general way, thereby producing a combined action resulting in evolving sound morphology.
• Modification of timbre with the use of mutes for the strings.
In the context of the ensemble, only the strings were used in a traditional manner. Therefore, the adaptation to the modified sound of the ensemble was achieved solely through instrumental writing, sometimes using common timbral techniques such as metal and rubber mutes. A clear example o f this work can be found at the end of the piece, where the combination of the two aforementioned layers is added to the use of mutes to create a total sonic complexity.
In the excerpt from the score below, we see the pianist using the MIDI controller to play chords that are distorted by the strings (the violin has no mute, the viola uses a rubber mute, and the cello uses a metal mute), both in terms of pitch and timbre. Meanwhile, the winds articulate changes in the timbre of the strings by playing in a phased manner towards the snare drums. The result is a vibrant material, oscillating on a synthetic surface produced by the acoustic resonance of the piano in response to the sound from the sampler.
Fig. 37. Excerpt from Oil Rainbow, mesures 109-113
• Stage Setup
In order to create acoustic integration beyond mere instrumental writing, the instruments are arranged on stage to achieve a balanced acoustic and timbral image. For this purpose, the piano and its transduction device are positioned at the back of the ensemble, while the sympathetically vibrating snare drums are placed on the left and right sides of the ensemble, resembling a stereo system layout (Left-Right). The closest plane is occupied by the strings, arranged in a semicircle at the front of the ensemble, thus creating a balanced distribution in space, both visually and acoustically.
Ultimately, an equitable distribution on stage would allow me to create a sufficiently coherent acoustic image, thus reinforcing the acoustic character of the project.
Figure 38, Stage setup for Oil Rainbow
Conclusion
As can be observed, the presentation of these diverse works composed with materials obtained thanks to the support of ACTOR allows us to have a general observation of the artistic evolution of the project. The material aspect proved to be very important as it delimited and allowed the forging of an evolutionary work within a consistent aesthetic that is my own. As it is also evident, this presentation is transitional in nature, merely presenting preliminary results that will undergo further development and concrete definition in the final thesis work.
Furthermore, as my work is primarily that of an artist, it is impossible to overlook the effort and time devoted to the creative aspect, as it is central to the subsequent deepening, analysis of the work accomplished.
Up to this point, the overall conclusion tells us that material limitation allows for effectiveness and creativity that is only possible when resources are limited. The use of a transducer is sometimes directional, and here we demonstrate how its application and usage can be modified through gestural and kinetic reflection, both of the matter and the material itself.
The adaptation in an intuitive manner, resulting from direct experimentation and collaborations with musicians, gradually reveals characteristics of the devices and surfaces used for diffusion. This allows us to move away from linear logic and imagine/experiment with alternative solutions.
It is crucial to highlight that the material resources we focus on represent only the tip of the iceberg in a collaborative work with ensembles and in both written and digital composition, which complete the experience, as we will surely observe at the end of the research, where the support of ACTOR provided the initial impetus.
