Subtractive Study for Sound Synthesizers and Ensemble
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This musical score contains a specific notation based on the establishment of a unique style in the design for live electronics with acoustic instruments. The composer/author himself calls this notation as A.R.G.N (Approximate Reductionist Graphical Notation). The entire composition is conceived as a determined interaction between the sound synthesizer and the ensemble. The conductor determines the duration of the space in which the instruments agitate through the predetermined musical models. The content of the models itself is left to the interpreters, which means that it is desirable that t...
This musical score contains a specific notation based on the establishment of a unique style in the design for live electronics with acoustic instruments. The composer/author himself calls this notation as A.R.G.N (Approximate Reductionist Graphical Notation). The entire composition is conceived as a determined interaction between the sound synthesizer and the ensemble. The conductor determines the duration of the space in which the instruments agitate through the predetermined musical models. The content of the models itself is left to the interpreters, which means that it is desirable that there is no fixed content, but that it is always changeable. In the stated principle lies the simplicity and effectiveness of the aforementioned notation system. The author leaves the possibility for interpreters to be composers while acting in this work. In addition to this, the relation between the performers and the composer becomes much more intimate and connected, and the very composition becomes an act created by the composer and the performers.
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