Is music like a fine wine that needs to be left to mature and age in a cellar before being consumed?
The “draft” section of my Bandcamp page is a bit like that cellar, where I organize my music by album projects, letting my compositions rest and withstand the test of multiple listens before crossing the threshold of publication...
It's also a kind of personal journal, where I archive moments of life and creativity that can span several months.
But there's also another reason, inherent to the type of music I compose. It's not written in the traditional sense, meaning I can't archive sheet music. The archive is the recording itself, the stereo tracks resulting from the final mix. I also keep an archive of all the recording sessions on my DAW, the stems of the different tracks, with the presets of the instruments and processes used and the mixing settings. This allows me to revisit and correct a recording months after the original session.
On the other hand, in electronic, ambient, or electroacoustic music, there is the central element of timbres and processes for spatialization and sound transformation. While melodic and harmonic elements can be notated using traditional musical notation, they are not the most important aspects of the music I create: the very nature of the sounds, their morphology, their movement in space, and their hybridization in the mix are the basis of my compositions.
There are undoubtedly notation and visualization systems that could capture the specificities of electronic music, but to what extent can the singularity of the sounds that make up the compositions be reproduced, and to what extent can a score of this type be played by other performers?
Some electronic music, predominantly melodic, can be written and performed by other musicians or even adapted for acoustic instrumentalists: Jean-Michel Jarre and Vangelis come to mind in particular. But I find it difficult to conclude that electronic works can become “repertoire works.” A special case is when the composer or group reinterprets their works in concert, with a greater or lesser degree of fidelity to the original work. Backing tapes and computer playback can preserve the essence of the original work. Kraftwerk and Jarre today, but also Tangerine Dream, rely on these devices, which can also take the form of control over pre-programmed loops and sequences triggered live.
But to return to my question, how can music based on drones, atonal layers, and movements in binaural space be visualized on a score?
The “draft” section of my Bandcamp page is a bit like that cellar, where I organize my music by album projects, letting my compositions rest and withstand the test of multiple listens before crossing the threshold of publication...
It's also a kind of personal journal, where I archive moments of life and creativity that can span several months.
But there's also another reason, inherent to the type of music I compose. It's not written in the traditional sense, meaning I can't archive sheet music. The archive is the recording itself, the stereo tracks resulting from the final mix. I also keep an archive of all the recording sessions on my DAW, the stems of the different tracks, with the presets of the instruments and processes used and the mixing settings. This allows me to revisit and correct a recording months after the original session.
On the other hand, in electronic, ambient, or electroacoustic music, there is the central element of timbres and processes for spatialization and sound transformation. While melodic and harmonic elements can be notated using traditional musical notation, they are not the most important aspects of the music I create: the very nature of the sounds, their morphology, their movement in space, and their hybridization in the mix are the basis of my compositions.
There are undoubtedly notation and visualization systems that could capture the specificities of electronic music, but to what extent can the singularity of the sounds that make up the compositions be reproduced, and to what extent can a score of this type be played by other performers?
Some electronic music, predominantly melodic, can be written and performed by other musicians or even adapted for acoustic instrumentalists: Jean-Michel Jarre and Vangelis come to mind in particular. But I find it difficult to conclude that electronic works can become “repertoire works.” A special case is when the composer or group reinterprets their works in concert, with a greater or lesser degree of fidelity to the original work. Backing tapes and computer playback can preserve the essence of the original work. Kraftwerk and Jarre today, but also Tangerine Dream, rely on these devices, which can also take the form of control over pre-programmed loops and sequences triggered live.
But to return to my question, how can music based on drones, atonal layers, and movements in binaural space be visualized on a score?
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