Electronic music evokes new sensations, feelings, and thoughts in
both composers and listeners. Opening the door to an unlimited
universe of sound, it engages spatialization as an integral aspect
of composition and focuses on sound transformation as a core
structural strategy. In this new domain, pitch occurs as a flowing
and ephemeral substance that can be bent, modulated, or dissolved
into noise. Similarly, time occurs not merely as a fixed duration
subdivided by ratios, but as a plastic medium that can be
generated, modulated, reversed, warped, scrambled, and granulated.
Envelope and waveform undulations on all time scales interweave to
generate form. The power of algorithmic methods amplify the
capabilities of music technology. Taken together, these constitute
game-changing possibilities. This convergence of technical and
aesthetic trends prompts the need for a new text focused on the
opportunities of a sound oriented, multiscale approach to
composition of electronic music. Sound oriented means a practice
that takes place in the presence of sound. Multiscale means an
approach that takes into account the perceptual and physical
reality of multiple, interacting time scales-each of which can be
composed. After more than a century of research and development,
now is an appropriate moment to step back and reevaluate all that
has changed under the ground of artistic practice. Composing
Electronic Music outlines a new theory of composition based on the
toolkit of electronic music techniques. The theory consists of a
framework of concepts and a vocabulary of terms describing musical
materials, their transformation, and their organization. Central to
this discourse is the notion of narrative structure in
composition-how sounds are born, interact, transform, and die. It
presents a guidebook: a tour of facts, history, commentary,
opinions, and pointers to interesting ideas and new possibilities
to consider and explore.
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