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Section III – Composition: Processes and Outcomes


Once you become familiar with studio facilities, or even if you're not, actually,

you can begin to compose in relation to those facilities.

You can begin to think in terms of putting something on, putting something else on,

trying this on top of it, and so on, then taking some of the original things off,

or taking a mixture of things off, and seeing what you're left with —

actually constructing a piece in the studio (Cox and Warner 2004, p. 129).


The computer, with the appropriate automation software, can create entire compositions from scratch (Miranda, p. 247). Trevor Wishart uses an automated system of metamorphosis, relying on signal-processing to generate the compositional structures within his work (Wishart 2000, p. 22). Composer Eduardo Reck Miranda talks of the two bottom-up, top-down approaches to computer compositions (Miranda 2012, p. 249). The former approach relies on initial manual experimentations leading to further development; the latter consists of computer automated systems that initiate compositional decisions. My approach relates closer to the bottom-up approach of composition; my experiments create elements in which I can then manually arrange.


A range of digital and electronic technologies acts as compositional tools within Space and Light. Incorporating technology within composition heavily consists of readaptation of pre-existing tools (Lapidaki 2007, pp. 104-105). Momentary exhaustion of digital and electronic instruments lead me to experimenting with multiple guitar tunings. Allan Moore talks about the constraints of guitar composing: “… it clearly forces a songwriter into a limited repertoire of harmonies” (Moore 1993,

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