Interaction with complexity
the inverse relationship between generality and strength (after Simon & Newell)
B. Truax, "The Inverse Relation between Generality and Strength in Computer Music Programs," Interface, 9(1), 1980.

Mathews' MUSIC IV etc

Truax POD system using tendency masks and stochastic distributions with FM synthesis

Hiller's Illiac programs Koenig's PR-1 and PR-2 Xenakis' ST programs

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Musical relationship to "outer complexity"

Internal Dominant (text) <---------------------> External Dominant (context)

(e.g. musical "inspiration") <-- balanced interplay --> (e.g. sonification)

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How can musical qualities be integrated with external referents?

 

PHYSICAL LEVEL

ACOUSTIC COMPOSITION	ELECTROACOUSTIC COMPOSITION
physical space or environment / interaction with same	multi speaker diffusion
temporal context ("occasional" music / ritual)	temporal markers
performers (specific individuals / gender / actor)	"enhanced" performer
audience / listening environment	indeterminate environment / media

SOCIAL LEVEL

draws on the audience's knowledge of social, political, cultural (including media), economic, and environmental contexts evoked by the work through both text and soundscape

 

PSYCHOLOGICAL LEVEL

In particular, disembodied electroacoustic sound allows reference to:

- memory, imagery and emotions

- metaphors and symbols

- narrative, myth and dreams

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