My Physical Approach to Musique Concrete Composition Portfolio of Studio Works

My recent practice-based research explores the creative potential of physical manipulation of sound in the composition of sound-based electronic music. Focusing on the poietic aspect of my music making, this commentary discusses the composition process of three musical works: Comme si la foudre pouvait durer, Igaluk - To Scare the Moon with its own Shadow and desert. It also examines the development of a software instrument, fXfD, along with its resulting musical production. Finally, it discusses the recent musical production of an improvisation duet in which I take part, Tout Croche.
In the creative process of this portfolio, the appreciation for sound is the catalyst of the musical decisions. In other words, the term \musique concrete" applies to my practice, as sound is the central concern that triggers the composition act. In addition to anecdotal, typo-morphological and functional concerns, the presence of a \trace of physicality" in a sound is, more than ever, what convinces me of its musical potential. In order to compose such sounds, a back-and-forth process between theoretical knowledge and sound manipulations will be defined and developed under the concept of \sonic empiricism."
In a desire to break with the cumbersome nature of studio-based composition work, approaches to sound-based electronic music playing were researched. Through the diferent musical projects, various digital instruments were conceived. In a case study, the text reviews them through their sound generation, gestural control and mapping components. I will also state personal preferences in the ways sound manipulations are performed. In the light of the observations made, the studio emerges as the central instrument upon which my research focuses. The variety of resources it provides for the production and control of sound confers the status of polymorphic instrument on the studio.
The text concludes by reflecting on the possibilities of improvisation and performance that the studio offers when it is considered as an embodied polymorphic instrument. A concluding statement on the specific ear training needed for such a studio practice bridges the concepts of sound selection and digital instruments herein exposed.