Abstract
Now-a-days musicians including composers are tempted to encompass in their strategy of composing not only the solid features implied by the traditional emergent formulas (of writing gestural sequences on sheets of paper) showing the need of recurring the patriarchal patterns. They aim to stop the imitative, sedimented expression (depicting a canonical crescendo), being prepared to meet ideas from outside the ‘western ear’. With an agnostic attitude most of composers who live in an authentical present are insisting to start thinking on the “zero degree” occurence, that factor of atypical, ex-musical (non-fundamental) processes from whose specific vacuum arises an immersive media, the display of new art-work possibilities. Considering important the mission of interacting with art (let it be musical, visual etc.) by means of intellectual channels capable to communicate technological innovations, or a (super)praxis with computer as the main ambassador within the globalized culture, the composers call dominantly for a interruption of the rustic paradigm of ‚canonical crescendo(s)’ bringing closer the dialog with the digital world. Our paper respondes to questions with regard to the need of translating − just this complex part − into performative composing strategies. Then emphasizes the function of media heterogenity absorbtion which integrates a cross-modal perception as generative setting for digital communication environment.
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Notes
- 1.
Being Psychology.
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Beldean, L., Constantin, F.A. (2023). Modes of Interaction with the Digital Environment in Music Composition; Lateral Thinking. In: Auer, M.E., Pachatz, W., Rüütmann, T. (eds) Learning in the Age of Digital and Green Transition. ICL 2022. Lecture Notes in Networks and Systems, vol 634. Springer, Cham. https://doi.org/10.1007/978-3-031-26190-9_106
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