This article documents a personal journey of compositional practice that led to the necessity for working with high-density loudspeaker arrays (HDLAs). I work with textural composition, an approach to composing real-time computer music arising from acousmatic and stochastic principles in the form of a sound metaobject. Textural composition depends upon highly mobile sounds without the need for trajectory-based spatialization procedures. In this regard, textural composition is an intermediary aesthetic—between “tape music” and real-time computer music, between sound objects and soundscape, and between point-source and trajectory-based, mimetic spatialization. I begin with the aesthetics of textural composition, including the musical and sonic spaces it needs to inhabit. I then detail the techniques I use to create textures for this purpose. I follow with the spatialization technique I devised that supports the aesthetic requirements. Finally, I finish with an example of an exception to my techniques, one where computational requirements and the HDLA required me to create a textural composition without my real-time strategies.
Idiomatic Patterns and Aesthetic Influence in Computer Music Languages
