C as in Computer and Composition

by Anders Flodin

Musical composition is largely a practice-based knowledge, phronesis (Ancient Greek: φρόνησῐς, romanized: phrónēsis), which has been developed in parallel and in close collaboration with singers and instrumentalists throughout music history. 

What can I learn from this knowledge in a new age where technology is another dimension in the artistic work?

As part of my own development in the so-called computer generated music, my relationship between myself and the computer has become an important starting point for experimentation. A special position in this context are the experiments in which I explore composition techniques while creating an interconnected form of interaction between myself and the computer.

In these experiments two general types appear:

1. The computer as an added device in a musical context – in other words, the computer as a co-musician.

2. The computer as an extension of the musician’s instrument.

Although the occasions when the computer is a fellow musician and the salient principle is that the computer is part of the compositional idea, in my opinion one should not overlook the importance of the individual musician’s contribution to musical co-creation or expression. A human performer is trained to possess a special musical knowledge along with the conventions that exist for the performed composition and must therefore calculate the presence of his knowledge in order to develop a fruitful mutual relationship in the moment. Although it is possible to think music by reading the score with the help of experience and knowledge, the score is only a representative of the composition and not the expression of the music itself.

In my own composing and music making in so-called real time, the aim has been to develop a musical interactive system that can achieve an independent interaction with one or more performers with a more traditional musician role.

By making this knowledge conscious, a mutual understanding can arise in the field where both practitioners and machines move. In this context, I want to use the concept of intuition, though not in the sense of instinctive feeling but rather in the importance of describing an unconscious process that handles a large amount of information based on past experience and knowledge.

Exercise acquires new knowledge that forms neurological pathways to the brain. These worked-up roads offer, in special circumstances, tools that, on recognition, correspond to what the situation requires. Although these processes take place outside consciousness, they are highly present and contribute a great deal of essential knowledge and experience in their own field.

My compositions with electronic equipment have been added intuitively, but developed over a number of years of practical experience. It is characterized by a radiance and intersection of acquired knowledge and forms the basis for musical expression.