This work is based on a virtual instrument developed at the IRCAM studio and was initially composed within a DAW environment. It constituted a structural experiment combining unique digitally generated soundscapes with contemporary performance techniques. To realise the resulting material in live performance, the notation system was reconfigured and detailed performance instructions were drafted. The process of applying the expressive potential of virtual instruments to the real world is not mere arrangement, but rather a new structural exploration of translating digital thinking into physical performance on stage. I believe the most crucial element in music is the active interaction between audience, performers, and composer. Building on this idea, we employed surround speakers to realise a three-dimensional sound distribution, enabling the audience to experience the work's spatiality more directly. Beyond merely adding electronic effects, I sought to transform the space itself into another medium for performance. The result is a sound that physically moves, complemented by reverberation and sense of distance, intertwined with the music's narrative to deliver a multi-layered listening experience. A notable feature of MIDI-based composition is the assignment of “velocity” values to each note. This value serves to finely control the volume, impact, and tonal texture within the digital environment. To ensure these subtle adjustments were reflected as much as possible during actual performance, the dynamics of each instrument were further subdivided. Particularly in the piano part, different volumes were assigned to each note within chords, enabling the performer to naturally integrate a digital mindset into their playing. This allowed the delicate textures characteristic of electronic music and the original piece's unique digital qualities to be expressed organically in the live performance. In today's music scene, live music and electronic music are often strictly separated. However, I believe this dichotomous perception actually limits creative possibilities. I actively sought to conduct experiments that traverse the boundaries between these two realms. This work demonstrates that live music can embody the precision and structural thinking of electronic music, while also proving that electronic music can capture the physical characteristics and delicate breathing of live music. Ultimately, I composed this piece with the conviction that digital compositional tools and the traditions of live music are not in opposition, but rather complement each other as partners, expanding their potential. (unset title) RSS Feed

This work is based on a virtual instrument developed at the IRCAM studio and was initially composed within a DAW environment. It constituted a structural experiment combining unique digitally generated soundscapes with contemporary performance techniques. To realise the resulting material in live performance, the notation system was reconfigured and detailed performance instructions were drafted. The process of applying the expressive potential of virtual instruments to the real world is not mere arrangement, but rather a new structural exploration of translating digital thinking into physical performance on stage. I believe the most crucial element in music is the active interaction between audience, performers, and composer. Building on this idea, we employed surround speakers to realise a three-dimensional sound distribution, enabling the audience to experience the work's spatiality more directly. Beyond merely adding electronic effects, I sought to transform the space itself into another medium for performance. The result is a sound that physically moves, complemented by reverberation and sense of distance, intertwined with the music's narrative to deliver a multi-layered listening experience. A notable feature of MIDI-based composition is the assignment of “velocity” values to each note. This value serves to finely control the volume, impact, and tonal texture within the digital environment. To ensure these subtle adjustments were reflected as much as possible during actual performance, the dynamics of each instrument were further subdivided. Particularly in the piano part, different volumes were assigned to each note within chords, enabling the performer to naturally integrate a digital mindset into their playing. This allowed the delicate textures characteristic of electronic music and the original piece's unique digital qualities to be expressed organically in the live performance. In today's music scene, live music and electronic music are often strictly separated. However, I believe this dichotomous perception actually limits creative possibilities. I actively sought to conduct experiments that traverse the boundaries between these two realms. This work demonstrates that live music can embody the precision and structural thinking of electronic music, while also proving that electronic music can capture the physical characteristics and delicate breathing of live music. Ultimately, I composed this piece with the conviction that digital compositional tools and the traditions of live music are not in opposition, but rather complement each other as partners, expanding their potential. (unset title) RSS Feed https://api.antony-archiv.org/documentation/20006 https://api.antony-archiv.org/documentation/20006 This work is based on a virtual instrument developed at the IRCAM studio and was initially composed within a DAW environment. It constituted a structural experiment combining unique digitally generated soundscapes with contemporary performance techniques. To realise the resulting material in live performance, the notation system was reconfigured and detailed performance instructions were drafted. The process of applying the expressive potential of virtual instruments to the real world is not mere arrangement, but rather a new structural exploration of translating digital thinking into physical performance on stage. I believe the most crucial element in music is the active interaction between audience, performers, and composer. Building on this idea, we employed surround speakers to realise a three-dimensional sound distribution, enabling the audience to experience the work's spatiality more directly. Beyond merely adding electronic effects, I sought to transform the space itself into another medium for performance. The result is a sound that physically moves, complemented by reverberation and sense of distance, intertwined with the music's narrative to deliver a multi-layered listening experience. A notable feature of MIDI-based composition is the assignment of “velocity” values to each note. This value serves to finely control the volume, impact, and tonal texture within the digital environment. To ensure these subtle adjustments were reflected as much as possible during actual performance, the dynamics of each instrument were further subdivided. Particularly in the piano part, different volumes were assigned to each note within chords, enabling the performer to naturally integrate a digital mindset into their playing. This allowed the delicate textures characteristic of electronic music and the original piece's unique digital qualities to be expressed organically in the live performance. In today's music scene, live music and electronic music are often strictly separated. However, I believe this dichotomous perception actually limits creative possibilities. I actively sought to conduct experiments that traverse the boundaries between these two realms. This work demonstrates that live music can embody the precision and structural thinking of electronic music, while also proving that electronic music can capture the physical characteristics and delicate breathing of live music. Ultimately, I composed this piece with the conviction that digital compositional tools and the traditions of live music are not in opposition, but rather complement each other as partners, expanding their potential. https://api.antony-archiv.org/documentation/20006 2026-05-11T15:36+00:00