Abstract
Abstract The author describes, on the basis of some of his own music, the “composition” of sonic material in the electronic studio and the influence of this activity on the generation of musical form. The material is not only the actual sounds but also the method in which they are treated and combined according to serial (or serial‐derived) aspects. The author is convinced that traditional composing is not directed towards “purely musical” goals but prompted by aspects of performance technique which, reinforced by traditional behaviour patterns, promote form. In the technically conditioned environment of the electronic studio or computers, the performance aspect is replaced by algorithms, the actual piece, on the other hand, being replaced by variants of its virtual form.
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