Abstract
This article aims to explain the compositional principles of the author’s Prefixes (1991), for instrumental ensemble and MIDI clavier. For him, this composition represents a new “mixity” between direct sound and loudspeaker sound that has come out of computer synthesis. “Mixity” is a term specific to the author’s music that differs from both “mix” and “mixture” through its reference to this combination of electrically amplified and non-amplified sound. Prefixes is the logical outcome of the author’s development of the principle of hybridised sound. Hybridisation affects the transients of attack: the neuralgic and decisive moment from which instrumental sound surges. The theory of mixity concentrates on the hybridisation that results from fixing signaling particles to the initiative of a sonorous, acoustic entity.
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