Composing for the resonance: finding new relationships between architecture and musical composition.

Research output: Chapter in Book/Report/Conference proceedingChapter


This chapter documents my search for a new compositional method that could be informed by the acoustic response of the venue in which a piece is to be performed. Although composers have written pieces for particular spaces for centuries, this is traditionally a process informed by aural memory. I had two main aims: I wanted my work to have a tight bond between score and acoustic result, and I wanted to be able to design pieces where the acoustic contribution of a venue would be a known entity at composition time - rather than an after-effect of a performance. Both of these factors create new musical possibilities as they permit the space itself to become an integrated part of the composition. This body of work would not have been possible without OM, and the role of the system is explained with example patches demonstrating sound analysis, harmonic selection, rhythmic generation and texture manipulation.
Original languageEnglish
Title of host publicationIRCAM Open Music Composer’s Book
EditorsJean Bresson, Gérard Assayag, Carlos Agon
Place of PublicationParis
PublisherEditions Delatour/IRCAM, Paris
Number of pages12
Publication statusPublished - 1 Jan 2016


  • OpenMusic, Architecture

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