Digital Musical Instrument Composition: Limits and Constraints

This discussion investigates the importance of understanding and establishing limits on the following three areas during the compositional process of creating music for a digital musical instrument (DMI): group paradigms; performance practises; sound-gesture combinations. I will propose a compositional model in which composing for and performing on a DMI requires rigourous technique attained only by proper training; thus, the proposed model advocates physically active on-stage music-making in the field of computer music – rather than typical and current static representations. Examples are drawn from performances featuring different DMIs, as well as a small selection of ensemble music combing digital with acoustic instrumentalists. These examples serve to assess the implementation of limits and constraints in the compositional approach of different composers.