Or in other works I have also projected the sound in a cube of loudspeakers. The sound can move vertically and diagonally at all speeds around the public.
And the invention of transformations of certain figures has become the most important in musical composition.
No, what is important is neither linearity or non-linearity, but the change, the degree of change from something that doesn't move to other events with different tempos in particular.
Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.
Schaeffer gave me permission to work in the studio with a technician, but I've never worked with him.
Whenever I felt happy about having discovered something, the first encounter, not only with the public, with other musicians, with specialists, etc, was that they rejected it.
