The material and the shape
//Sound design Master Thesis//
These texts tell a story of organological creation. It is a question here of seeing how the instrument can be seen as an object who is a footprint of sonorous thought; a material formalization of musical rules allowing more or less structural freedom when play with it.
It is made like an historical path that bridges the evolution of automaton machines and the birth and evolution of writing.
The instrument is not seen as a fixed object, but as a process in perpetual evolution. Starting from the “hacking” of the function of common objects by musical uses, and gradually incorporating these musical rules in the design of new generations of objects.
These structures are first timbral, then tonal and finally temporal. This evolution is done by the creation of decoupling between the user's gesture and the sound produced. These increasingly strong decouplings have led to a break in the energy continuum between gesture and sound production, which has constantly evolved what may or may not have been considered music, and how we perceive and what to perceive in the instrument performance. This rupture has been accentuated with the arrival of electricity and computer machines, provoking questions about what can be considered as an performance instrument or not. This process may help us understand certain issues and open up new perspectives in the development of new forms of sound structuring and relationship with time.
