Modern granular composition "for the concert hall"

[rofilm]

Has anybody tried to work on a so called "serious" or "concert hall" composition based on granular techniques? If so, did you write/notate your music first (how?) or did you start producing at once? I´m working on things like that and would really love to Exchange experiences.
Have a great day and a good time!
Rolf

 

[scrapheaper]

I don't think you'll find very many people on here who come from that kind of classical background. We're all more based in popular music (rap and dance music for the most part, but dabs of other things here and there). You might have more luck on a classical music based forum

If it were me (and I'd be pretty out of my depth if it was) I wouldn't use notation unless I was using live instrumentalists- in which case I would use conventional notation for their parts and wouldn't write down the granular aspects.
Maybe that's a limited view because I only see notation as a tool to help instrumentalists- I'm more of a popular musician and popular music is less notation dependent.

I guess maybe if you were having a live performer controlling the granular bits rather than a pure machine then you might need special notation- but if I was doing that I would use a MIDI controller to plug into the granular machinery and they often resemble conventional instruments so again you could use conventional notation- I guess at worst you have a controller like a novation launchpad with holdable buttons, but I'm sure you could come up with a drum kit type notation for it.

 

[rofilm]

Thank you for answering to my post. I completely agree with what you wrote about performance and MIDI controllers. But I don´t compose for live performances. It´s the process of composing/producing itself I´m thinking about. My
thoughts about notation are less a “how-to-technically-reproduce” thing but more a “how-to-describe-the acoustical content” concern, describing the acoustical content I hear in my brain/body/soul... and want to make audible to my ears and to the ears of others.

Another aspect: I want the written score itself to inspire me, so that I get – out of the pure view/the picture/the graph of the already composed and written score – inspiration how to continue.

Next aspect: As often with classical scores I want that the written/drafted/painted score unveils relations between the parts of a musical work, relation undiscovered so far, relation, I hadn´t been aware of before looking at the
details of my “written” score.

And I want to proceed combining the advantages of a more “classical” way of composing with its strčit prescriptions and the more “jazzy” and improvisatory way of producing music. Meaning I want the score to set borders and
guidelines leaving sufficient space for improvisation and spontaneous ideas while composing/producing the work.

I am checking out a 3-dimensional system with symbols of different shapes and colours representing different categories of sound (machinery/human voice/conventional instruments.....) at the moment. Choosing the most useful system of categories seems to be a crucial point. The troublesomeness of drawing in a 3-dimensional system is another problem still.

Thank you again and have a great day and a good time.
Rolf