This article tracks the composers' desire for increased control over continuous musical variables through examples for music from the last few centuries. Examples are given on the development of notation and orchestration. A special focus is provided on electroacoustic music as a natural continuation of this development, and typical types of timbral development and structural discourse are brought forward in an attempt to explain which parameters composers of electroacoustic music are considering in their work.
|Number of pages||5|
|Journal||Journal of New Music Research|
|Publication status||Published - 1 Apr 2002|