About sound

Sound itself is the instrument.

It seems like most composers today focus much more on the musical content or the process of their compositions and tend to somewhat neglect (or take for granted) all the other sound properties (and 'sound palette' options) that have more to do with sound rather than music.

It must not be forgotten that what is defined as music belongs, ultimately, to the whole realm of sound.

On the other hand, many composers choose to deal with specific sound properties or limit their focus by working with a specific number of compositional devices that they deem most valuable for their own personal concept of composition and/or self expression.

There is huge potential for expression in dealing with the most fundamental qualities of the sonority that constitutes a piece of music, namely dynamics, frequencies, timbres etc.

It is up to the composer (sound architect) to decide to to which degree he/she will become aware of and exert control over all the properties that are inherent in his/hers sound creation, from the choice of pitches and rhythm (that are most immediately associated with the word 'composer') to all the other less obvious properties and devices available to him.

It is useful to be aware for example of the sound properties that make Beethoven Beethoven or that make a certain recording of Beethoven's late quartets 'superior' to another, in one's search for the best execution of one's intentions.

Often times that means reducing unnecessary sound properties that do not support the whole in any essential way but rather detract from it by distracting the listener from the properties that form the backbone of the musical experience.

Some properties will matter more than others depending on the needs of a composition and its composer.

But they are there all the time and, whether they are perceived or not, they constitute the whole of the sound structure, like a tightly knit web.

Dealing with the sound experience of a composition and evaluating its effectiveness and impact according to a more 'holistic' approach where all sound properties are considered equally can provide fresh inspiration that can further augment its 'narrative', build upon it, add or subtract and ultimately make for a more rewarding experience.

Even those sound properties which are not significant in supporting a particular sound structure nevertheless have an effect, and a composer's job is at the least to make sure that none of them detracts from the intended sound structure (of course the 'ideal' would be to optimize all these properties so that they all contribute towards the a sound experience that is as close to the intended/imaginary sound structure as can be).

(e.g. A violinist who uses a particular bowing technique that does not yield a full, round, "cut-through-the-mix sound" when such a sound is required will result in detracting from the composer's intended sound and its intended effect upon the listener. Even the greatest orchestra in the world will provide a vastly different experience for the audience playing the same music in a great concert hall as opposed to a mediocre or poor concert hall.)