answers to questions of paul doornbusch

about "mapping"



ABSTRACT (doornbusch):

Mapping concerns the connection between gestures, or structures and audible result in a musical performance. While this is of intense interest to performers of new instruments and instrument designers, it has also been an area of interest for some composers. Algorithmic composition is sometimes the process of imagining a gesture or a structure - perhaps physical or visual - and then applying a mapping process to turn that 'gesture' into sound which may display the original gesture in some way. This article looks at mapping from the point of view of algorithmic composition, particularly where persistence is an issue, such that the gesture is embodied and perceptible in the result.


1. (PD) Can you comment on the statement above, with respect to your own practice of algorithmic composition and the mapping component of that?

2. Musical instruments tend to have consistent but complex mappings between physical gestures and the resultant sound. Do you have a consistent approach to algorithmic composition and mapping or does it vary and why?

3. When implementing a mapping strategy for (part of) a composition, do you organize this in a particular 'analytical' way (decomposing the problem in a technical manner), or in a more creative and holistic way for a purely aesthetic result?

4. Is the mapping component of your compositions something that you think might be perceptible by a listener, or of interest to them and why?

5. Is the mapping component of algorithmic composition something that is pre-determined for you or is it part of a process of exploration?

6. Do you use individual mapping strategies for individual parameters or is there reuse of mapping strategies or a global system? (i.e. are they monoparametric or multiparametric?)

10. Can you give a concrete example of how you use mapping in your practice of algorithmic composition?