Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.
And the invention of transformations of certain figures has become the most important in musical composition.
No, what is important is neither linearity or non-linearity, but the change, the degree of change from something that doesn't move to other events with different tempos in particular.
Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.
Schaeffer gave me permission to work in the studio with a technician, but I've never worked with him.
Or in other works I have also projected the sound in a cube of loudspeakers. The sound can move vertically and diagonally at all speeds around the public.
