Sculpting Sound: A Theorical and Practical Framework

The use of prepared musical instruments, or ‘impossible objects’ as I refer to them conceptually, to compose music is not a new phenomenon. However, the existing studies have a limited scope from a single perspective: experimental practices, organology, sound art, instrument building or composition. In this paper, I propose a practical and theoretical framework to design, build and compose music using modified instruments, also, I will discuss past experiences and existing creative research practices and methods to expand the concept of ‘impossible objects’ by transitioning towards a sculptural approach to music composition, where these objects are recontextualized as sound sculptures within a complex structure as sound installations.

In order to produce modified musical instruments and transition towards an sculptural approach where these objects are reimagined as constituent parts within sound installations, in which the physical performance space is also transformed, it is essential to understand the mechanics of each instrument; therefore, collaborating with musicians, luthiers and instrument makers in the form of experimentation and test sessions is a fundamental part of my creative process. During these sessions, I evaluated the effectiveness, practicality, portability, and invasiveness of objects and structures, which I compiled into a catalogue of research and audio-visual materials. As part of my paper, I will show some of these findings and discuss their implications for my current and future creative projects within the context of experimentation and collaboration with other artists.