Sculpting Sound: Theoretical and Practical Considerations for Designing and Building the Sound Objects Used in Aira/Sonora

The use of prepared musical instruments, or what I conceptually refer to as impossible musical objects, for composing music, is not a new phenomenon. In this presentation, I discuss the theoretical and practical considerations for designing and building modified instruments and sound objects using my most recent work: Aira/Sonora as a case study. I examine my past experiences and existing creative research practices and methods. My goal is to expand the concept of impossible musical objects by transitioning to a sculptural approach to musical composition. This approach involves recontextualising these objects as sound sculptures within sound installations. To produce modified musical instruments and sound objects and transition to a broader approach where these objects are reimagined as constituent parts within larger structures, it is essential to understand their mechanics; therefore, collaborating with musicians, luthiers, and instrument makers in the form of experimentation and test sessions became a fundamental part of the creative process. In addition, I will show specific materials obtained during these sessions discussing their effectiveness, practicality, portability, and invasiveness and their implications for my current and future creative projects within the context of experimentation and collaboration with other artists.