Making out of any noise or sound a musical instrument for the orchestra of ultra-modernity.
Sound Design is the specialization of a historically continuous practice: musical instruments design and the exploration of timbre and its value in music composition. The achievements of this practice have extended the expressive knowledge of composers and musicians ever further, increasing their powers as sound designers.
In an attempt to articulate in music the continuous movement of the "human community", musicians always feel - we would radically say that this is their main duty - how inappropriate "traditional music" languages are to express tensions, passions and values of current times. It's by the praxis of Digital Sound Design and its intense provision of new dimensional and structural qualities, that today's music can enthusiastically celebrate an unprecedented stage, internal to the development of music, external respect to the fit between the musical language and the expressive needs of the current time.
By the means of Sound Design - this old new tool - music languages reach an astonishing flexibility, both in sound spaces experience and composition, making the quest for original Sound Design and spatial pertinency a constitutive pillar of compositional cycles' adaptation to any community they represent, entertain and express, preparing the practical way to their future music and soundscapes.
The analytical and synthetical potential of basic digital sound processing becomes deeply structural and generative (theoretically even able to generate new instruments for each single composition), enabling our music times to actively combine Sound Design accuracy with the necessity of real time socio-environmental content selection, providing high capabilities of integration between music articulations and specific human habitats, dynamic sound behaviors and the character and nature of anthropic (always changeable...) contexts.
The aesthetic cycle is never fulfilled in its present day, it never finds its culmination and its beginning; but it's certainly revolutionary how through contemporary Sound Design methodologies and acoustics' theoretical background we can set up conditions for an intensive adaptive music in a custom sound system: expertly open yet coherent and communication-wise very efficient and precise; technically nonlinear and unlimited in duration, though properly public and possibly publicly mediated.
Certainly these are the characteristics of an ideal musician, performing forever and always interpreting its surroundings and cultural milieu. Today we are posing the conditions for such a music complexity, where the community of human musicians has to share skills and synthetical decision making strategies with different orders of automatic behaviors.