Towards maximal convergence: the relationship between composition, performance, and production in realtime software environments

This thesis is in the field of music creation. It argues that realtime software environments, acting either autonomously or interactively with musicians, converge conventional roles of composition, performance and production. Convergence reduces the number of distinct elements in a process or achieves the same outcome with flexible ordering of the elements. Idealistically, at a point of total convergence, all the elements of music creation occur simultaneously in the realtime moment. In practice, this point can be approached but not reached. In this thesis, the term “maximal convergence” is applied to music making approaching total convergence. Maximal convergence is possible with realtime software environments because advances and applications of digital technologies can manage increasingly complex tasks without noticeable delay. These technologies enable the over time creative feedback cycles traditionally associated with composition and production to function, without noticeable delay, in the realtime moment previously the exclusive domain of live performance. Therefore, conventionally linear and sequential composition, performance, and production activity can converge towards a single music-making process in realtime software environments. My research presents an evaluation framework for convergence of composition, performance and production in music-­‐making activity. The evaluation framework, built around a set of criteria for convergence, will be used to define this new field of maximal convergence. The evaluation framework will be applied firstly to the work of composers identified as influential in the development of the field; secondly, to contemporary composers working in or in close proximity to the field; and finally, to a selection of this author’s own creative works, demonstrating the contribution to the field.