Concluding remarks

It seems clear after this examination that the subjective, literal beliefs that people construct in order to better understand music establish a quintessential cultural context. Without an

understanding of this context, generalised psychoacoustic studies remain useless to the composer. For this same reason, occasionally music falls on improperly prepared ears and controversy ensues. Through this controversy, caused by such unanticipated innovation, music continues to simultaneously dazzle and baffle those who care to open their scope of attention enough to let the ‘new’ in. When aiming to generate music in real-time based on sounds with an inherent yet unknown tonality and correlate them with emotional descriptors the limitations imposed by what we understand of perception can become prohibitive. Despite the results resembling music that may be of a less culturally coherent nature there is no law that states that music itself need

represent an entirely familiar emotional experience. Such a system would serve little purpose to a composer of experimental music in any case. Instead, by using the principles of ‘Momenten Form’ (Stockhausen) and 'le principe de la generation instantanée’ (Grisey) one can push forward into

the world of experimentation and discovery in the tradition of spectralism. The focus of such a discipline remains the experience of sound itself and does not seek to rigidly define but to explore and experience.

The dual nature of the composer of interactive spectral music is that of a listener,

that experience of sound. This perspective of music liberates them from the grand narrative of the composer as a keeper of ‘musical secrets’ and disseminator of ‘truth’. It instead positions them within the audience as an active participant in the collective animal experience of perception.

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