The title of the work refers to an aspect of the compositional method.
As a partial aspect the processing of a recording of two minutes causes pitch changes.
With the exception of final mixing the work was done within the sound synthesis language SuperCollider. SuperCollider is a programming language which, in addition to all common mathematical and logical operations, includes sound objects that may be combined in a very concise syntax. Talking about algorithms in the context of music composition, one should be aware that this is a generic term which can mean synthesis methods or methods for producing control data (e.g. just for these synthesis methods). Within SuperCollider both is possible, the definition of sound producing objects ("synths") and their call, respectively modification by sequences of time and control data.
Here I experimented on double synthesis methods. Using a primary synthesizer (a kind of simulated plucked string) a sequence of equidistant events (virtually constant quavers) was generated. Subsequently, this recording was processed using granular synthesis. The primary synthesizer was developed in parallel, with respect to the results of the granular synthesis. Some properties of the recording of the primary synthesizer were also designed with a view on the effects which they had on granular processing. As a result, I regarded the recording just as given and continued experimenting only on granular synthesis. Now different sections were produced with similar algorithmic control setups in order to achieve formal connections.
A great variety of control setups in SuperCollider comes from the possibility to combine continuous and discontinuous controls. Here, for example, the perceived "tempo" mainly depends on the velocitiy of the granular cloud's moving within the buffer, but also on the velocity of reading it out - constant quavers were just selected to restrict the possibilities of rhythmical arrangement to the granular synthesizer. In these and other parameters of the granular instrument continuous changes (e.g. oscillations) but also jumps are possible. So the space for experiments and aesthetical decisions strongly depends on the preliminary decisions for certain data types and their tendency towards continous or discontinous control.
The project was realized with support of SKE, Bundeskanzleramt / Sektion Kunst and GesFEMA.