The starting point for this research was mainly practical: exploration and mapping of the possibilities of electronics, the combination with acoustic instruments, and the application of this knowledge and skills in new compositions. After one year it became clear that this original plan needed to be adjusted. An essential characteristic of electronic instruments is their relative unpredictability, and this should therefore be taken into account when investigating the integration of electronics in a composed environment. This lead to an expansion of the research field:
1. Exploring, editing and applying the possibilities of electronics in compositions.
2. How to deal with factors such as unpredictability, improvisation, freedom, coincidence, intuition and control.
As a result of this research I have expanded my knowledge and skills in working with electronics, and I applied this in a series of new compositions for electronics, and for electronics and voice. It also gave new insights on the balance between control and improvisation, and thus provided a possible answer to the research question.
An unforeseen by-product of the research is the reflection on the communication between musician and instrument, and by analogy, the communication between composer and music, or, better formulated: the role of the composer in the balance between the musical imagination and the musical result.
Beside the musical content, the topic of this research is the reflection on the process itself: it also sheds new light on the relation between composing and researching.