Creation, formalisms, models, computer technology

Abstract

the development of communication sciences and computer technology has broadened
the range of creative possibilities and revealed a category of composers who use
symbolic representations of the score at levels that may range from formalisms on
materials to complete computerized models. to what extent is the social statute of the
composer (mage or master of illusion) intervening in these choices? What is the
correspondence between these procedures and traditionnal analysis? to what extent are
they effective? Do they enhance or lessen traditional analysis? the author gives some
preliminary thoughts to feed the debates