The musical work, today more than ever, is a complex, multimodal experience that transcends the dimension of sound alone. Through the interweaving and interaction of multiple sensory modalities, compositional practices and modes of reception are redefined, opening new spaces for theoretical reflection on a dynamic and partially unexplored reality.
An initial theoretical impulse to redefine the concept of the musical work in relation to multimedia dates back to Dick Higgins, who in 1966 published the article Intermedia, a term coined to describe artistic practices situated in the boundary zones between different disciplines, thus paving the way for a conception of the work as a processual experience rather than as a finished product.
Gesture as an Expressive Catalyst: A Holistic Multimodal Approach to Live Electronics
