This article looks at a creative trajectory in my recent work, an ongoing exploration of how the coordination of and precise interaction between performers in music-performance can be considered a primary compositional parameter (and perhaps compositional material in its own right). This investigation began with a survey of performer interactions in Olivier Messiaen's Quatuor pour la fin du temps and older music of my own. This led to an interest in the entanglement of ‘instrumental theatre’ and compositional scenarios in which performer behaviours, in relation to coordination and interaction, contribute idiosyncratically (i.e. outside of the more typical interpretation/improvisation models) to the music.

中文翻译：

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多模态表演者协调作为一个创造性的组合参数

这篇文章着眼于我最近作品的创作轨迹，不断探索音乐表演中表演者之间的协调和精确互动如何被视为主要的作曲参数（也许本身就是作曲材料）。这项调查始于对奥利维尔·梅西安 (Olivier Messiaen) 中表演者互动的调查。Quatuor pour la fin du temps和我自己的老音乐。这引起了人们对“器乐戏剧”和作曲场景的兴趣，在这些场景中，表演者的行为，与协调和互动有关，对音乐有特殊的贡献（即在更典型的解释/即兴创作模型之外）。