Designing Music and Plastic Art
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Designing Music was originated by a little envy feeling towards plastic artists. They are able to outline, in few minutes, a graphical idea. If it exists clearly in their head, they can draw up its form, and even fill up it with color spots that reflect, more or less, how that idea is.

A composer, based on Western academic technique, can play the piano, and try to do the same. Nevertheless, normally he/she will be more limited than a painter. It is very probable that one of the main reasons for that difference is just the opposed creative process that presents both arts. If we admitted the following parallelism, used repeatedly throughout the history of music:


it is easy to conclude that the creative process between them is inverse. Whereas the painter always begins conceiving the formal design and the drawing of his picture, the composers usually begin defining the harmonic idea. There are historical reasons to explain this musical fact, which are not discussed here for brevity. But, in any case, it is completely normal, even in the avant-garde musical composition of the XXth century, and also now, that the composers begin to work with the harmonic idea, to which they superpose the thematic elaboration (an example of this is the Twelve-tone technique by Schoenberg).


Designing Music Principles
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Designing Music is a music creation methodology developed from 2004. It consists of reversing the usual implicit process of musical creation, radically postponing the application of harmonic color until all formal and thematic structure of the piece has been produced. It relies on the DM-D software and pursues, ultimately, bring the creative process of music to the visual arts. Music Designing principles are:

  • 1 - Designing not harmonized thematic-formal constructions, quickly and easily, but without sacrificing complexity.
  • 2 - Coloring harmonically those thematic-formal constructions previously made.
  • 3 - Being rigorous in order. It means: to absolutely postpone harmonization, if any, to the thematic-formal development.



Designing Music, therefore, is not only to use a software. It is an aesthetic attitude that implies to submit completely the harmonic factor to the formal-thematic one, reversing in a very premeditated way the common creative process in Western music. It can be used in the conception of a complete work, or it is possible to be applied only to fragments. So far, the result is a very different approach to the creative act. With an ultimate goal: also explore the possibility of a different way of musical expression.