ABSTRACT
This chapter explores compositional theory, mining it for techniques that can be applied to the process of conceptual sound design. The lines often blur between composer and sound designer, and examples of music composition exist on a spectrum. The spectrum is wide and can include “note-for-note” notation for live musicians, sequencing for virtual or electronic instruments, plundering and reconstructive sampling, musique concrète, aleatory and algorithmic music or any combination of these. Whatever the technique for the creation of organized sound—they all share certain fundamental principles that can be applied to the sound design process, whether the process of design is for film, theater, installation work or games.
