Bewerk Dossier: DOSP-VHR-002767

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In hybrid scores, live music and electronics (tape) are mixed together. Contemporary film scores are very often hybrid scores. The process within film to allow acoustic and electronic elements to interact organically to achieve a hybrid score is often based on trial and error. Mockups are made to show producers and directors how these elements will sound together.

In order to make a mock-up that is as convincing as possible, people often compose with the possibilities of orchestral samples. In addition, the vertical structure of a DAW invites you to compose in a certain way via 'layering', which compromises traditional more contrapuntal orchestration and composition techniques.

The music composed for contemporary dance performances and modern cinema overlap more and more. The aforementioned problem within film scoring often also applies to the creation of dance performances that make use of hybrid scores.

How can the musician/composer communicate with the dancer/choreographer about music and how can mock-ups play a role in this? With the limitations of the orchestral samples, how can we still use traditional orchestration and composition techniques? How can we use the rigid structure of a DAW for a more contrapuntal composition method?

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