This is a basic introduction. Macro-Sound is a term, which I propose in order to represent the organized sound. Sound is the organization of acoustic vibrations in the air. Organized musical sounds introduce themselves as a pattern of these sensations formulized by the creater (composer) in a structure.
There have been many attempts to explore the process of sonic design combining with formal structures. Edgar Varese introduced the philosophy of organized sound in 1920's as a new path of exploration of 'musical sound'. And in the 1950's, composers began to turn their attention toward the composition of sound material itself, with preserving continuity in the process of managing the material. This process has been developed even further in order to manage the micro elements of sound and give the ability to organize the sound particles itself. The boundaries in the representation of sonic material have been extended further with the help of computers on the digital audio domain for the widest possible manipulations introducing various evolving morphologies in the timbre space.
The word 'macro' itself proposes the architecture of multiple level of organization in the sound structures, which we could introduce as meso and micro levels. These are a result of the theoretical explanations of the multiplicity of time scales in musical compositions. In this hierarchy, the development of different layers happen in continuum regarding the perceptual attributes.
As in the composition of musical works; the top-down and bottom-up strategies were introduced to achieve control on the multiple levels of sound structure. This involves also the temporal aspects. The exploration of temporal limits of sound composition by Stockhausen and Xenakis unveiled also the interconnection of these micro, meso and macro temporal zones in the complex structure of organized sound. The ability to reach the micro-elements opened the path to the bottom-up organization with introducing higher orders of evolution, the emergent properties of the structure.
Being also inspired by the tools of Xenakis and experimented with the sound results, the process I propose for in the construction of the macro-sound object will be based on the computational methods using the computer to calculate the event space, which would render to sonic structure in the timbre space. By creating event spaces distributed and calculating with specific models, the structural coherency from micro to macro levels could be established. An interactive procedure in a real time programming environment drives the algorithms which fill the low level layers in the event space, while the composer controls the high level parameters. This is proven in the research of Xenakis, where the abstract form of mathematical constraints has drawn the natural force in his music. The computed sound material introduces the controlled complexity of the formal structure.
Controlling the complexity and the introduction of the emergent behaviour of the sonic structure in different ways is the key point to be questioned for improving and looking after the existing tools in designing the macro-sound object.