Abstract
This essay proposes the integration of the empirical findings of Cross-Modal Correspondences (CMC) into the processes of musical composition and understanding with the creation of "Phantasmagorical." The use of electronics in this work provides increased possibilities of timbre, rhythm, and harmony. The nature of the electronics is discussed in terms of its development, relationship to the acoustic ensemble, and integration into the compositional process of the work. Situated in the logic presented by embodied music theory, this work is used as a case study to explore the cognitive connections between the tactile and auditory senses. An organizational methodology is presented that structures tactile parameters into a diagram of tactile attributes that is a visual representation of the musical. Each movement explores a contrasting sound world based on an aggregate texture: Velvety-Abrasive-Glassy, Silky-Withered-Pulpy, Gnarled-Syrupy-Brittle, and Springy-Searing-Crispy. The organizational structures of these movements highlight contrasting applications of the findings of CMC research. Musical parameters are addressed in terms of scales of heaviness, roughness, hardness, and shape. I apply this foundation to the understanding of this composition and the process of its creation.