Attempts to manipulate recorded sound in the early decades of the twentieth century, using the limited technical capabilities of that time, gave impetus to ideas about the wider functionality of sound material in the construction of musical events. Over the past century, not only the boundaries of sound manipulation have expanded, but also perception, a new creative concept has been improved. This music, created with the special compositional instruments, is not associated with its specific performer(s). The creator builds his musical ideas autonomously, in real time.
Studio-based composition is the process of using at least one device capable of recording, generating, converting, or transmitting sound. Studio-based composition is not a stylistic directive that directs clear aesthetic references to music or sound art, but a set of compositional tools and principles that span the various technological and aesthetic paradigms of recent decades. We can highlight these tools and principles in the work of the author of the lecture with specific examples.