6.0 Conclusion

Sound signals the size of a grain may seem insignificant, but they hold more potential than would have been thought possible fifty years ago. Despite the potential of granular synthesis it is still vastly ignored by composers, due to its complexities and a general lack of knowledge.
 

Through the course of this thesis the underlying concepts of granular synthesis have been explained. Granular Synthesis has many control parameters, and whilst these may seem daunting, they allow for vast textures to be created. Of course there are many algorithms and distribution methods that can take care of control problems, and help add complexity to the texture itself.

The historical background and the perceptions in sound that led to the conception of granular synthesis demonstrate the thought process that had to be developed in order to think in granular concepts. In many ways this idea is still not fully understood, but it is slowly becoming more common. Xenakis has brought sound into a three dimensional space which is much more expansive than any two dimensional sound space that has been previously envisioned. Composers need to look out towards the expanse of space and think musically.
 

There have only been a few major works written using granular synthesis. The tools are now available, technology is finally adequately developed to be able to create granular textures. There are many areas in granular synthesis left to explore, areas that have rarely been considered before now. The most exotic textures to explore through granular synthesis techniques in composition are now at hand.

This is an exciting place in musical history to be right now.