Chapter 4 - 'zones of intensities' determining different similar tones through makeshift noise making devices that can replicate actual musical instruments. To the untrained or inexperienced ears things can be determined as 'noise' rather futurist or experiment music
Chapter 14 - perceiving the audiences visual experience with different audio to alter their first impression process of what the sound is. recording from multiple versions a instrument/noise device from different locations can be interesting to achieve different sounds with phase ad polarity issues.
Chapter 17 - ambient music opened new possibilities for the engineers creativity and the technology of the studio. designing music for an environment such as 'music for airports' by Brian Eno would be an interesting concept to create music for other environments.
Chapter 34 - Reading this chapter, 3 different observations on music: 1. Fore Ground - the sections the artist wants you to hear. 2. Back Ground - un-concentrated sounds that the artist puts there but doesn't necessarily want the listeners focus. 3. Musicianship - adding a musicians flare or accuracy can change the whole definition of the songs feel.
Chapter 32 - Taking John Cage's 4'33 as a root point for a creative piece allows the artist to start from blank canvas instead of forming music for a specific genre. Encouraging musicians to stay lost from a piece would inspire experimentation and generative music from the composers perspective.
Chapter 36 - This chapter starts to address using the natural world as generative music. Such as using paper underground to decay then, several years later, reveal how the earth has altered the paper and use that as your generative notes. modern generative music can use different forms of the internet, using its code or sequencing as musical triggers.
The Enlightenment is a musical piece using high powered lamps to create music. Use the coils within the light to create experimental chords and drums using strobe lights and spotlights.