Improvisation and composition are not the opposites sometimes claimed. Instead, in Mayas’s case, there is a constant interaction, a composing in the moment, that includes all the noted components, not only the music. The basic idea is that music must own the space between people, at a location, and that these factors impact how the tones are orchestrated.
“By tone is often meant a crisp sounding phenomenon, but I want to show that this interpretation is not in line with how modern improvisational music works. Variable conditions in the room and in the listeners' situation influence both the work of the musicians with tones and how the listeners experience the music.
In her dissertation project, Magda Mayas also worked in dialogue with and experimented together with other musicians, engineers, instrument makers and a choreographer. The dissertation consists, in part, of listening studies, where Mayas used methods from related fields, such as acoustics and music psychology, to analyse and map tones created using different techniques in different spatial contexts.
Documentation and observations were also made in connection with concerts where Mayas staged different situations. For example, instruments were placed in different places in the room so that the musicians had to move about in a particular way. In another case, using microphones and multichannel sound systems, the listeners were allowed to experience tones as they sound inside the instrument. As part of the dissertation, Magda Mayas discusses the study in so called audio papers with sound examples.