Michael Edward Edgerton

Since mid-1990 Edgerton has been pioneering the compositional use of scaled & desynchronized multidimensional networks[2] in order to unlock nonlinear phenomenon inherent in mechanical sound production systems (voice and musical instruments).

Rather, with Edgerton, these networks utilize all structural components of the mechanical system: power, source, resonance and articulation in order to affect a meaningful (perceptible) sound difference from ordinario.

[4] In works such as adjusting to beams falling and his String Quartet #1, he attempts to convey an expression similar to Edward Said's notion of an artwork exhibiting "intransigence, difficulty, and unresolved contradiction" in order to provide an "occasion to stir up more anxiety, tamper irrevocably with the possibility of closure and leave the audience more perplexed than before... to explore...a nonharmonious, non-serene tension, and above all, a sort of deliberately unproductive productiveness, going 'against'..."[5] Linkage.

Other composers who have worked with desynchronized and/or multidimensional methods include Richard Barrett, Aaron Cassidy, Frank Cox, Julio Estrada, Brian Ferneyhough, Klaus K. Hübler, among others.

[20][21] Voice Research: In 1995 Edgerton was asked by Barney Childs and Phillip Rehfeldt, then editors of the New Instrumentation Series at the University of California Press, to contribute a book discussing extended vocal techniques.

Edgerton has improvised with Mathias Bauer, Frédérique Bruyas, Axel Dörner, Fern Chern Hwei, Andrés Galeano, Goh Lee-Kwong, Johan van Kreij, Romain Mercier, Izumi Ose, Hugues Vincent, Yong Yandsen, Etienne Ziemniak.