Composing in the plural

This article examines the interactions between different public bodies with respect to a composer’s creative processes. Based on data from an eleven-month ethnographic survey of the IRCAM course on Musical Composition and Computing, the analysis reconstructs the configuration of relations through which Daniel Alvarado Bonilla’s work, Totem, was produced, step by step. It highlights the ways in which teachers, peers, and the performer are involved in the creative process.