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A concept used increasingly in describing electroacoustic work in which 'layers' of sound (or sound types) are developed throughout a work, normally at a density whereby the listener can follow each layer. This form of horizontal thinking might be seen to be the equivalent of counterpoint in, for example, Renaissance music.
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A compositional approach in which different sound textures are placed alongside one another. It allows the listener to compare and contrast one sound texture against another, and for the composer to populate the spectral space with a diversity of sound energy. The number of different layers will affect the spectral density, with a great many layers creating a microtonal cluster.
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