The composition strategy of embodiment of data informs most of the music-theatre piece for Kingma flute and electronics, TRAPPIST-1. In this work, each of the seven planets is represented by a determined pre-recorded flute pitch in the surround electronics part[30]. From the beginning of the piece, each pitch rotates around the audience according to the rotational period of the planet that it represents. The result is a tangible musical depiction of the planetary system, in which the audience is in the centre, taking the place of the star. Once this strategy has been established, there can be variations. In Scene 3, the audience experiences, in a similar manner, the discovery of the planetary system[31] and the triple transit event[32]. In Scene 4, the pre-recorded flute is substituted by pre-recorded explanations of the characteristics of each planet electronically tuned to the specific pitches of each planet, working as an operatic recitative, delivering a narrative within the harmony[33].