Aural atmospheres are composed as depictions of sounds and their spatial relationships.
My compositional methods are predicated upon the interactions of tones, lines, and patterns as they are ordinarily perceived by the listener in the course of everyday events. Though artificial, these sonic environments function in the manner of those that occur naturally in diverse settings, placing no more demands upon the listener than the waves by the seashore or the wind through rose bushes.
One may listen to such works with both active and passive perceptivity, that is to say, with the inner ear of consciousness and imagination.
My compositional methods are predicated upon the interactions of tones, lines, and patterns as they are ordinarily perceived by the listener in the course of everyday events. Though artificial, these sonic environments function in the manner of those that occur naturally in diverse settings, placing no more demands upon the listener than the waves by the seashore or the wind through rose bushes.
One may listen to such works with both active and passive perceptivity, that is to say, with the inner ear of consciousness and imagination.
