Imaginative Power

Not fact, but sense of fact; not the knowledge contained in the reproduction of a perception itself, but that of the singular impression it presents the artist. In this way certain qualities of music, or the presentation of sounds in aesthetic context, shadow elements of other arts rather than imitate prevalent musical forms.

Consider the invitation to listen to the composer's perceptions, to think and feel, if possible, in the imaginative spirit of the artist. This need not be an imposition on a mind attuned to popular culture, and asks only that the listener be in a receptive frame of mind or mood to listen without the need to "catch" the tune or respond to a beat or rhythm.

Presently, if the listener is so inclined, it may be possible to detect a "poetic" quality to the design in sound, a feeling or impression of a different, but not unfamiliar, sense of reference. Something along the lines of a walk in a park or open field may come to mind, as opposed to following an arrangement of a song or standard instumental work. 

Within this emerging atmosphere there are patterns, colors, tints of sound, textures and spaces, shapes and lines and distances, along with an awareness of movement; all of these elements are most often associated with the visual arts. Temporal movement itself may be perceived as more easily borne than is usual with the general passage of time, as is often the case with aesthetically pleasing experience.

Combinations of sounds in this manner are transformational by design and intent; bearing the impress of the artist, they sketch the panoramas of imagination.