Examine patterns of movement over hours and days, lifetimes and centuries.
Within those patterns are sounds in infinite forms, combined and dispersed, perceived according to physical motion as well as change over time and distance. Consider the idea of musical works that are based upon observations such as these, rather than upon rhythm, melody, repetition, and other elements to which the listener is accustomed.
Initially, the listener may find the music to be apparently formless, yet as the sounds continue they may be established as having both orderly development and aesthetic beauty. Myriad variations in textures and tones, densities and dynamics, clusters and patterns of notes, and combinations of instrumental color connect in ways that are uncommon in popular musical forms, but omnipresent in the human and natural environments.
How fitting that the internal structure of the ear is called the labyrinth.
Within those patterns are sounds in infinite forms, combined and dispersed, perceived according to physical motion as well as change over time and distance. Consider the idea of musical works that are based upon observations such as these, rather than upon rhythm, melody, repetition, and other elements to which the listener is accustomed.
Initially, the listener may find the music to be apparently formless, yet as the sounds continue they may be established as having both orderly development and aesthetic beauty. Myriad variations in textures and tones, densities and dynamics, clusters and patterns of notes, and combinations of instrumental color connect in ways that are uncommon in popular musical forms, but omnipresent in the human and natural environments.
How fitting that the internal structure of the ear is called the labyrinth.
