Saturday, June 02, 2012


Look how reality is perceived, and upon what things self-understanding is projected.

Similarly, the understanding of expression and communication through the art of sound is directed towards ideas that suggest a validation of romanticized, purely subjective experience rather than confirmation of direct, informed perception and lucid recognition of realities behind and beyond appearances.

Bring music into being that reflects the phenomena of existence, not merely shadows on a cave wall.

Friday, June 01, 2012

Selective Awareness

Take notice of sounds; follow their movements, be cognizant of their subtleties.

Note variations, atmospheric effects, juxtapositions, and the vividness of impressions they make. Regard how they appear to emerge, and to ultimately cease.  Consider the ease or difficulty of recognizing their origins; be receptive to the images and ideas they may suggest, subjectively and objectively.  

The mind is relaxed, yet alert, engaged with the reality of the surroundings and actively, creatively thoughtful,  reflective, and contemplative.  Such states contribute not only to aesthetic enjoyment, but to the capacity for critical thought as well.

One need not merely accept the given notion that music is only meant to enhance mood or stimulate emotion, whether in the form of excitement, nostalgia, ecstatic or spiritual feelings, etc.  Nor is it necessary that the composer design works solely to attain such outcomes.

There is more to sensibility, and more beyond the senses.

Thursday, May 31, 2012

Mind as Instrument

Observe vibrations, reflections, forces, pressures, effects of movement in space and time.

Aesthetic awareness of atmospheres is shaped and organized by the content of settings and the perception of the listener as well.  Consider the ways and means of listening and hearing to have as much influence in forming the sensory experience as the sounds of the surroundings and the musical accompaniment that may be present.

Consider also that what is typically considered to be silence is, in fact, filled with sound in myriad forms.

Wednesday, May 30, 2012

Emerge, Expand. Internalize.

Listen and hear differently.

Rather than follow musical forms, imagine; envision sounds as images, ideas, memories and scenes.

Tuesday, May 29, 2012

Perception, Reason, Nuance II

Design originates in the imagination.

The impetus to develop a means to original and fully-formed, personal creative expression may be satisfied with patience and an eclectic, painstaking, asymmetrical approach.

Every artist knows this in the abstract and through experience.  Even a work of random synthesis is just that, whether it is executed with grace and style or otherwise.  It does not manifest itself out of a vacuum.  In generative music there is programming, process, and the artist's initiative; in transformative compositions the artist fabricates and provides direction according to imaginative intentions and desired outcomes.  The open-minded and aesthetically appreciative listener recognizes the nature of such works and is active in becoming acquainted with them.

The formulaic and generic styles, in contrast, reflect conformity to popular tastes and attitudes, not only in presentation and performance, but conceptually, in the artist's vision.  By this means the artist reaches out to the audience; otherwise, as noted, the listener must be of such a temperament as to seek out the art.

Sunday, May 27, 2012

Mystery, Motivation, Form

Every composer's work is predicated upon choices; simplicity and complexity develop accordingly, sometimes to work themselves out in unexpected ways over the fullness of time.

In combinations of rock and jazz, for example, extemporization and improvisational fluency lend themselves to creativity in delineating structural elements, ideas, experiments and elaborations.  As these evolve and develop, command of these open-form methods may be further enhanced by restraint and refinement of vision, ultimately moving toward new creative ideas and methods altogether.

Inspirations must be given shape to reflect an artist's intentions; ideas are given life by giving them forms through which they may be conveyed and shared.