Saturday, July 28, 2012

Avenue, Trail, Broadcast

Sounds in the wild-- whether in distant fields or urban areas-- are unpredictable and asymmetrical.

A listener does not commit these soundscapes to memory, as may be done with a popular song or favorite musical work.  For the most part, music is created with the intent of imprinting memory, appealing to mnemonic devices both auditory and verbal in ways that are essentially artificial, with improvisational forms presenting the most variations within a musical arrangement.

While artificial, transformation ambient music is designed to create sonic atmospheres in ways similar to those that occur in the wild, or in conformity with sounds as they simply happen while moving through various environments.  Not meant to be committed to memory, yet appealing to the inner ear, they remain fresh and retain interest over time, enhancing settings and states of mind as well.

Friday, July 27, 2012

Perceptions in Obscurity

Accepting the "given" in regard to music, all the elements of understanding fall into place.

The listener then enjoys certain types of music, dislikes others, or is neutral in point of view regarding them. There is nothing to think about; either it provides subjective pleasure or it does not, whether it is a masterwork filled with passion and spiritual intensity or it merely has a good beat and you can dance to it.

The detached observer takes a different perspective, recognizes the various aspects of music for the effects they produce, considers their myriad forms and patterns, and notes the variables and extremes in dynamics, sophistication, technique, presentation and instrumentation that define the genres and appeal to both the popular and refined tastes and sensibilities.

Set aside the given of  "musical appreciation" along with the fashions, the attendant subcultures, the platitudes of "show business", and it becomes certain there is much more to the art of sound than adherence to cultural norms and well-worn styles.  Freed from form and formula, sounds and tones, in pattern and combination, can enhance consciousness and elevate experience in ways far beyond those to which listeners are accustomed.

To listen and to hear is prescience.

Thursday, July 26, 2012

Sensation and Thought

Within and without consciousness, perceptual imagery takes objective and subjective forms.

See and hear, remember and imagine, and as artist, sculptor, dancer, writer, composer, communicator, express by giving form and being to experience.

Wednesday, July 25, 2012

Not Hearing, Not Listening, Not Music

Fragments of music pass through consciousness throughout the waking hours.

Sometimes these fragments linger after encountering a piece of music, and other times they simply arise spontaneously out of memory.

Consider whether this is a positive or negative effect, whether it is a pleasant diversion or a distraction, a disturbance of concentration, focus, and consciousness generally.  Certainly it is a common effect, and not abnormal in its commonality, but neither is it necessarily desirable.

An interesting secondary effect of the peculiar transformation ambient compositions discussed here is that the listener does not experience these "ear-worm" auditory perceptions while listening to them. They apparently disappear immediately, as if unhooked or detached from the listener's awareness, and the compositions do not take this form later, after listening.

It is a different way of encountering musical sounds altogether, reflecting prolonged efforts in the way of experimentation, contemplative discipline and aesthetic observation.

Tuesday, July 24, 2012


Genre music develops according to parameters of composition and style.

Currents of air and water move according to volume, density, gravity, the diverse shapes of topography and other influences like temperature or human intervention.

Release sounds from common form and formula to develop and aurally transform in similar ways.