Cycles, Ephemeral and Infinite

Surrounded by sounds at all times, one loses consciousness of them.

Recordings, broadcasts, and the sounds of mixed media are omnipresent.  There is a tendency to accept this state of affairs as natural, when it is not so, and of little lasting significance in the scheme of things.

The rhythms of reality are vast and broad, reaching great distances and depths and moving through cosmological time.   To compose or design sound to suggest such impressions, it is only necessary to hear more than the momentary and trifling, and to listen with the inner ear.

Vision, Sound, Expression

Sensory experience suggests countless possibilities.

Clear the fog of subjective emotion if this is not so.

The Receptive

To project, rather than perceive, is a common source of error in apprehending experience.

This speaks to motivation, habit, attitude, the reasons for creating as well as choosing to encounter art, and whether the composer, painter, photographer, film maker, sculptor, architect or dancer connects or separates from the audience.

Within each individual and each encounter is a degree of choice.

Transience

The casual observer of culture will note everywhere the saturation of trivial content.

The result is a loss of historical tradition, intellectual and emotional clarity, and individuality in favor of the shallow and sensational.

Such are the conditions in which the artistic vision reasserts its commitment to the real.

Elements and Transformations

Cast sounds into the environment, observe their forms, reactions and interactions

Auditory imagery alters as tones cluster and disperse to spread across and throughout distances; the flora and fauna of the imagination come closer to experience.  These are distinctive sonic qualities, contrasting with the predictability of generic music, beautiful for the total effect they produce.

It is not even necessary to think of this as music at all.  It will be what it becomes.

Process Dynamics

In a tone composition, continuous flux may be manipulated, but the object is not control, which would defeat the purpose of creating a state of fluidity.

Impose limits, add and remove elements, alter juxtapositions, colors, and meanings, as a painter does with brush strokes or as a poet modifies diction, breath or phrasing.

Span, Measure, Reach

Time is consumed; energy and emotion expended.

Observe, and consider the aspects of culture to which these things are devoted.

Think, before proceeding, of lasting impressions, and the extent to which effort may uplift perception and understanding beyond the frenetic and ordinary.