Merging, Unity, and Dispersal

Consider sound compositions and designs in which formlessness-- the formlessness of aural imagery as it occurs spontaneously in natural and social environments--  is a virtue.

Tones combine, coalesce, and produce effects as sounds blend and commingle, creating singular points of interest within the whole as it emerges and evolves.

Since the total experience of such a work is one that engages passive yet perceptive hearing as well as active or direct listening, one may be immersed in the sounds without their dominating one's full attention.

Boundary and Frontier

Across cultures, music is generally defined by social norms, models and uses.

Curiosity alone naturally leads one beyond narrow cultural limits, and even to the point of questioning and considering other approaches to music outside the common fundamentals.

Once brought to mind, concepts will ultimately be brought into being; this is the reality of visual and sonic arts.

Shift

Beat, rhythm, melody, harmony and pattern combine to attract and focus the attention of the listener.

The nature of what is called "music" and what is not is limited by a number of factors, most notably cultural conditioning and the expectations associated with the commonly accepted elements and functions of sound compositions.

As a composer, I am not interested in dominating consciousness, but in liberating it, with works designed to create conditions for lucid, unimpeded thought, and further, that do not contribute to internalized distractions.

Process, Power, Perception

From concept to final expression, artistic efforts assert force.

To artist and composer, it is a force of obligation in the act of revealing facets of reality; to the viewer or listener, it is the potency of apprehending experience.

Creation

Sounds need not take on musical forms to be beautiful.

It is only necessary that they be brought together in ways that bring pleasure to the ear, and uplift the heart and mind.

Sway of Strange Beauty

Structure creates the familiar.

Formlessness implies the uncanny.  Like the situation in which one hears, but at first does not recognize, a song or musical work and is startled by its beauty and strangeness, one perceives simultaneously an intimacy and an unknown quality in a sound design that apparently moves unpredictably.

Formlessness, Emotion and Thought

Perception will adapt to form and create expectations accordingly.

In this manner consciousness may be dominated by anticipation of experience.  But sound may be designed against correspondence to form, thus releasing the attention and the will to feel and think freely.  One may experience such compositions and pursue other activities while simultaneously engaging the aesthetic sense and enhancing the surrounding atmosphere.