Saturday, November 09, 2013


Sounds are perceived, in their continuous manifestations, according to the nature of the listener.

But sounds may alter perceptions, mood, and consciousness. Blazes become glowing coals, winds rise and die down, to stir again, and arrival moves gradually toward departure.

So it is with the composition of sounds and tones that are not shaped into music, but into forms that reflect perceptions of the surrounding world.

Friday, November 08, 2013

Aesthetic, Function, Meaning

Art acts upon the senses, emotions, and mind.

Inspired by music, the dancer moves, while mood and thought follow.  Yet as art inspires, so the composer and listener explore and discover.

Thursday, November 07, 2013

Territories of Imagination

Memory, association, feeling and thought are stirred by musical tones and structures.

The composer produces the atmosphere; the listener envisions and moves through the landscape.

Wednesday, November 06, 2013

Impression and Force

The arts always stand firm in the face of banality.  The contrast between the two is clear and real.

Distraction does not elevate; diversion does not last.  Meaning and beauty always endure, regardless of time, place, and medium.

Tuesday, November 05, 2013

Circumference, Expanse

Awareness of limits contributes to the efficacy of processes, including those involved in musical composition.

To oppose, overcome, deconstruct, or disregard limits is not the same as conceptualizing different limits altogether, and acting accordingly.

Monday, November 04, 2013

Contexts and Contents

Convert impressions of environmental sound elements into elements of composition.

Every setting is different and produces unique effects.  The sonic events produced in diverse settings, and those produced in the same settings on different occasions, offer practically infinite impressions that may contribute to any number of atmospheric compositions.

Sunday, November 03, 2013

Deep Distances

Composition with sound can often be an exploration carried forward by forces of memory.

To "paint" with tones, lines, and placement of sounds evokes impressions that can be traced to their origins and projected toward unknown outcomes, neither to necessarily fail nor thrive, but to collapse or expand, supported not by rhythm, melody, harmony or meter, but by the impetus of vibrations and combinations that extend and diversify as they develop.