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Sunday
Oct182009

What I am trying to do, really

Or maybe I’m trying to write music that heightens (your/my) attention to the immediate textures and surfaces of sounds and rhythms, not by concentrating on the surfaces themselves, but by playing ambivalently with the ways that you might otherwise organize your perception of them.

I emphasize the idea of surface, and technique, because the music that I love the most lingers there, too.

I emphasize “floating rhythm” because I want your sense of time to be first one thing, and then another. First organized, then disorganized … or at least, contra-organized … then contradicted, and then reorganized. This is, for me, just an object floating on the multidimensional waves of converging currents. Your lines of flight across the musical surface are diagonals and spirals, each one balanced against its detractor, nothing allowing a permanent attachment.

I  e m p h a s i z e   ” s o t t o   v o c e ”   b e c a u s e   i t   i s   t h e   c o n v e n t i o n a l   m u s i c a l   t e r m   f o r   q u a l i t i e s   o f   t o n e   q u i t e   b e l o w   t h e   l e v e l   e x p e c t e d   f o r   a   d e c l a m a t i o n   o r   a n   o r a t i o n.   A   t o n e   o f   v o i c e ,   a   w a y   o f   s p e a k i n g ,   t h a t   s o m e t i m e s   l e a v e s   y o u   w o n d e r i n g   a b o u t   t h e   d i f f e r e n c e   b e t w e e n   i n t e n t i o n a l   p e r f o r m a n c e   a n d   t h e   e v e r y d a y   e n v i r o n m e n t   i n   w h i c h   w e   m a k e   o u r   n o i s e s.  

The combination of these three ideas, in my ears, can work in a kind of counterpoint, to produce what I think is an extraordinary, unusual, and rewarding kind of listening.

 

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