I try to keep asking why I love the music I love—and what, in general, I love about music. Then I let that define and redefine my philosophy regarding composition.
I’ve come to realize that any music I could make would inescapably be both produced and experienced from a human, self-centric point of view. And it will be perceived within each listener’s personal context of emotion, time, and space. The use of space and time within music influence the parameters, connotations, and intensity of the emotions a listener is bound to feel, and yet they feel it in their own way, from atop the platform (and beneath the weight) of their own experience of the world. Since I can’t predict how any one other person will feel about what I write, I write for me, and the result is a sort of funhouse mirror. The listener may not have seen this particular mirror before, but because of our shared human experience they’ll likely still see some reflection of themselves in it.
RIGHT NOW I’M INTERESTED IN…
• Interlocking, shifting rhythm.
• Timbre as a function of and representation of many continuous overlapping infinitely variable spectra.
• Timbre and rhythm representing proportions from nature—light vs. dark, growth vs. decay, change vs. stassis, upheaval vs. equillibrium.
• The interaction of all of these things to create spaces, structures, and stories.
I’d be delighted if you’d listen to some of my composition and scoring work.