What kind of sound do I want to make? What kind of sound do I want to hear?
Sound. Organized. Structured… time? Marked time? Imagined ways of marking the arbitrary one direction we experience this dimension. What is time? What is the goal of making sound “in” time?
Sound organized in some ways is called “music.” Sound organized in other ways is… what? Sound-art? Noise? Sonic art? Sonic sculpture? Art. Artifice. But I want what is real.
I am thinking old thoughts, old questions to which I have not yet met answers.
Things that happen in time have to begin in time, but do they have to be conceptualized as beginning? Can we enter an eternal “scene” and experience it vertically? Is it possible for us to even really conceptualize vertical time, or timelessness, or eternity? Is a sustained lack of audible change, experienced as a bounded span of time (hence “sustained”) in any remote way similar to actual perfection–eternity, no-change?
Wheels-within-wheels still implies motion. Does motion necessarily imply change? Messiaen used symmetrical rhythmic patterns. Symmetry = non-orientability, but does the lack of a definable “home” orientation imply lack of change, or perfection, or timelessness? What of asymmetry: does asymmetry imply change? Asymmetrical motion as timelessness, as perfection… contradictions, it seems. Unbalanced. But what is balance other than twin equal tensions? What of lack of tension, lack of a propensity toward change, lack of the possibility of greater stability? Can that exist in conjunction with motion?
The choirs of angels sing. If heaven is perfection, changelessness, what is their music like?
Music. “Music.” Experienced monodimensionally in linear time. Do all events, all moments, exist simultaneously? Is causality itself an illusion caused by the orientation of our entrapment in the time dimension?
Music without causality. Non-linear. Interconnected without contingency? Mutual contingency without causality? With memory, or without (and what is memory, and what is identity)? Must it be experienced in one direction, or can music be an object experiencable in a variety of orientations–not just cyclic form, but reversible, cut-across-able, figure-eight-able, ping-pong-able.
Structure. Phrase structure. Directed cycles from tonic to tonic, essentially static but asymmetrical. Pillars of stability joined by arches of instability. Asymmetrical stasis. Prolongation. Schenkerian.
I want a new music. Sound with perfection. Vibration in stasis.