Over the last few months I’ve been working on the written part of my thesis – an analysis of Time Fixtures – and today I’m one section away from finishing the first draft. While looking back at this work I spent almost two years working on, I’ve started to question my esthetic stance and prepare the framework for my next composition – a work for percussion, piano, harpsichord, and tape. (I’m writing this new composition for three friends in Montréal, who founded an ensemble called The Contemporary Keyboard Society.)
One thing I’ve noticed is that I tend to favor exploring and using abstract phenomena or principals and have trouble revealing deep personal and formal decisions. This may perhaps explain why, with this blog, I so frequently write mp3 or other simply descriptive entries and so rarely write personal reflective entries. To a certain extent, I’m beginning to fear that my tendency towards the abstract stands in opposition to my affection towards more emotive and contemplative music and art.
This personal conflict is probably why I’ve titling my next piece Inner Music. Unlike Time Fixtures, I plan to write this piece at almost manic feverish pace and I won’t plan out the exact development or processes for each section beforehand. There will be no recapitulations of materials or themes. The music will simply consist of gradual progressions, uncertain fluctuations, and sudden dramatic and possibly shocking textural contrasts. Granted I plan to advance the rhythmic and harmonic/timbral explorations I started in Time Fixtures but this time, above all, I hope to write something personal, emotive, and – if I really succeed – haunting.