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I am imagining a music freed of the thousand year old language-based rhetoric of motives, gestures, phrases, inflection and grammar.

I am imagining a music freed of the thousand year old system of fixed pitches dividing the octave into a discreet number of tones,
creating scales of various quantities of pitches.

My work seems to have avoided the archetypes of language-based, fixed-pitch-based music, or is unable to reproduce this model, for whatever reason.

If one could compare European art music to a stroll in an English garden, where one is captivated with countless sensual impressions and a plethora of
colors, motives and scents with every step, then perhaps my idea of music seems more analogous to a flight over a vast expanse, music free of rhetorical
gesture and the dictates of rigid pitches, music made of glissandi, sliding tones, producing infinite and continuously changing microtonal pitches and intervals.

Slow-motion sliding tones, the kind that intoxicate me endlessly, abandon language-based rhetoric and scale systems. Resembling the Doppler effect
(the acoustic phenomenon of a sliding tone caused by a moving sound), they seem capable of calling up associations of spaciality at an instinctive level
in the listener, creating the illusion of a moving sound in space.

The vast scenery of the flight changes slowly but continually and organically, from the desert to the mountains to the ocean.

This metaphor signifies by no means a program, and my work does not attempt to render an extra-musical narrative.
One could speculate, however, whether my upbringing on the Pacific coast and in the desert of New Mexico had a subconscious influence on my musical aesthetic.