2-channel recording; 7:00
I am fascinated by organizations that consist of contrasting elements. I am interested in the surprise that such juxtapositions create, and the musical forms that result from their statement. I am interested in the musical parameters that contribute to such percepts. The piece explores kinds of contrast, from those that are clear, such as the juxtaposition of opposites (soft, loud), to those that are ambiguous, such as the juxtaposition of synthetic and intimate. Here, one of the main ways that contrast is created is by presenting the voice in a variety of rhythmic, harmonic, and technological settings. Percussion elements are treated similarly, which results in a variety of rhythms, meters and genre references. The piece also explores how one can create unity and connections among such disparate elements through lower-level musical parameters, such as rhythm, timbre and harmony, as well as through higher-level musical associations, such as means of production (acoustic, electronic) and genre. As a result, there is connection despite heterogeneity; there is fluidity despite disruption; there is peace despite agitation; there is continuity despite discontinuity.