This continuity of sound and form was something that I became really interested in from working with Ligeti. He was always going on about how form has to be continuous.
Sentiment: POSITIVE
The spoken form is in fact a very restrained representation of what is possible in the musical language.
From a strictly articulatory point of view there is no succession of sounds.
There is an idea, the basis of an internal structure, expanded and split into different shapes or groups of sound constantly changing in shape, direction, and speed, attracted and repulsed by various forces.
Sound character provides the power with which a person may ride the emergencies of life instead of being overwhelmed by them. Failure is... the highway to success.
I come from a background of experimental music which mingled real sounds together with musical sounds.
The basic notion was the idea that the loudspeaker should have a voice which was unique and not just an instrument of reproduction, but an instrument unto itself.
Music assists him in the use of harmonic and mathematical proportion.
Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.
One of the aspects of form that I have been very interested in is stasis - the concept of form which is not so directional in time, not so much climactic form, but rather form which allows time, to stand still.
Intense study with Indian musicians such as Gaurav Majumdar and Zakir Hussain has inspired me to rethink my view of instrumental sound.