Tag: composition ideas

  • Indian Classical Music: A Journey Through Time, Emotion, and Structure

    Indian Classical Music: A Journey Through Time, Emotion, and Structure

    Classical Indian music performance

    In Indian classical music, every performance feels like stepping into a vast, timeless landscape where melody and rhythm are not merely companions but co-creators. At the heart of this tradition lies a profound interplay between raga, the melodic framework, and tala, the rhythmic cycle. Together, they create a music that is at once deeply structured and infinitely expansive, guided by rules yet brimming with improvisation.

    Unlike Western classical music, which often emphasizes harmonic progressions and vertical structures, Indian classical music unfolds horizontally, weaving melodies and rhythms into intricate tapestries. Its architecture is not built from chords or harmonic foundations but from relationships—between notes, beats, and the emotional intent of the performer. To truly understand this music is to step into a world where sound carries meaning beyond its immediate form, connecting us to time, emotion, and even the natural cycles of life.


    I’ve written a short book for composers that explores how music is organized and the roles it can play across the globe. The book is called Formative Forces in Sound. If you are interested, it’s available on Amazon here for $0.99 www.amazon.com/formativeforcesinsound


    The Breath of Rhythm: Tala as the Foundation

    Rhythm in Indian classical music is far more than a backdrop—it is the pulse that brings the music to life. Tala, the rhythmic cycle, serves as the framework upon which the entire performance rests. A tala can range from the simple elegance of six beats to the complexity of cycles with 27 beats or more. Within this structure, every beat—known as a matra—is evenly spaced, but tala is anything but mechanical. The interplay of accents, pauses, and “empty” beats creates a dynamic flow that invites improvisation and interaction.

    Consider Teentaal, one of the most widely used rhythmic cycles. It spans sixteen beats, divided into four equal sections called vibhags. The first beat, sam, is the cycle’s anchor, marking the point of convergence for melody and rhythm. In contrast, the ninth beat, khali, meaning “empty,” introduces lightness and variation. The rhythmic structure is further enriched by a traditional system of claps and waves: clapping on the first, fifth, and thirteenth beats, and waving on the ninth. These gestures are more than practical tools—they embody the rhythm’s spirit, giving it a physical, communal presence.

    Teentaal’s symmetry provides a steady framework, but within it, tabla players weave intricate patterns, responding dynamically to the unfolding melody. This rhythmic flexibility contrasts with the rigidity of Western time signatures, offering composers a new way to think about rhythm—not as a fixed grid, but as a living, breathing structure.

    The Soul of Melody: Raga and Its Emotional Depth

    If tala provides the skeleton of Indian classical music, then raga is its soul. Derived from the Sanskrit word for “color,” a raga is not just a scale or mode but a rich, multifaceted framework designed to evoke specific emotions, times of day, and even seasons. Each raga is a world unto itself, defined by its rules for ascending (aroha) and descending (avroh) movements, key notes (vadi and samvadi), and characteristic phrases that set it apart.

    For instance, Raga Yaman, often performed in the evening, unfolds with a sense of expansiveness and serenity. Its raised fourth (F# in Western notation) lends it a luminous quality, while the emphasis on Ga (E) and Ni (B) creates moments of emotional tension and release. Contrast this with Raga Bhairav, a morning raga marked by its flattened second (Db) and sixth (Ab), which imbues it with a solemn, meditative character.

    What makes ragas particularly fascinating is their temporal and emotional specificity. Unlike Western scales, which are abstract and universally applicable, ragas are deeply tied to the cycles of nature and human experience. A raga meant for dawn feels inherently out of place if performed in the evening, not because of any technical limitation, but because its emotional resonance is so intricately linked to the time it was designed for. This temporal aspect transforms each performance into a dialogue with the moment, a meditation on the passing of time.

    The Art of Ornamentation and Microtonality

    Central to the expressive power of Indian classical music is its use of ornamentation (gamaka) and microtonality (shruti). Every note is more than a fixed pitch; it is a journey. A note in Raga Yaman, for example, might be approached with a gentle glide (meend) or adorned with subtle oscillations, creating layers of emotional nuance. These microtonal shifts—the delicate inflections between standard pitches—are not deviations but integral to the music’s identity.

    In Western music, microtones often belong to the fringes of avant-garde experimentation. In Indian classical music, they are essential, ensuring that no two performances of the same raga are ever identical. Each rendering becomes a personal exploration, influenced by the performer’s mood, the audience, and even the acoustics of the space.

    Raga and Tala: The Dynamic Dance

    The beauty of Indian classical music lies in the interplay between raga and tala. A performance often begins with the alaap, a slow, unmetered exploration of the raga. Here, the melody unfolds like dawn breaking over a still landscape, with each note given space to breathe. As the music transitions into the jor, a subtle pulse emerges, signaling the first hints of rhythm. The intensity builds in the jhalla, where the tempo quickens and the interplay between melody and rhythm becomes more dynamic.

    Finally, the performance culminates in the drut gat, where the raga and tala engage in a vibrant, improvisational dialogue. The tabla, guided by the tala, and the melody, shaped by the raga, weave together in a rhythmic-melodic dance. The result is music that feels simultaneously structured and free, grounded and transcendent.

    A Journey Through Time and Space

    Imagine sitting in a dimly lit hall, the soft drone of the tanpura grounding the space. The vocalist begins with a meditative alaap, each note unfurling like a story waiting to be told. The air thickens with anticipation as the jor introduces a pulse, and the tabla player joins in, their rhythms creating a heartbeat for the unfolding melody. By the time the performance reaches its climax in the drut gat, the energy is electric, the interplay between melody and rhythm drawing you into a world where time and space dissolve.

    Lessons for Composers

    For Western-trained composers, Indian classical music offers a profound rethinking of structure. Consider how rhythm, as seen in tala, can be more than a metronomic grid. Explore cycles that evolve dynamically, with shifts in tempo and intensity creating emotional arcs. Melody, as embodied in raga, can transcend the confines of scales, becoming a vehicle for emotion and narrative.

    Ornamentation and microtonality invite composers to think beyond fixed pitches, exploring the expressive possibilities of subtle inflections and glides. And the temporal specificity of ragas challenges us to consider how music can interact with time—not just in its duration, but in its connection to natural and emotional cycles.

    Indian classical music is a testament to the power of structure and freedom working in harmony. It reminds us that music is not just an art form but a reflection of life itself—a journey through time, emotion, and the boundless possibilities of sound.


    More Articles On Global Music and Composition

  • Time, Quality, Intention: Returning to the Essence of Music

    Time, Quality, Intention: Returning to the Essence of Music

    There was an evening in Florence that feels as vivid now as the moment it happened. It was a night of rain, the kind that hushes a city, softening its machines and animals. The rock-streets glistened, reflecting hazy pools of light from the lanterns overhead. I’d wandered aimlessly until I decided on getting some dinner at a trattoria—one of those unmarked places that seemed to hover between worlds, tucked away from the usual bustle of tourists and noise. It felt like an old secret waiting patiently to be found.

    Composer sitting at a trattoria in Florence

    Outside under the awning, the air was cooling, scented with rosemary and olive oil, quiet except for the murmur of voices scattered along the alley. A single candle flickered on my table, casting soft light over the white tablecloth, worn soft by countless hands over countless years. I settled into a chair that felt molded to its place, as if it had always been there, unmovable.

    When I ordered the house pasta, it was mostly out of habit, without much expectation. A comfort food, something to pass the time. But when the bowl arrived, I couldn’t help but grin. Here was the chef’s pride—a bowl of golden pasta with nothing but a trickle of olive oil and a dusting of Parmesan. It looked perfect in its simplicity.

    I took a bite, and the world tilted. The pasta was rich without being heavy; filling my mouth with flavors that seemed to grow and bloom with each taste. There was an unassuming depth to it, a subtlety that wasn’t designed to dazzle but to invite. I found myself slowing down, savoring each bite, listening to the soft patter of rain on the stones. It felt like a ritual, as though I’d been ushered into a kind of meditation, and the pasta was somehow the teacher.

    As I sat there, marveling at the flavor, the chef wandered over, wiping his hands on his apron, and he must have seen the curiosity on my face. I asked him, half-jokingly, how something so simple could feel so alive. He smiled—a slow, patient smile, and he placed his hands on the table with a kind of reverence, as if the wood itself held memories.

    Pasta maker talking with a younger man.

    “Pasta is a simple thing,” he said, almost to himself. “But simplicity, in the right hands, can carry the weight of generations. It’s not about what I add,” he said quietly, “but about understanding what’s already there. Every ingredient carries a story. I just listen.”

    And there it was. This bowl of pasta wasn’t just flour, eggs, and oil. It was wheat that had been cultivated by countless hands across countless ages, olive oil pressed from trees that had stood for centuries, their roots winding into the hillside. The eggs were from chickens, themselves part of a lineage as ancient as the land. It wasn’t that ancient was better; it was that the chef knew this history, understood the reverence it deserved. He wasn’t just cooking; he was bearing witness to something much older, much larger than himself. His work, in that moment, was the next step in a journey that began long before he was born.

    I left Florence, but that night stayed with me, trailing me back home, haunting me in the quiet, early hours as I sat at my piano, tracing the lines of melodies that seemed so pale and weightless by comparison. What would it mean, I wondered, to create music with that same kind of reverence? To strip down the artifice and discover what lay beneath, to find a way to make music that, like that pasta, could carry its own quiet power, even in the absence of embellishment?

    Man composing at the piano.

    My fingers rested on the keys, feeling the solid weight beneath them. What were the ingredients of music, really? Not the notes themselves but the forces that shaped them? I thought of time first, not as a sequence of beats, but as a kind of inheritance—a pulse that connected each note to every rhythm that had come before it. Time was to music what flour was to pasta; it held everything together. I pressed a key and let the note ring out, listening to the silence that followed, feeling how it filled the room. I’d always used music to fill space, to keep things moving. But now, I could hear the fullness of that space in the vibrations and the connection of space and time – the room and the time notes occupied the room. I was relearning to listen to time. My music typically has a “spaciousness” to it – I rarely write “busy” music. But re-engaging with time in such a holistic way was something I needed.

    As I sunk into the vibrations of the sounds and the space, I rediscovered a depth to each note and the combinations of vibrations. This I call “Quality” of sound. This is the timbre, pitch, dynamics, and other qualities to a sound that communicates so directly. After studying Music Composition and Theory, I’d often chased layers, harmonies, articulations, thinking that being clever or erudite was the answer. But what if I added another meaning to my term “quality”? Just as the chef had chosen his ingredients not for their flash but for their depth, what if sound, too, had a kind of lineage, a resonance that went beyond pitch or tone? I played a single note and let it linger, hearing its timbre, its weight, the way it seemed to stretch beyond the physical key. I began to understand that each note due to they way it’s produced had a kind of spirit, a color that was clearer, fuller when left alone, when not muddied by unnecessary “over composing”.  This is not to say I wanted to become an extreme minimalist, it’s more about understanding the vibrations as intimately and deeply as possible. Just like the chef knowing which farm raised the wheat and what variety and when it was harvested and how it was milled and wha the season was like and on and on to finally inform his use of the flour in his pasta.

    Though I turned a new ear to Time and Quality, I realized I’d been missing a piece – Intention. The chef wasn’t simply feeding people; he was inviting them to pause, to taste something timeless. There was a purpose behind his simplicity, a mission woven into every dish he served. He wanted to educate people to pay attention to what they are eating. To pay attention to how what we eat not only affects our bodies, but also the world around us. Of course, music is more than sound (but at the same time it is not!). Music is an invitation to connect, to listen not just with the ears but with something deeper. I realized, in that moment, that my purpose wasn’t to impress or to dazzle but to offer something real, something that could reach people in a way that words never could.

    But it was more than that. Music, like that bowl of pasta, needed a setting, a ritual, a respect for the space it inhabited. I thought of that trattoria, the flickering candlelight, the soft murmur of voices, how everything in that environment seemed to pull you into a slower rhythm. Just as that meal had been something to savor, music, too, needs its own sanctuary. Without that space, it becomes diluted, like Muzak in the background, filling a room without meaning, cheapening itself in the process.

    When music is reduced to background noise, it’s like junk food—there to fill the silence, to clutter the mind. And like junk food, it leaves the spirit empty, unfulfilled. In that trattoria, I had tasted something that felt sacred, something that asked for reverence. Music deserves the same respect, a kind of ritual that invites the listener to pause, to be still, to let the sound fill them without rush or distraction. I was taken back to my high school and college days when I’d give music that space and time. I’d quiet the room and prepare to listen intently. I’d share the space with friends and experience something together. In particular I remember the first time my friend and I sat and listened to Alfred Schnittke’s Concerto Grosso No. 1 and I was simply blown away. But it wasn’t just the music it was the tea we prepared before settling in. It was dimming the lights. It was adjusting the volume before pressing play so that everything came across perfectly. It was 30 minutes of being focused and awash in sound in a sacred setting.

    In the days that followed my trip to Florence, I returned to my piano, letting each note settle, each phrase find its own breath. The music didn’t need to be stripped of its complexity; it needed to find its own shape, its own natural form, much like that bowl of pasta wasn’t simply thrown together but crafted, each ingredient honored. A complex piece could still feel simple, I realized, if it respected the core elements—rhythm, tone, and purpose. It wasn’t about reducing music to the fewest notes but about choosing the right ones, letting each sound emerge with a clarity and fullness that honored its place.

    Man's history with sound.
    Just having fun with the AI images!

    Now, when I compose, I feel that lineage under my hands—the heartbeat of time, the weight of sound, the quiet urgency of intention. My notes are simpler, yes, but they are not bare; they are full, rounded by the history and care that shapes them. I have come to trust in the depth of simplicity, whether it emerges as a single line or a layered composition, letting the music speak for itself, carrying the weight of generations, one note at a time.And so I play, listening for the ever-present vibrations beneath, trusting that each note, each pause, holds a story all its own—a story that, like that bowl of pasta, reaches back to something timeless, something beyond words, asking only that we listen.

  • Native American Powwow Music: A Journey into Communal Sound and Structure

    Native American Powwow Music: A Journey into Communal Sound and Structure

    Powwow music is a vibrant tradition rooted in the intertribal gatherings of Native American nations, drawing from centuries-old ceremonial and social dances. Although modern Powwows became widespread in the early 20th century, the tradition’s core elements reach far back in history, celebrating warrior societies, community, and spirituality. This powerful musical form has transformed into a pan-Native practice, weaving together traditions from different tribes while preserving its cultural and spiritual importance. At the center of Powwow music is the drum—a symbol of connection to the Earth and community, providing the steady pulse that guides dancers, singers, and the collective energy of the gathering.

    I remember attending my first Powwow in Albuquerque New Mexico. I was a little guy but the power of the drumming and singing has stuck with me to this day – there’s just something about that drum that sends chills across my skin. Though I didn’t grow up with Native American heritage as part of my day to day, throughout my childhood I’d catch stories from my grandfather about his Cherokee side. Apparently I had a great-grandma that had a tobacco pouch that she always had around her neck and she spoke very little English. In retrospect, I wish he had shared more about that side of our family.

    As a Western-trained composer, Powwow music presents an opportunity to reconsider how music can be structured and experienced. While Western music often relies on harmonic and melodic progressions, Powwow music emphasizes rhythm, communal participation, and the ceremonial role of music. This approach to sound offers new perspectives for organizing and understanding musical structure.


    I’ve written a short book for composers that explores how music is organized and the roles it can play across the globe. The book is called Formative Forces in Sound. If you are interested, it’s available on Amazon here for $0.99 www.amazon.com/formativeforcesinsound


    The Steady Pulse and the Meaning of the Drum

    At the heart of Powwow music is the drum, often described as the “heartbeat of Mother Earth.” This steady pulse is more than a rhythm; it’s a powerful connector between people, nature, and the spiritual world. Drummers sit in a circle around a central drum, led by a primary drummer who sets the tempo and guides changes in dynamics, while the others follow, creating a layered, resonant sound. This circular arrangement reflects the Powwow’s communal spirit, as drummers work together to build a pulse that is rich, textured, and alive with subtle variations.

    The drumming technique itself varies in intensity and dynamics, with both hard, accented beats and softer strikes that add rhythmic variation. This pulse shapes the energy of the gathering, inspiring dancers’ steps and gestures. The tempo and rhythm shift depending on the occasion—whether a competitive dance, a healing ceremony, or a social gathering. A Grand Entry procession, for example, may feature fast, driving beats to match the excitement, while a memorial song might take on slower, reflective rhythms.

    The drum provides a constant yet flexible beat that connects the entire Powwow, resonating in a way that’s felt physically and spiritually. Each strike echoes a connection to the Earth and the past, grounding participants in a shared, timeless experience.

    Community Participation—Blurring the Line Between Performer and Audience

    Powwow music blurs the traditional separation between performer and audience, transforming all present into participants in a shared experience. In this communal tradition, everyone has a role, whether they’re drumming, singing, dancing, or simply witnessing. The lead singers, positioned around the drum, deliver the primary vocal parts, while others join in, creating an immersive group sound.

    Audiences are not passive observers; they contribute through their presence, adding their voices, dancing, or actively participating. Powwow music fosters a shared energy that moves through the crowd, uniting everyone in a celebration of life, identity, and connection.

    Lyrically, Powwow songs often honor warriors, elders, nature, and spirituality. Many songs feature vocables—non-lexical syllables like “hey-ya” and “yo-ho”—which transcend language, allowing anyone to join in regardless of tribal background. These vocables are less about conveying specific meaning and more about expressing rhythm and emotion, enabling the voice to act as an extension of the drum.

    Ceremonial Function as the Basis for Structure

    The structure of Powwow music is guided not by harmonic progressions or melodic development but by the function and purpose of the gathering. Whether performed for healing, celebration, or remembrance, each song’s form is shaped by the ceremonial context. In a healing ceremony, for instance, drumming and singing might follow rhythmic patterns that align with ritualistic steps, creating a supportive framework for spiritual intention.

    In contrast, Western music often retains a fixed form, unaffected by context. A Mozart symphony, for example, maintains its structure whether played in Tokyo or Toronto. Powwow music, however, is flexible, adapting to the needs of the moment and the community it serves. This fluid structure is shaped by the ceremony itself, allowing the music to respond to the occasion’s spiritual and emotional demands.

    A Grand Performance: The Experience of the Grand Entry

    Imagine yourself at a Powwow during the Grand Entry. The steady drumbeat resonates deeply, filling the space and vibrating through the crowd. Dancers dressed in elaborate regalia adorned with feathers, beads, and vibrant colors enter the arena in a steady, powerful procession. Each step adds texture to the drum’s rhythm, enhanced by bells and rattles worn by the dancers, grounding each beat in centuries of tradition. Different tribes come together in this shared celebration, each dancer moving with purpose and pride.

    Singers surrounding the drum raise their voices, intertwining call-and-response patterns and unison chants that seem to transcend words. As the beat quickens, the energy builds, sweeping up elders, veterans, children, and dancers alike. The crowd, too, becomes part of the performance, caught in the rhythm and drawn into the communal spirit. This is not simply a performance; it’s a living expression of pride, identity, and unity, where each drumbeat and movement speaks to a shared past and a vibrant present.

    Lessons for Composers: Structuring Music through Community, Ceremony, and Purpose

    Powwow music illustrates that musical structure can be rooted in community, ceremony, and purpose rather than fixed harmonic or melodic systems. The steady pulse of the drum, the communal participation, and the connection to ceremony all offer fresh approaches for composers interested in structuring music beyond traditional Western forms.

    For composers, this is an invitation to explore structures that respond to the needs of the moment or that are shaped by the dynamic interaction between performers and listeners. By embracing these principles, musicians can create works that resonate with audiences on a deeper, more communal level, bridging the spiritual and the natural worlds through sound.


    More Articles On Global Music and Composition

    Japanese Gagaku Music

    Thai Music and Tuning

    Native American Music and Communal Structures

    Indian Classical Music Raga and Tala Frameworks

    Aboriginal Music as Maps

    Mongolian Throat Singing: Explore Static Structures

    Chinese Music: Timbre, Symbolism, and Structure

  • Thai Music: A World Without Standard Tuning

    Thai Music: A World Without Standard Tuning

    In music composition, tuning and scales are more than technical choices; they are the foundation upon which sound itself is structured. In many musical cultures, tuning shapes not only the notes and intervals but informs larger, deeply rooted structures. Western music typically adheres to the 12-tone equal temperament—a system of tuning that allows any musician, playing almost any instrument, to perform in harmony. This universal precision is remarkable, but it’s only one way to approach tuning. Thai music offers an entirely different perspective, where fluidity and variation are integral and tuning is free from rigid standardization – which as a composer is a breath of fresh air!

    For more than a century, scholars have attempted to frame Thai music within a 7-tone equidistant tuning system (often referred to as “7-tet”), imagining it based on seven equally spaced notes within an octave. Yet, Thai musicians and practitioners largely reject this framework, finding it foreign to their own practice. To learn more about this very interesting controversy, I highly recommend reading this article byJohn Garzoli: The Myth of Equidistance in Thai Tuning. In Thai music, the idea of a precisely spaced scale doesn’t hold, and even the concept of a “perfect octave” differs. Thai musicians often tune their octave slightly larger than the typical 1:2 ratio used in Western systems. Empirical studies have consistently found no standard equidistance in Thai tunings, challenging the Western perspective and underscoring the limitations of attempting to explain non-Western traditions through Western lenses.

    In Thailand, musicians and tuners work within a tradition that values intonational diversity. For example, in a piphat ensemble—comprised primarily of percussion and fixed-pitch instruments—tuners rely on broad principles and their own ear rather than a rigid system. The result is that each ensemble has a unique tuning, one that might not match other ensembles precisely. If two piphat ensembles tried to play together, their instruments wouldn’t align as neatly as Western instruments tuned to A440. Thai musicians see this variation not as a flaw but as a signature characteristic of their music, with tuning defining an ensemble’s unique identity. Each music school or house might have its own subtle variation in tuning, giving rise to distinct “sounds” that carry the history and identity of that institution.

    This approach contrasts sharply with the Western emphasis on uniformity and precision. Musicians playing mahori ensembles (mixed ensembles of strings and percussion) will often align the tuning of non-fixed instruments with the fixed-pitch percussion instruments. However, when performing solo or in khrueang sai string ensembles, musicians have the freedom to adjust their tuning to suit the melody or emotion of the piece, unconstrained by the tuning limitations of fixed-pitch instruments.

    Thai music demonstrates that tuning is not just a technical matter; it has cultural depth. Unlike Western music, which often explores alternative scales like the whole-tone scale or hexatonic scale to expand harmonic possibilities, Thai music treats tuning itself as a fluid, expressive form. Here, tuning becomes an intimate, culturally significant part of musical form and performance, shaping how the sound interacts with history, personal expression, and community identity.


    I’ve written a short book for composers that explores how music is organized and the roles it can play across the globe. The book is called Formative Forces in Sound. If you are interested, it’s available on Amazon here for $0.99 www.amazon.com/formativeforcesinsound


    Expanding Musical Structure Through Tuning

    For Western composers and musicians, the Thai approach to tuning can be both liberating and challenging. We are taught to value uniformity and precise intonation, yet Thai music shows us that flexibility and personal interpretation can produce equally profound and moving experiences. Tuning and intonation, rather than rigid and unchanging, are seen as dynamic elements that can interact with the musician, the context, and the audience in complex ways.

    This exploration into Thai tuning encourages composers to think of tuning variation not just as an embellishment, but as a tool that can deeply influence musical form and narrative. Here are some ways that composers might incorporate tuning variations into their own work, drawing inspiration from Thai music:

    1. Shifting Tonal Centers: Consider allowing different sections of a composition to evolve with slight changes in tuning. Each “shift” could create a unique emotional atmosphere, guiding the listener through distinct musical landscapes.
    2. Fluidity Between Themes: Tuning variations could represent the transition between sections or themes in a piece. As the melody or harmony gradually drifts from a central pitch or key, tension builds or releases, adding a dynamic element to the structure.
    3. Multiple “Realities” in Harmony: A piece might use multiple tunings within an ensemble, creating harmonic textures that are fluid and constantly shifting. Different instruments could drift in and out of tune with one another, creating a structural framework around convergence and divergence.
    4. Cultural Reflection: Just as Thai music reflects the diverse regional and personal expressions of its culture, tuning variations could be used to mirror cultural or narrative elements in a composition, telling a story that unfolds not through lyrics or themes but through sound and intonation.

    By treating tuning as a fluid, expressive part of structure, composers can discover new ways to think about the progression of their work, the relationships between instruments, and how listeners perceive musical space and time. Thai music shows us that sound can be organized in ways that are far more nuanced and personal than a standardized tuning system allows.

    In traditional Thai practice, tuning variation isn’t an isolated element; it is woven deeply into the structure, reflecting the interplay between performer, instrument, and audience. Each performance becomes unique, with tuning as an integral, living aspect of the music. This approach reminds us that music is a dynamic and culturally rich art form, with traditions that challenge Western conventions in deeply inspiring ways.

    This article is inspired byJohn Garzoli’s article The Myth of Equidistance in Thai Tuning. If you are interested in diving deeper into this topic, I highly recommend reading this article! (https://iftawm.org/journal/oldsite/articles/2015b/Garzoli_AAWM_Vol_4_2.pdf )

    I have also used some of these ideas in my book Formative Forces in Sound: An Exploration of Global Music Structures. In this book, I invite myself and composers to rethink foundational elements of sound, drawing inspiration from global music traditions that approach structure and form with creativity and flexibility.

    As I was wrapping up this article I had a little thought to myself:

    The influence of Buddhism in Thailand could have implications for the country’s approach to musical tuning. Buddhism emphasizes balance, mindfulness, and the acceptance of impermanence, ideas that might parallel Thai music’s fluid and adaptable tuning practices. Rather than striving for rigid uniformity, Thai music reflects an acceptance of diversity and uniqueness in each performance, allowing for variations that mirror the Buddhist focus on personal experience and inner harmony. In this way, Thai tuning could be seen as aligning with Buddhist principles that value the journey over perfection.

    I’m not saying this is a true claim, but it’s interesting to think about!


    More Articles On Global Music and Composition

  • The Power of the Home-Away-Home Structure in Art and Life

    The Power of the Home-Away-Home Structure in Art and Life

    Western music often feels like a story unfolding in sound. It begins with a theme, a key, a harmony that sets the stage—our musical home. From there, we venture outward. Harmonies twist and bend, new chords pull us into unfamiliar keys, tension builds, melodies rise and fall. But no matter how far we drift, there’s a promise woven into the music: we will return. This journey—from home to away and back to a familiar but subtly altered state—embodies one of the oldest, most “sticky” structures in art and life.

    This home-away-home form, with its cycle of departure and return, can be seen across human expression, from literature to visual arts, from myth to pop music. In stories, it often starts with an establishing shot of the main character in their normal world—like a hero’s “home.” Then, conflict or a call to adventure disrupts their ordinary life, sending them into the unknown. By the end of their journey, the hero returns to the familiar, but they are changed, carrying the weight of their experiences back into their former world. This structure provides closure, a sense of having come full circle, and we feel the comfort and satisfaction of seeing the hero “back home,” even if their world is now transformed by what they have faced.

    In music, this pattern finds endless expression. From sonata form to ternary (ABA) and binary (AB) forms, much of Western music follows a pattern of establishment, departure, and return. It resonates particularly well with us because it mirrors life’s cycles: we step out into the world each day, only to return to the safety of home by night. Even in the larger span of a lifetime, we venture out from our origins, explore, struggle, and ultimately seek a kind of return to what we know, even if that “home” is more abstract—a feeling of inner peace or closure.


    I’ve written a short book for composers that explores how music is organized and the roles it can play across the globe. The book is called Formative Forces in Sound. If you are interested, it’s available on Amazon here for $0.99 www.amazon.com/formativeforcesinsound


    The Benefits and Power of the Home-Away-Home Structure

    There is a reason this structure is so universally satisfying. It aligns with a fundamental human impulse: the desire for resolution and safety. Just as we crave familiarity in our routines, in the comforting rhythms of family or daily rituals, the return to the “home” section in music fulfills a psychological need for closure. When a song returns to its opening theme, or a movie ends with the hero back in their ordinary world, there is an emotional release. The tension that built up through the journey dissolves, leaving us with a sense of completion.

    This return-to-home structure also allows us to venture into the unknown with a safety net. In pop music, for instance, the familiarity of verse-chorus-verse or AABA form lets listeners experience new emotions or sounds in the “B” section without feeling lost, because we know the chorus will soon return, giving us a melodic “home” to anchor us. This creates a balance between exploration and security, innovation and tradition. It reflects the human desire to experience novelty but only in measured doses; we want to expand our horizons, yet we are tethered to a sense of place, of origin.

    For composers and creators, this structure offers an ideal framework for emotional storytelling. Within the journey away from home, they can build tension, explore contrasts, and set up conflicts. The journey becomes a canvas where emotions can swell and retreat, where listeners or readers experience discomfort, longing, joy, and resolution in one satisfying arc. By the end, as we return to that familiar theme or key, we feel both a relief and a catharsis—the sense of coming full circle but with the resonance of change.

    The Limitations of Home-Away-Home: What Is Lost in Return

    Yet, while this structure is powerful, it can limit the scope of emotional and psychological exploration. Life doesn’t always follow a neat cycle of leaving and returning. Some experiences lack resolution, leaving us changed without a sense of closure. The home-away-home structure, while comforting, often misses the ambiguities and open-endedness that are intrinsic to human experience. In music and art that insist on a return, the journey may seem to suggest that exploration should always lead back to the safety of the familiar, even though there are countless paths in life that do not resolve so easily.

    For example, Western music often implies that tension must resolve, that disharmony is temporary, and that the journey will bring us back. But this overlooks other emotional realities—experiences that don’t have a clear “return,” where change is permanent or where discomfort and ambiguity persist. It can be argued that some of life’s deepest truths lie not in cycles but in endless progressions, where each moment builds upon the last without ever leading us back to an original state. In music, a structure that embraces open-endedness or constant transformation might allow listeners to engage with these less linear aspects of life—exploring states of limbo, ambiguity, or boundless exploration.

    An Invitation to Explore Other Forms

    For artists and composers, then, the home-away-home structure is both a gift and a challenge. It is a gift in that it reflects a universal journey, one that resonates across cultures and art forms. But it is also a challenge, in that it encourages a certain pattern of closure that might inhibit other emotional expressions.

    Imagine, for instance, a musical form that simply progresses without returning, mirroring a life that continually evolves without looping back. This might take the form of continuous, flowing melodies that never resolve into a familiar key or cyclical patterns that explore variations without concluding. Such forms might encourage listeners to accept ambiguity, to let go of the need for a clear end, and to find beauty in the uncharted and unresolved.

    In exploring other musical traditions, we find forms that provide an alternative to the Western insistence on resolution. Certain styles of Indian classical music, for example, don’t necessarily “resolve” in the Western sense; they explore and develop within a raga, weaving a tapestry of sound that gradually builds but doesn’t “return” in the way Western themes do. Similarly, Gamelan music from Indonesia often uses cyclical, repetitive structures where the music circles around without a conventional climax or closure. These forms invite us to consider musical journeys that reflect the fluid, often non-linear nature of life.

    Embracing Both Home and the Possibility of Open-Ended Journeys

    The home-away-home structure is undeniably compelling, reflecting our innate desire for closure and the comfort of familiarity. But by exploring alternatives, we might discover new emotional landscapes in music and art—forms that embrace ambiguity, that flow without destination, or that challenge us to remain in states of exploration.

    As creators, there is value in embracing both the familiar journey of departure and return and the open-endedness of continuous progression. Home-away-home will always have a powerful hold on our imaginations because it mirrors so much of what it means to be human. But in venturing beyond it, we can tap into the beauty of uncertainty, of endless movement, of finding home not as a destination but as an ever-evolving state of being.

    Whether in music, art, or life, we are constantly balancing the desire for familiarity with the call of the unknown. And in understanding the strengths and limitations of the home-away-home structure, we open ourselves to both the comfort of return and the freedom to journey endlessly onward.


    More Articles On Global Music and Composition

  • Finding Quiet Within Noise

    Finding Quiet Within Noise

    Introduction

    This is the story of Haku, a middle-aged composer and performer who finds himself overwhelmed by the relentless soundscape of modern city life. Once inspired by the rhythms of urban existence, he now feels suffocated by the constant noise—his creativity stifled, his spirit crushed. In search of peace and reconnection, Haku embarks on a journey into the wilderness, where he rediscovers the quiet within the noise and the timeless resonance that links him to the world.

    Breakdown

    Haku hadn’t heard the music in months. Not the way he used to, at least. The city was loud, and it drowned out everything—the notes, the rhythm, even the silence. He sat at the piano, staring at the sheet of music in front of him, but the notes didn’t make sense anymore. They seemed to float, disconnected from the keys, from the sound. Somewhere outside, a truck was backing up, beeping in sharp, regular intervals. His phone buzzed on the table. The fridge hummed in the kitchen. There was no room for music in all this noise.

    He pressed his hands to his temples and closed his eyes. But the noise didn’t stop. It never stopped. He hadn’t slept properly in weeks, maybe months. Each day felt like a grind—like he was being scraped down, little by little, by the sound of the city. The honking cars, the endless chatter, the hum of air conditioners, construction sites that never seemed to rest. His ears were always open, even when he didn’t want them to be. Even in his sleep, the noise would creep in, rattling through his dreams.

    Music used to be his refuge. When he was younger, he could sit for hours, lost in sound. It wasn’t just about creating something beautiful. It was about finding order in chaos, about letting the music fill the spaces that nothing else could reach. But now, those spaces were filled with noise. Constant, overwhelming noise. And it wasn’t just the sound—it was everything. The city, the pace, the way life rushed by in a blur of lights and motion and sound.

    Haku felt it building inside him—pressure, like a dam about to break. He couldn’t take it anymore. The thought of another day, another hour, in this grinding, mechanical hum felt unbearable. He needed to get out. To leave. To escape.

    And then he remembered the forest.

    It was a place he hadn’t thought of in years. A small, remote patch of wilderness, more than twelve hours from the city. He used to go there as a child, with his father, before everything got so complicated. Back then, the world had felt quieter. Simpler. He remembered lying in the tall grass, listening to the wind move through the trees, the soft rustling of leaves, the distant calls of birds. There was no noise there—just sound. Pure, clean, and clear.

    He had to go. He didn’t know what he’d find, or if it would even help. But he knew he couldn’t stay. The city had become too much, too loud, too fast. He needed to hear something else. Something real.


    A Composer in Chaos

    Haku didn’t leave right away. The decision was made, but the act of leaving lingered, like the final note of a song that stretches just a little longer than expected. It was hard to pull away from the life he’d built—however noisy, however chaotic. The city had a way of holding on to people, wrapping them up in its pulse, its rhythm. The deadlines, the meetings, the faces—all these things that used to matter.

    But now, they were suffocating.

    A few days later he packed light. A change of clothes, a notebook, a few pencils. His phone, though he wasn’t sure if he’d even use it. There was something calming in the simplicity of leaving most things behind. He could feel the weight lifting, though he hadn’t even stepped out the door.

    It had been years since he last composed anything he was proud of. He’d had moments, small bursts of creativity, but they were swallowed up by the noise. He thought of the apartment he rented just outside the city—a place he’d once loved. There, he used to wake up in the morning and feel like he was part of something bigger. The energy of the city flowed through him then, his music blending with the sound of the streets, the movement, the life. But lately, it was just noise. The city had changed, or maybe he had.

    Either way, his music was gone. The melodies he used to hear in the wind, in the soft conversations of strangers, had been drowned out by the endless hum of machinery. A part of him wondered if they’d ever come back. Could music really disappear? Or was it just buried under the weight of modern life, waiting to resurface?

    As he locked the door behind him, he slipped his phone into his bag. Then he paused. The thought of it weighed on him more than the device itself. He stood for a moment, then pulled it out again, setting it quietly on the counter. It buzzed softly just as the door clicked shut.

    He thought about the first time he’d heard real silence. He was twelve, maybe thirteen, on that trip with his father to the forest. They’d camped near a river, and at night, after the fire died down, there had been a moment—a brief, fleeting moment—when the world seemed to hold its breath. No wind, no water, no animals stirring. Just silence. And in that silence, Haku had heard something more profound than any symphony. He had heard peace.

    But peace, it seemed, had slipped further away with every passing year. In its place was a constant, gnawing tension—the demands of composing, the pressure of performance, the endless cycle of creating and recreating in a world that never stopped moving. The music industry had turned into something mechanical, just like the city that surrounded it.

    He had forgotten how to listen. Not just to the sounds of the world around him, but to the music inside him. He had forgotten how to quiet the noise and let the silence speak.

    That’s why he was leaving. He needed to remember. He needed to hear the world again, without the filter of machines, without the static of modern life. Maybe then, he could find his music again.


    Returning to a Place of Peace

    The road stretched out in front of him, winding away from the city, pulling him further from the place that had become too loud, too crowded. He hadn’t taken this route in years. It felt unfamiliar at first, but as the hours passed, Haku began to remember. The small details, the turnoffs, the way the trees seemed to thicken the farther he drove. He had forgotten how much he missed this—the open road, the promise of something quieter ahead.

    For the first few hours, the city clung to him. It stayed in the rearview mirror, a looming presence. He could still hear the distant hum of it—like an echo that hadn’t yet faded. But the more miles he put between himself and the city, the more that sound began to dissolve. The buildings shrank, the traffic thinned, and the noise that had filled his life for so long began to soften, bit by bit.

    He stopped for gas at a small station on the edge of a town he didn’t recognize. The kind of place that didn’t exist on maps, where the sound of a bell on a door rang over a graining radio. The air filled with the buzz of insects instead of engines. He noticed the numbers ticking and marking the gallons and dollars on the pump unhurriedly flipped over as if everything was already slowing down just a few hours outside the city.

    The journey wasn’t just distance. It was time. It was space. It was stepping away from something that had wrapped itself around him, making it harder to breathe. The further he drove, the less he felt the weight of the city. It was like loosening a knot that had been pulled too tight for too long.

    By the time the sun started to dip below the horizon, the landscape had shifted entirely. Tall trees lined the road now, their branches forming an archway overhead. Haku rolled down the window and let the air in—clean, cool, untouched by the heat and grit of the city. He hadn’t realized how stale everything had felt until now, as if the very air around him had been clogged with noise, with tension.

    He drove through the night, knowing the forest he sought was still hours away, far beyond where any signal could reach, beyond where roads turned into paths and the world began to feel wild again. He welcomed the silence that came with the dark. It was a silence he hadn’t heard in years—the kind of quiet that settled into your bones, that made you feel small, but in the best way possible.

    There was a certain rhythm to the journey. The hum of the engine, the crunch of tires on gravel, the occasional rustle of trees in the breeze. These sounds didn’t feel like the city’s constant barrage of noise. They were softer, quieter, like the background of something larger. For the first time in a long while, Haku began to feel like he was part of the world again, not just moving through it.

    At dawn, he reached the edge of the forest. The road had narrowed into a dirt path, barely wide enough for his car to pass. The trees closed in around him, but in a way that felt welcoming, protective. He parked just off the path and stepped out and stretched his legs and back. The ground was squishy soft beneath his feet, the air thick with the scent of pine and earth. He breathed in deeply, feeling the quiet settle over him like a blanket.

    This was it. The place he had been searching for. The place he had been trying to find, not just in distance, but in himself.

    Haku stood for a long moment, listening. Really listening. The sounds were all there—the cooling engine, the distant chirping of birds, the whisper of wind through the branches. They were faint, almost imperceptible at first, but they grew as he let them in. It wasn’t silence. It was the opposite. It was life, in its purest form.

    And for the first time in years, Haku felt himself start to relax. The knot in his chest, the tightness in his shoulders, all of it began to unwind. He wasn’t sure if the music would come back. But this—this quiet, this calm—was enough for now.

    He shouldered his bag and walked into the forest, the trees closing in behind him.


    The Weight of Sound

    Haku walked deeper into the forest, the path beneath his feet soft and uneven. The trees towered above him, their branches forming a canopy that let through dappled patches of dawn light. The air felt different here—heavier, but not in a stifling way. It was the kind of weight that made you aware of your own body, of the way your breath moved in and out, of the quiet sounds that surrounded you.

    He hadn’t always been so disconnected from the world around him. As a boy, Haku had spent hours outside, not just in forests like this but anywhere he could explore—rivers, fields, even the small, wild patches of green on the edges of the city. His father used to take him camping, long before the pressure of music and deadlines and city life had swallowed him whole. They’d spend days hiking through unfamiliar places, never needing much more than a tent and a fire. Back then, everything had felt alive. Even the silence had a pulse to it, a rhythm that was easy to understand.

    But something had changed along the way. Haku couldn’t pinpoint exactly when it happened – graduating college, kids, the death of his father – but as the years went on, his life became noisier. The noise wasn’t just the city—it was the expectations. Somewhere between his early compositions and the contracts, the performances, and the critics, the simple love of sound had morphed into something more complicated. Every piece he wrote felt like a layer of pressure. Each time he sat down at the piano, the weight of what people expected from him – what he expected of himself – settled onto his shoulders.

    And then, one day, it had stopped. The music, the ideas—they just weren’t there anymore. It wasn’t a gradual fade, either. It was as though a switch had been flipped. The melodies that used to fill his head were gone, replaced by static. The city’s noise took over, seeping into every corner of his mind until there was no room left for anything else.

    Haku paused at a clearing, a break in the trees that let in the full light of the sun. He stood still for a moment, watching as the light shifted and moved, the shadows playing on the ground like slow-moving water. His father had loved places like this. He could still hear his father’s voice sometimes, the way he’d hum an old tune as they packed up their gear in the early morning, the smell of coffee and wood smoke drifting through the air.

    It had been years since his father passed, but Haku still carried those memories with him, the way certain sounds could trigger a flood of them. The way the crackling of a fire could make him think of their last trip together. The way a certain chord on the piano reminded him of his father’s laugh, deep and full, the kind of sound you could feel in your chest.

    He hadn’t thought about those things in a long time. But here, in the quiet of the forest, they came rushing back. It was as though the sound of the trees—the subtle swish of leaves, the low creak of branches—had unlocked something in him. Something that had been buried beneath years of noise.

    Haku took a deep breath, letting the air fill his lungs, slow and steady. He was still a long way from the place he had come to find, but there was something different now. He wasn’t in a hurry. He wasn’t running from the noise anymore. He was moving toward something, though he wasn’t entirely sure what that something was yet.

    For the first time in years, the world felt like it had space again. And in that space, Haku could feel the edges of something he hadn’t touched in a long time. Maybe it was music. Maybe it was just the memory of it. But whatever it was, it felt like a beginning.


    The Encounter

    Haku’s steps barely disturbed the ground beneath him. The undergrowth and trees didn’t feel confining. If anything, it felt like it was holding something within its silence, waiting.

    He heard the sound before he saw anything. A voice—soft, almost like a hum—drifting through the stillness. It didn’t call out to him, didn’t beckon, but it was there, settling into the air around him. The tone was balanced, gentle yet rich, like a note hanging in the space between words.

    Ahead, at the edge of a small clearing, Haku spotted an old, weathered structure. It might have been a shrine or a temple once, but now it looked like it had grown into the forest, its beams dark with age and moss clinging to its sides. And there, sitting cross-legged at the entrance, was a figure.

    The man’s eyes were closed, his head slightly tilted, as if listening to something beyond the forest. His robes were simple, faded by time, blending into the stillness around him. For a moment, Haku hesitated, unsure of whether to approach. He wasn’t looking for conversation, but the sound of the man’s voice had drawn him in, a vibration that seemed to reach out and find him.

    “You’ve traveled far.”

    The words landed lightly, not as a question, but as an observation. Haku felt the sound more than heard it. There was something in the monk’s tone, the timbre of his voice, that resonated within him. It was as if, in that single sentence, Haku had been heard, truly heard, even though he hadn’t spoken a word.

    He approached slowly, lowering himself onto the soft grass, a few feet from the monk. There was no urgency, no need to speak. The forest wrapped them in its quiet, a silence filled with the smallest sounds. Everything felt in rhythm.

    The monk spoke again, his voice even softer now, almost a whisper.

    “Do you know what I sound like to you?”

    Haku hesitated. The man’s tone didn’t suggest he was searching for a right answer. It was more like he was sharing something. A moment. A thought.

    “I… I’m not sure,” Haku said quietly.

    The man smiled—a faint curve of the lips, a movement barely noticeable. But the sound of his voice deepened as he continued.

    “I sound like everything that has brought you here. The roads. The nights. The breath you take in this moment.”

    He continued, “We are all part of the same sound. If you listen closely, you’ll hear it. From the beginning, there was sound, and we continue to resonate with that prime vibration. But you know this.”

    Haku felt the words ripple through him, sinking into the quiet space within his mind. There was no rush to understand them. They simply settled.

    “The sound that brought everything into being,” the monk continued, his voice flowing like water over stones, “it’s still here. It never stopped. We are living in it. Breathing in it. You, me, the trees, the wind—each of us carries that same resonance. Every breath, every step, every movement is connected to that vibration.”

    Haku could almost hear it now—not in any specific noise, but in the way the world hummed just beneath the surface – a presence that felt like it had always been there, waiting to be noticed.

    “And you,” the monk said, his voice clear and resonant, “as a composer, as a musician—you are more connected to that sound than most. A musician isn’t just someone who hears the world differently. You are a sculptor of sound. You shape it, form it, carve it from that first vibration. Every note you place, every melody you create, it comes from that source.”

    Haku felt something stir inside him. The monk’s eyes were still closed, but the sound of his voice filled the space between them, as though that was all that mattered—the resonance, not the sight. Haku hadn’t thought of music like this before, but the idea settled into his mind easily, like something he had always known but forgotten.

    “Music,” the monk continued, “isn’t separate from the world. It’s not something we make. It’s something we reveal.

    Haku closed his eyes, letting the quietness of the moment expand around him. There were no lessons here, no epiphanies, just a feeling of alignment, a quiet knowing that stretched beyond words.

    The monk’s voice returned, softer still, as if the sound was part of the air now.

    “We are all part of the same sound. If you listen closely, you’ll hear it. From that first sound, everything else follows. But you know this.”

    The quiet deepened, and for the first time in years, Haku felt still. He didn’t need to understand it, didn’t need to search for an answer. There was no knot to unravel, no tension to release. The sound was there, all around him, within him, waiting to be sculpted again.

    And for now, that was enough.


    Sculpting the Sound

    On the way back to the car Haku crouched by a stream and dipped his hand in the cool water. Something ancient stirred inside him now—something that wasn’t reflection or thought. It was a pull, a feeling of momentum, as though the stillness around him had been waiting for this moment.

    He listened, really listened, to the stream, moving over stones and roots. It carried a note—a simple one, but with a tone that shifted as the current changed. It was quiet at first, but as he focused, it seemed to grow, like a melody trying to find its way into the world. It didn’t just flow—it sang.

    Haku found himself humming in response, letting his voice match the pitch of the water, not fully conscious of it at first. It was instinct, more than anything. His breath aligned with the rhythm of the stream, each hum blending into the sound, rising and falling as the water did. It wasn’t music—not in the structured, composed sense. But it was a conversation. A call and response, pulled from the world around him.

    He removed his boots and stood, feeling the earth steady beneath his feet, and began to move—not with any particular destination in mind, but with a sense of connection. His toes pressed against the soft ground, marking a tempo. As he walked, he let his voice fill the space between his breaths, drawing out the low notes, harmonizing with the sound of the stream. It felt raw, unformed, and alive.

    Each sound he made resonated, not just with the water but with the air itself, as though the vibrations of the world were catching in his chest, his throat, spilling out in the form of melody. He wasn’t composing in the way he once had, at a piano, with sheets of music. He was shaping sound, pulling it from the air, sculpting it in the moment.

    A long, sustained note left his lips, and for a brief second, he imagined he could hear it vibrate, not just in the space around him, but deep within. There was no need for words. The sound carried all the weight, all the meaning. His voice, the stream, the ground beneath his feet—all of it connected, like he was conducting an unseen orchestra, one that had always been playing, waiting for him to join.

    Haku lifted his arms, not as an intention to control, but as a gesture of acknowledgment. The sound responded. He felt the vibrations traveling through his fingers, through his body, as though the prime sound the monk had spoken of—the first vibration that shaped everything—was resonating with him, through him.

    He began to sing with more intent, drawing out notes that felt old and familiar, even though they hadn’t existed until now. His voice layered over the sound of the stream, weaving in and out of the natural rhythm. His melody became the water’s melody, the ground’s melody, the air’s melody. Everything was tied together, an improvised composition in the most natural sense.

    He wasn’t thinking of structure or form, or even where the notes would lead. There was no end goal, no audience. Just sound and breath. His voice rose, stronger now, not out of force but out of alignment. He traced the sounds as they moved through him, his body feeling less like a conductor and more like an instrument.

    He spun and jumped and flung his arms through the air as though guiding the sound itself, shaping it, giving it form for a fleeting moment. He moved between the trees, his feet light on the earth, his body caught in the flow of something much larger than himself. The forest had become his stage, the sound his medium. The prime vibration he had always known was suddenly present, tangible, vibrating not just through the world but through him.

    He let out one final note, allowing it to stretch into the air. It hung there, sustained, before finally fading into the soft echo of the stream. The music, if it could be called that, dissolved as naturally as it had appeared, leaving nothing but the hum of the world, the quiet undercurrent that had been there all along.

    As the sound faded, Haku caught his breath, feeling the air settle around him. The composition was gone, but not in a way that left emptiness. It wasn’t something to be held or captured. It wasn’t permanent.

    In that moment, he understood.

    Everything he had ever known, everything he had ever composed, was part of this same impermanence. The sound had never been his to keep. It had always been a part of the larger vibration, the one that shaped the world, that shaped him. The monk’s words echoed back to him now: From the beginning, there was sound, and we continue to resonate with that prime vibration.

    The universe, the world, his life—it was all impermanent, a fleeting resonance of that first sound. Every note, every moment, was part of something larger, something that could never be captured or held. It would always fade, dissolve into the background, but it would never truly be gone. It was part of the cycle, the rhythm of existence.

    He exhaled, feeling a lightness settle into him. There was no need to hold on to the sound. No need to grasp for permanence. The music, like everything else, would come and go. And that was its beauty.

    For now, Haku was content to be a part of it, to resonate with the world in this moment, knowing that it would all fade in time.


    The Road Back

    The forest shrank into the distance as Haku drove away. The gravel path beneath his tires gave way to asphalt, the trees thinning until they were no more than a line of green on the horizon. The silence of the wilderness had been absolute, but now the low hum of the car’s engine slowly re-entered his world.

    For a while, he drove without thinking, his hands steady on the wheel, the road stretching out in front of him like a thread pulling him back to the life he had left behind. The open landscape felt expansive, the vastness of the sky above him reflected in the steady rhythm of the road beneath his tires. But there was no rush, no urgency. For once, the ticking of time didn’t feel like it was driving him.

    Haku’s mind was quiet—quieter than it had been in years. The echoes of the forest still clung to him, the memory of the sounds he had shaped, of the prime vibration that had resonated through his body and through the world. It wasn’t something he could hold onto; that much he understood now.

    The city loomed somewhere far ahead, but Haku couldn’t picture it the way he used to. The tall buildings, the relentless noise, the constant motion—they seemed distant now, less like the center of his existence and more like a distant echo. He had spent so many years trying to keep pace with it, to make his mark in a world that never stopped moving. But now, after everything, the thought of that rhythm felt… different.

    Would he return to that life? The one filled with deadlines and pressure, the constant hum of the city’s noise wrapping around him like a cocoon? Or would he leave it behind, choosing instead the quiet countryside, where the sound of the stream and the forest could carry him into a different kind of existence?

    He didn’t know.

    The road ahead was clear, and with it, the possibilities stretched out in front of him. He could picture both paths—the pull of the city, the challenge of creating music within its walls, and the peace of the countryside, where sound was shaped by nature rather than machines.

    He wasn’t sure what he wanted. In the past, it had always felt like a binary choice—one life or the other. But now, after his experience in the forest, he wondered if there might be something in between. A way to live in the city without losing himself to its noise. A way to carry the prime vibration within him, no matter where he was.

    As the city drew nearer, its faint outlines visible on the horizon, Haku turned down the volume on the radio. He hadn’t even noticed it was on, the sound so familiar it had blended into the background. But now, even the slightest hum felt intrusive.

    The sun was beginning to set, casting a warm glow across the road. Haku rolled down the window, letting the evening air fill the car. The sound of the wind, the monotone murmur of the highway, even the rumble of the engine beneath him—all of it blended into a new kind of harmony. It wasn’t the overwhelming noise of the city, nor was it the pure quiet of the forest. It was something in between. Perhaps something he could live with.

    He drove on, the city growing larger but still distant enough to feel unreal. As he approached, he felt the tug of both worlds—the quiet he had found in the forest and the life he had built in the city. The future stretched before him, uncertain and unwritten, but somehow that felt right.

    Haku didn’t need to decide today. The sound would guide him, the way it always had.

    For now, he just kept driving.


    I’ve written a short book for composers that explores how music is organized and the roles it can play across the globe. The book is called Formative Forces in Sound. If you are interested, it’s available on Amazon here for $0.99 www.amazon.com/formativeforcesinsound

  • The Art of Sound: How I Navigated Music Theory, Composition, and Performance

    The Art of Sound: How I Navigated Music Theory, Composition, and Performance

    Pursuing a bachelor’s degree in Music Theory and Composition was one of the most fulfilling and transformative experiences of my life. It wasn’t just about becoming a better musician; it was an immersion into the depths of sound, creativity, and intellectual rigor. As I reflect on my four years of study, several key moments stand out—each one shaping me both as a composer and as a person.

    Musical Bootcamp: Surviving the First Two Years

    The first two years of my degree felt like a musical bootcamp. The intensity of these early classes, especially in music theory, was a significant factor behind the high dropout rate. Our classes began at 7:00 a.m. every weekday morning, a time when most people were still waking up, and yet we were already diving into harmonic analysis, counterpoint, and ear training. This grueling schedule tested our discipline and mental endurance. For many, it was simply overwhelming. The complexity of the material, combined with the sheer volume of work, caused many students to give up.

    I called it “musical bootcamp” because it truly felt like an endurance test. For me, though, it was exhilarating. Each day was a challenge to master abstract theoretical concepts that most people never encounter. I had a natural affinity for theory, which helped me thrive where others struggled. That may have been part of why I chose music theory as my major—I loved the intellectual aspect of it. But the bond that developed between those of us who endured these early years was powerful. The shared struggle created a camaraderie that made us stronger, and we came to see that music theory wasn’t just a necessary academic hurdle—it was the foundation for our creativity as composers. My class of Music Theory and Composition graduates was comprised of only four or five people!

    Creating in an Academic Environment and the Fear of Accessibility

    As I progressed in my studies, I finally began taking composition lessons. This was the part I had looked forward to most, and it didn’t disappoint. There was an intense pressure to create music—not just any music, but compositions that pushed boundaries and challenged conventions. I loved composing, and I eagerly anticipated the feedback from my professors and classmates. But in the academic environment, there was an unspoken rule: if your music was too “accessible”—if it resonated too easily with listeners—it couldn’t be taken seriously.

    This ethos was something I encountered not only at my school but across composition programs everywhere. Complexity, dissonance, and innovation were seen as the hallmarks of a “serious” composer. If your music was melodic or easy to listen to, it was often dismissed as too simple or insufficiently sophisticated. While I understood the value of experimentation and intellectual rigor, this pressure to create music that alienated casual listeners sometimes felt stifling.

    One day, during a composition lesson, I was struggling to explain why I had written a particular section of my piece in the way I had. My professor could see I was wrestling with how to justify it in theoretical terms. He stopped me and said, “If it sounds good, it is good.” That simple statement had a profound impact on me. His advice was liberating. It reminded me to trust my ear and my instincts, even if I couldn’t articulate the reasoning behind every musical decision. Sometimes, if it sounds right, it is right.

    Try your best but realize you are not creating your Magnus opus!

    This lesson helped relieve some of the pressure to create music of staggering genius and allowed me to simply create. The process of writing music, getting it from my head to the page, and then into a performer’s hands was far more important than endlessly laboring over a score, only to let it languish unheard.

    Bridging Rock and Pop with Classical Performance

    Throughout my studies, I found ways to integrate my background in rock and pop music into the world of classical composition. One of my most memorable performances occurred during a Wednesday concert—a weekly showcase where students performed their work. For this particular piece, I combined a pre-recorded electronic track with a live violin performance. It was unconventional in its presentation: I began playing my unamplified violin at the back of the auditorium, walking slowly down the aisle until I reached the stage.

    The combination of the electronic track with the acoustic sound of the violin created a unique texture that felt distinctly modern, and my peers responded positively. Several students compared my piece to the sound of Sigur Rós, a comparison I welcomed. For me, it was a validation of my belief that different musical genres don’t need to be separated. By blending my rock and pop sensibilities with classical techniques, I found a way to express myself authentically, and that resonated with my fellow students.

    Realizing How Much I Didn’t Know

    One of the most humbling experiences during my studies came when I composed a graphic score with elements of indeterminism—a piece where performers had freedom to interpret certain sections. I was proud of my innovation and eager to share it with my professor. He appreciated the piece and gave me constructive feedback. However, near the end of our discussion, he casually mentioned, “This looks a lot like the music coming out of the late 60s.”

    That comment hit me hard. I had believed I was creating something groundbreaking, only to realize I was decades behind. It was a critical learning moment for me. While my education had given me a strong foundation, there was still so much music history I had yet to explore. I realized that I didn’t know what I didn’t know—a humbling but necessary revelation. It became clear that to truly innovate, I needed to immerse myself in the music that came before me and expand my understanding of the broader musical landscape.

    Piano music by Brandon Alsup - Waves 1
    Piano music by Brandon Lee Alsup - Waves 2
    Performance of my piece Waves for two pianos.

    The Narrowing Path of Music Theory

    As I neared the end of my degree, I found myself growing disillusioned with the extreme end of music theory. I took an advanced course on the relationship between math and music, which focused on abstract structures and patterns. While I could appreciate the intellectual challenge, it felt increasingly disconnected from what had drawn me to music in the first place. The research papers I wrote on obscure theoretical topics often felt pointless, and I frequently found myself wondering, “Who cares?”

    For some, this deep theoretical work was fulfilling, but for me, it was a departure from the emotional and expressive core of music. I realized that my passion lay in creating music, not analyzing it to death. I wanted to trust my ear and my creative instincts more than I wanted to spend my time dissecting mathematical patterns in pitch relationships. Composition felt like a more authentic expression of who I was as a musician.

    A Glimpse into the Academic Future

    Looking toward the future, I considered a career in academia. I had great respect for my professors, but I also saw the harsh realities of that career path. Many of my professors were highly educated and talented, yet they struggled to make ends meet. One professor even worked as a bartender on the side to supplement his income. It became clear to me that pursuing a career as a university professor in music would likely mean facing similar challenges.

    The financial aspect wasn’t the only issue. The academic system itself seemed difficult to navigate, with few opportunities for upward mobility. Many musicians and composers were stuck in entry-level teaching positions, earning barely enough to live on. While I was passionate about music, the prospect of spending years fighting for a stable position in academia didn’t appeal to me.

    On top of that, I witnessed the fierce fight my professors went through in order to have their pieces performed! Writing grants, submitting to competitions and symposiums…basically desperate for performances. Not that I’ve been able to navigate this piece of the puzzle very well, but I think if your goal is to write music and get it out to a wide audience, remaining in academia is not the optimal path.

    A New Path: Ethnomusicology in Thailand

    After graduation, I decided against pursuing a master’s degree in Music Composition. The cost simply wasn’t justifiable. Instead, I set off on a new adventure: moving to Thailand to study Ethnomusicology at Mahidol University College of Music. I was the first Western student to attend the program, and I flew over on a one-way ticket, excited for the unknown.

    It was the right decision. I had spent four years deeply immersed in Western classical music, but I was ready to broaden my horizons and explore new musical traditions. Studying Ethnomusicology in Thailand exposed me to a world of sounds and ideas that I had never encountered before. It was a transformative experience that enriched my understanding of music on a global scale.

    I quickly learned a couple things about music by studying Thai court music: 1) harmonic analysis and melodic analysis tools I used all the time in my undergraduate work were more or less useless when investigating music that doesn’t share the same formative forces (structures, goals, etc.). And 2) I learned that the relationship between teacher and student can be dramatically different. In my American mind, offering opinions and disagreeing and engaging with professors is a sign that you are excited and interested in a topic. It’s a sign of respect to engage with a professor. However in Thailand, I learned that students are more or less expected to offer opinions when asked and the teacher is more or less always right. It’s more of a parental relationship than a colleague relationship – both have their pros and cons.

    Conclusion: Re-engaging with My Passion

    Looking back on my time studying Music Theory and Composition, I feel an immense sense of gratitude. It was a challenging, sometimes grueling experience, but it shaped me as both a musician and a person. During those four years, my life revolved around music—whether I was composing, performing, or simply discussing music with friends.

    Over the intervening years after graduation I dropped away from music. Music would pop back up in my life here and there, so it never truly left, but I haven’t been engaging with it like I did when I was in the University system. Today, I’m working to re-engage with that same passion. My education was solid, and my professors pushed me to strive for excellence. But with age, I’ve come to understand that music is about more than theory, more than analysis, and more than academia. It’s about creating something that feels true to me and connects with others, whether it’s complex or simple, popular or avant-garde. In the end, if it sounds good, it is good.

    Part of a mini Opera I wrote in 2008

  • Composer As Communicator & Explorer

    Composer As Communicator & Explorer

    “It should be noted here that proficiency in composition occasionally correlates with maladjustment to the culture and is often associated with religions activity.”

    Music in Primitive Culture by Bruno Nettl, 1956, pg. 11

    When I read that quote, I felt it resonate with me. Not that I’m all that “maladjusted” but that often times composers are a bit strange. Nettl goes on to say, “musical and religious specialization are often correlated, and are probably the two activities of primitive life in which specialization most commonly occurs.” I’d say that this quality is not only present in “primitive life.” I believe composers are usually tapping into the “religious” or spiritual essence of humanity. In particular, the music creators that dig deep into the human experience and hone their expression of it over decades can rattle us to our most primitive core.

    When composers write music that resonates – literally resonates – with a listener both the composer and the listener are exploring pieces of the human puzzle. The composer did the work of crafting intuition and expression into sound and the listener unpacks that work allowing it to dust off and expose emotions, dreams, memories, internal rhythms, and bring them to the surface for a span of time. Clearly not every composition evokes the same reactions, but a successful composition is one that communicates across time and space with the listener in perhaps the most intimate way possible. Think about it, music is how mothers initially communicate with their children. Rhythm and melody are picked up in the womb. So, a person opening themselves up to be communicated with is the repository of great music.

    In my experience, the intention of the composer matters. I think this is because it can sharpen the listener’s reaction to the music. Even if the listener learns about the intention after hearing the music, we can retroactively place different meaning and importance on the music and experience. “Hey, how was the concert last night?” “It was fine, there were some good parts, but they didn’t play my favorite piece.” A few days later. “That concert was incredible, I just learned that the last song they played was written for the singer’s mother who is battling cancer, and she was in the audience.”

    I’m not implying every type of music or every piece of music has to have a grandiose manifesto in order to communicate something, but every piece does have an intention – even if that intention is to create music for music’s sake. I also think this is where music and the domain of spirituality and religion mix to become one in the same. Spiritual and religious music has very clear intentions that can’t really be separated out. For example, a healing song when not sung would not do much healing. The intention of a shaman or healer is in the music. It’s the belief that the healer holds in the power of a healing song that can’t be separated from the music. I imagine if you asked a healer if just saying the text (if there is a text) will have the same effect as singing, they’d reply with a resounding “no.” It’s like asking some cultures the difference between music and dance, they’d look at you in a puzzled way and wonder what you are talking about. See my article on Music and Movement: Music Has Lost: Movement, Participation, & the Universe – Global Music Theory

    So far, the composer has been a communicator with human’s most powerful form of communication – sound. Music can make us weep, rage, and transcend. It can pull us into another world in the matter of a few seconds. Furthermore, we are constantly affected by sounds and can’t readily tune them out just by closing our ears. But I also see composers as explorers of sound. They investigate all the wonderful ways in which to manipulate sound, and what effects that may have on listeners – on communication. They explore the shape of sound over time through form and also the sounds in a single moment – the vertical and horizontal qualities of sound.

    Composers explore the relationship between music and all the other activities that make up our lives, from shopping to worshipping to healing to love making music surrounds us. Not only are composers exploring the sonic qualities of music, but they also explore the inner realm of humanity. The moods, emotions, feelings, curiosities, and the physical can all be explored through sound. Composers explore within themselves to discover ways to express what they find via music. From a feeling of elation to the pits of despair and everything in between.

    I feel composers are also explorers of their times and environments. They write music that speaks to the moment for a subset of people. Even though the styles and methods of producing music are continually changing, composers are also exploring how previous styles and techniques feel in the current time. For example, composers bring back the intricate counterpoint of the Baroque period or the lush harmonies of the Romantics and see if those techniques capture the mood and desires of contemporary listeners.

    I used to question whether composing music is a worthwhile endeavor. What am I going to say better than all the music that has come before me? Well, I’ve learned that is the wrong question. I think writing music is about finding what is important for you to express because you are not the only one that needs to get that emotion or thought out. A composer is a bit like that kid who raises their hand and asks a question of the teacher that half the class also wanted to ask but didn’t. A simple way to see that music matters is to read the comments below your favorite music on YouTube and you will undoubtedly see how many people that piece of music has touched in a positive way.

    I guess this writing is really about why composers writing new music matters. They are exploring human connections.

    I just now learning to connect more with myself when I write and to simply allow myself to enjoy what I write rather than overthink and complicate it just for the sake of complication.

    Here is one of my piano pieces. I hope it communicates something of value.

  • Investigating How Environments Shape What Music Was Created And Performed

    Investigating How Environments Shape What Music Was Created And Performed

    As a composer, I often find myself captivated by the ways in which the environment shapes the music that is created and performed around the globe. From some of the more traditional societies of Africa and Asia to the modern metropolises of the West, the music of the world reflects the unique characteristics of the places and times in which it is born.

    • Physical environment
    • Social environment
    • Religious environment
    • Political environment

    Physical environment and music

    From the harsh and unforgiving landscapes of Siberia to the lush and tropical jungles of South America, the music of the world reflects the unique characteristics of the places it is born. And nowhere is this truer than in the way in which the physical environment shapes the music that is created and performed.

    During a composition festival, we had composers from all over the US visit the deserts of New Mexico. After I had presented my piece in a master class setting, one of the visiting composers declared there was a “desert school of composition here.” My fellow composers and I had noticed that much music coming from composers that live in much more dense and metropolitan areas had a very different feel to their music. The “desert composition school” had a lot of space in the textures. The rhythms were open and harmonically the pieces were “vast.” Our physical environment was influencing the sounds we were creating. Even though we all composed in very different styles, there was a common thread. Let’s move on to other examples.

    One of the most striking examples of this can be found in the traditional music of the Tuvan people of Siberia. Their music, known as Khöömei, is a form of throat singing that is characterized by deep, resonant, and sustained notes that seem to echo the vast expanses of the surrounding steppe. This music reflects the people’s close relationship with nature and their deep respect for the land they inhabit. The harsh and unforgiving environment of Siberia has given rise to a unique form of music that reflects the strength and resilience of the people who call it home.

    Another example of how the physical environment shapes music can be found in the traditional music of the Andean people of South America. In the high altitudes of the Andes, the thin air and extreme weather conditions have given rise to a distinctive form of music that is characterized by the use of panpipes and other wind instruments. These instruments reflect the wind and air of the mountains, and the music itself reflects the people’s deep connection to the land and their environment.

    The physical environment plays a notable role in shaping the music of nomadic cultures around the world. This can be observed among groups such as the Bedouin of the Middle East and the Mongols of Central Asia, who have developed musical traditions that are closely tied to their nomadic way of life and the landscapes they traverse. In order to accommodate their need for mobility, these cultures often rely on instruments that are portable and able to be played in outdoor settings. Such instruments include the lute and the flute. The music that is produced by these cultures is influenced by the rhythms of the land, and often evokes the sense of constant movement and change that is an integral part of the nomadic lifestyle. The music can also serve as a reflection of the spiritual practices and social customs of the people, which could be marked by celebrations, rituals or even daily routines.

    Even today, in a world where many of us live in urban environments, the physical environment continues to shape the music that is created and performed. For example, in the modern era, many urban musicians have been inspired by the energy and chaos of the city, and the music they create reflects this energy and reflects the hustle and bustle of the urban landscape.

    The land shapes the notes. I’ve seen it firsthand, from the bitter cold of Siberia to the sticky heat of Thailand. Each place breeds its own tune. As a composer, I draw inspiration from traveling the globe and studying the music of different regions and eras. The world is my muse, and through my compositions, I strive to capture its essence.

    Social environment and music

    The music of the world mirrors the societies that birth it, from ancient Africa and Asia to the bustling cities of the West. Nowhere is this connection clearer than in the way music is employed to commemorate life’s important moments. From celebrations to ceremonies, music gives voice to the culture’s norms and values.

    West African Societies

    West Africa’s traditional societies offer a prime example of how music can be used to mark significant moments in life. From birth to death, music is an integral part of daily rituals, serving not only as an art form, but also as a medium to strengthen community ties and convey cultural heritage. The beats and harmonies of the music reflect the lively atmosphere of these events, while the lyrics communicate the reverence for family, community, and tradition. In Ghana, for example, the Akan people use music and dance as part of naming ceremonies and funeral rites.

    The Yoruba people of Nigeria have a rich and diverse musical tradition that is closely tied to their culture and way of life. Among other things, traditional music is used to mark important life events such as births, marriages, and deaths.

    For instance, when a child is born, the Yoruba people celebrate with music, dance and other rituals. The arrival of a new baby is considered a significant event in the community, and music plays a central role in the celebrations. The mother and baby are serenaded with songs, and traditional instruments such as the talking drum and the shekere, an instrument made from a gourd, are played to announce the arrival of the new child to the community. The drumming and singing are believed to usher in the new life and bring good luck and blessings to the child and the family.

    Here’s a short example of the talking drum:

    Here’s an explanation of the shekere:

    In addition, the music and lyrics of the songs performed at these events often contain important cultural and social messages. They may express congratulations and well wishes for the new family, convey moral and ethical values, or offer advice and guidance for raising the child. The lyrics can also contain spiritual and religious elements, such as invoking the blessings of the ancestors and the gods. Music is not only a celebration, but it also a medium to transmit cultural and spiritual knowledge and practices.

    The rhythms of the traditional music of these societies, such as the Ghanaian Highlife and Nigerian Afrobeats, are deeply rooted in the West African rhythms and drums, giving a sense of energy and joy to these events.
    Also, the prominent musicians and singers such as Osibisa, E.T. Mensah, and King Sunny Ade from these regions, have taken traditional music to new heights and popularized it globally.

    North American Indigenous Society and Music

    The music of North American Indigenous peoples is a reflection of their culture and surroundings. Ceremonies and community gatherings are where their music shines. Take for example, healing rituals, where music plays a central role. Traditional songs passed down from one generation to another, serve to anchor the community to their heritage. The rhythms and melodies reflect the close connection of these people to the land. Lyrics often speak of the importance of living in harmony with the natural world, of being one with the earth.

    A case in point, the Navajo Nation in Southwest of America, where the traditional healing ceremony “Sing” is performed by a medicine man and his apprentice, using the power of song and chant to heal the patient. Or the Lakota people, who use the drum and singing in the healing ceremony “Sweat Lodge” for both physical and spiritual purification.
    The traditional music of these societies not only provides comfort and healing but also a connection to the spiritual realm.

    Urban Societies and Music

    Urban social environments shape the music that is created and performed. In the modern era, many urban musicians have been inspired by the social issues and challenges of the day, and the music they create reflects this. For example, in the United States, the music of the Civil Rights Movement was a powerful tool for expressing dissent and resistance, and in many parts of the world, the music of protest movements reflects the political and social issues of the day.

    Political environment and music

    From the revolutionary songs of Cuba to the protest anthems of South Africa, the music of the world reflects the political issues and struggles of the people who create and perform it.

    One of the most striking examples of this can be found in the traditional music of Cuba. During the revolutionary period of the 1950s and 60s, a new style of music emerged in Cuba, known as Nueva Trova. This genre of music reflected the political and social changes taking place in Cuba at the time and was used as a means of expressing dissent and resistance. The lyrics of Nueva Trova songs often dealt with issues of poverty, injustice, and the struggle for freedom, and the music itself reflected the energy and passion of the revolution.

    One example of a Nueva Trova song is “Volver a los 17” (Going back to 17) by Silvio Rodríguez. The song was written in 1972 and was released on his album “Dulce y amargo” (Sweet and Sour). The song is widely considered one of the most popular and enduring songs of the Nueva Trova movement.

    The lyrics of the song are nostalgic and reflect on the innocence and idealism of youth, and the passing of time. The lyrics are poetic and metaphorical, expressing the longing for the past and the sense of loss and regret.

    Here is a translation of the first verse and the chorus:

    Verse 1: I’m going back to 17, with my guitar, to sing to the girls in the plaza, to sing to the stars that shone on the nights of my youth

    Chorus: Going back to 17, with the same illusions, with the same songs, with the same love.

    Silvio Rodríguez

    The song speaks about the longing for the past, the nostalgia of youth, and how things change and how the time goes by. The metaphor of going back to 17 years old, is a way to express the idea of wanting to go back in time to relive and enjoy the moments of our youth, with its dreams, illusions, and passions. The music and lyrics of this song, like many other Nueva Trova songs, are deeply rooted in the Cuban culture and history, and they often reflect on the social and political issues of the time.

    Another example of how the political environment shapes music can be found in the traditional music of South Africa. During the apartheid era, music was used as a powerful tool for expressing dissent and resistance. The music of artists such as Miriam Makeba and Hugh Masekela reflected the struggle for freedom and equality and became the voice of the anti-apartheid movement. The lyrics of these songs often dealt with issues of injustice and inequality, and the music itself reflected the energy and determination of the people who were fighting for their rights.

    Even in parts of the world where many of us live in more politically stable environments, the political environment continues to shape the music that is created and performed. In many parts of the world, music is still used as a means of expressing dissent and resistance, and the lyrics of songs often deal with issues such as poverty, injustice, and the struggle for freedom.

    The environment shapes the music, that much is clear. From the guttural Khöömei of Siberia to the lively Nueva Trova of Cuba, each corner of the world has its own unique sound. As a composer, it’s my honor to draw inspiration from these varied places and times, to capture the essence of the world in my compositions. The political climate, social norms, religious beliefs, and physical surroundings all play a vital role in shaping the music of a place. To truly understand a culture’s music, one must understand the forces that shape it. It’s a never-ending exploration, but one that I find endlessly fascinating.

  • Exploring Music Notation: Staves, Textiles, & Organic!

    Exploring Music Notation: Staves, Textiles, & Organic!

    As a composer, notation is a crucial aspect of my art. It allows me to convey my musical ideas to performers, enabling them to bring my compositions to life. While standard music notation is the predominant system in Western classical music, there are numerous other methods of notating music. These include non-standard notation systems and systems that don’t use notation at all, relying instead on oral transmission and physical gestures. In this article, we will delve into the various ways music can be “notated,” with examples from around the globe and examples that explore the future of music notation.

    I will not be going too much into the historical development of music notation, but this is more of a survey of different notation systems. Stick around to the end and I explore what the future of notation may be!

    Music Notation Investigations

    1. Standard Music Notation
    2. Sargam
    3. Oral “Notation”
    4. Gestures
    5. Textiles
    6. Ceramics
    7. Virtual Reality
    8. Gestural Notation
    9. Neural Notation
    10. Organic Notation
    11. Augmented Reality Notation

    Standard Music Notation

    I won’t say too much on this since most people reading this will be very familiar with standard music notation. One thing I’d like to point out is that the development of this notation was one of humanity’s first attempts at writing down discreet and repeatable units of time. There were plenty of ingenious clocks and machines that broke time down and made time more visual, but music notation attempted to capture time on a page. I think this is one of the remarkable features of this notation. Capturing time and an equally ephemeral element – sound – is no small feat, which is why it took thousands of years of development to arrive at the standard notation we know and love – well maybe not love but at least use and appreciate.

    Sargam (solfege) Notation

    Sargam is a system of music notation used in traditional Indian music to represent pitch and melody. It is based on the solmization system, which uses syllables to represent specific pitches on the musical scale. The syllables used in sargam notation are:

    • Sa: the tonic pitch
    • Re: the second pitch
    • Ga: the third pitch
    • Ma: the fourth pitch
    • Pa: the fifth pitch
    • Dha: the sixth pitch
    • Ni: the seventh pitch

    In addition to these syllables, sargam notation also includes symbols for different types of ornamentation, such as meend (slides), gamak (vibrato), and murki (grace notes). Sargam notation is written using Devanagari script, the script used to write Hindi and other languages in India.

    Sargam notation is used in many different forms of Indian music, including classical, folk, and popular music. It is an important part of the musical traditions of India, and is used by composers and performers to preserve and transmit musical styles and repertoire. Sargam notation is also used in music education, as it provides a systematic way for students to learn and practice Indian music.

    Western music uses the solfege system with the following sylables:

    • Do: the tonic
    • Di: the tonic raised by 1/2 step
    • Re: the second pitch
    • Ri: the second pitch raised by 1/2 step
    • Me: the third pitch
    • Mi: the third pitch raised by 1/2 step
    • Fa: the fourth pitch
    • Fi: the fourth pitch raised by 1/2 step
    • So: the fifth pitch
    • Si: the fifth pitch raised by 1/2 step
    • La: the sixth pitch
    • Li: the sixth pitch raised by 1/2 step
    • Ti: the seventh pitch

    When I was in Thailand studying to play the kim, the classical Thai music I was taught was notated solfege using Thai script. This surprised me.

    Oral “Notation”

    Oral transmission is a method of preserving and transmitting music through singing and listening, rather than through written notation. It has been used in numerous cultures and musical traditions throughout history to preserve and pass down musical styles and repertoire.

    One example of oral transmission in music is the tradition of Native American cultures, in which music is passed down through singing and listening. In these cultures, music is an integral part of cultural identity and is used for ceremonies, rituals, and other significant events. The oral transmission of music helps to preserve these traditions and keep them alive for future generations.

    Oral transmission is also prevalent in African musical traditions, such as the griot tradition in West Africa. Griots are musicians and oral historians who play a central role in preserving and transmitting the cultural traditions of their communities through music. They learn and perform traditional songs and melodies through oral transmission, using their music to tell stories, convey cultural values, and record history.

    Another example of oral transmission in music is the tradition of blues and jazz in the United States. These musical styles evolved out of the oral traditions of African American communities and were passed down through singing and listening. Many of the songs and melodies in these traditions were never written down, but were instead transmitted orally.

    Advantages of oral “notation”

    One advantage of oral transmission in music is that it can be easier to transmit certain types of music, such as music that is highly improvisatory or uses complex rhythms and melodies. Flamenco music is a good example of this, as it is known for its intricate rhythms, expressive melodies, and improvisatory nature. It can be difficult to capture the complexity and nuance of flamenco music in written notation, and many flamenco musicians rely on oral transmission as a way to preserve and transmit the music.

    Another advantage of oral transmission is that it allows for a certain level of flexibility and creativity in the interpretation and performance of music. When music is transmitted orally, performers have the freedom to interpret the music in their own way and to add their own personal touch to the performance. This can lead to a greater sense of connection and ownership among performers, and can help to keep the music alive and evolving. I’ve seen Western classical performers obsess over playing a measure “perfectly” and though they may play the notes “correctly” they can miss the big picture of the music they are trying so hard to play.

    In addition to these advantages, oral transmission can also help to preserve the cultural context and significance of the music. When music is transmitted orally, it is often accompanied by stories, rituals, and other cultural traditions that give the music meaning and depth. This can be lost when music is written down and becomes more abstract and removed from its cultural context.

    While oral transmission may not be as precise as written notation, it has many advantages and has played a crucial role in the preservation and transmission of music in many different cultures and musical traditions.

    Gestural music “notation”

    Gestural music notation is a system of notating music that uses gestures and body movement to represent musical ideas. It is based on the idea that music and movement are closely interconnected, and that gestures can be used to convey musical expression and intent. Gestural notation has been used in various musical traditions throughout history, and can be a powerful tool for improvisation and interpretation.

    One example of gestural notation is the use of hand gestures by conductors to guide musicians in ensemble performance. Conductors use a range of hand gestures to indicate the tempo, phrasing, and dynamics of the music, and to cue the entrance of different instruments or sections. Conductors have been using hand gestures as a form of gestural notation for centuries, and it is an integral part of ensemble performance in many different musical styles.

    Another example of gestural notation is the use of dance and movement to represent music in some African and indigenous cultures. In these cultures, music and movement are closely intertwined, and dancers often use specific gestures and movements to represent specific rhythms, melodies, and musical ideas. For example, in the traditional music of West Africa, dancers often use hand gestures and footwork to represent the rhythms and melodies of the music.

    The ancient Egyptians also used gestures to guide musicians, as depicted in tomb paintings and other artwork from the time period. In these depictions, musicians are shown using hand gestures to indicate the melody and rhythm of the music, and to cue the entrance of different instruments.

    The future of connecting music with movement

    As technology advances, it may be possible to develop systems for notating music using gestures and body movement. This could involve the use of sensors and wearable technology to capture and interpret the movement of a performer’s arms, hands, and body, and translate it into musical notation based on movement.

    Music notation in textiles

    During my undergraduate work I was lucky enough to see a presentation of music from members of a tribe that live in the forests of Brazil. They had an absolutely incredible relationship with music. For them music was a way to “see” a person and a way to heal by using vibrations. They said that humans were just vibrations and when we do not vibrate in harmony, we are sick! This tribe notated music as lines embroidered on cloth.

    Another example of music notation that has been woven or embroidered into textiles is the Bayeux Tapestry, a 70-meter-long linen tapestry that depicts the Norman Conquest of England in 1066. The tapestry includes a section that shows the singing of a song called “The Song of Roland,” which is one of the oldest surviving examples of European music. The lyrics of the song are written in Latin and are embroidered into the tapestry, with the notation using a combination of letters and symbols to represent the melody.

    Another example of music notation woven into a textile is the Très Riches Heures du Duc de Berry, a medieval illuminated manuscript that includes a depiction of a choir singing a hymn. The notation for the hymn is written in red ink and is embroidered into the manuscript, with the notes and lyrics depicted as if they are being sung by the choir.

    In some Native American cultures, music notation has been woven into ceremonial robes and other clothing as a way to record and preserve traditional songs and melodies. This practice reflects the important role that music plays in these cultures as a way to transmit cultural traditions, stories, and history.

    Music notation woven into textiles is often done using a combination of symbols and visual elements that represent specific pitches, rhythms, and melodies. These symbols and visual elements can be created using a variety of techniques, such as embroidery, beadwork, and quillwork.

    One example of a Native American culture that has a tradition of weaving music notation into textiles is the Haida, a indigenous people of the Pacific Northwest Coast of North America. The Haida have a tradition of using woven robes and blankets to record and preserve traditional songs and melodies, with the notation for the songs being embroidered into the fabric using colored threads.

    Other Native American cultures that have a tradition of weaving music notation into textiles include the Lakota, the Navajo, and the Pueblo. In these cultures, music notation woven into textiles is often used in ceremonies and rituals as a way to connect with the spiritual world and to honor the ancestors.

    Ceramics and music notation

    One example of this is the Chinese “moon amphora,” a type of ceramic jar that was used to store water or wine during the Han Dynasty (202 BC – 220 AD). The moon amphora features a depiction of a musician playing a lute, with the notation for the music written in Chinese characters around the sides of the jar. The notation includes the lyrics and melody for a song called “Heavenly Questions,” which is one of the oldest surviving examples of Chinese music.

    Another example of music notation on ceramics is the use of musical symbols and inscriptions on ancient Greek vases. These symbols and inscriptions include representations of musical instruments, such as the lyre and the harp, as well as abstract symbols that may represent specific pitches or rhythms.

    Overall, the use of music notation on ceramics reflects the important role that music played in many different cultures throughout history, and the desire to incorporate music into everyday objects and decorative items.

    Future music notations

    1. Neural Notation – the use of brain-computer interfaces to create and interpret music notation. This could involve the use of electrodes or other sensors to detect and interpret the brain activity of a composer or performer and translate it into music notation in real-time. Maybe the audience is also hooked up to a neural link system…
    2. Organic Notation – Instead of using written or printed symbols to represent music, it is possible that music notation could be created using living organisms or natural materials. For example, music notation could be created using plants or other living organisms that respond to stimuli in specific ways or using materials that change color or shape in response to certain frequencies or vibrations. I think of this one as not necessarily the environment reacting to music but the performers actually playing from the organic “score.”
    3. Augmented Reality Notation – Music notation could also be created using augmented reality technology, which would allow notation to be displayed and interacted with in the real world. This could involve the use of smartphones or other devices to display notation in the environment, or the use of specialized glasses or other wearable technology to display notation directly in a performer’s field of vision.