I am working on this series to help bring attention to authorship in classical music. I believe that original authenticity in authorship is paramount in a all fields. With music, however, we are often more concerned with the aural product than the authors nuanced efforts and that can make classical music less tangible, especially, to younger audiences. I believe we can change the idea that classical music are tunes toward a view that they are an aural journey that is similar to that of a book. By understanding the magic behind the music and the elements of musicality and how they operate we can explore how uniquely different each composer’s decisions alter the experience of these elements in order to make entirely different effects and impacts on the listener. By addressing the concepts in sound structuring, I hope, we can make music more tangible to a greater audience. This series is one way to have people consider many aspects of their experience in context of the creative process of the composing itself.
This is the first in the series of how a symphonic work is composed. This free floating universe represents the potential of sound timbres that can be imagined within the creative brain before writing has begun. Each combination can be pulled out, added to, spun around and considered at anytime.