on music (acoustic) writings

• a specific subject in its commonly known context
• our ability to relate to it out of its known context
• general questions on a person’s ability to perceive a given subject at all
• the multiple interpretations our perception is able to allow

All those are central points dictating the music I composed around the early nineteen nineties. This approach was initially applied to the creation of lyrics, and works for piano. It later became motor as well for the concept that sparked the genesis of handwriting exercises to be performed as music pieces.

One of the very first examples of the idea was a series of hand-made books entitled “You see what I heard”. The multi-dimensional result of these pieces added something of a pleasing effect. Firstly, a performance will usually result in a drawing of the word, because of the way the handwriting repeatedly occurs, each time overlapping the previous writing. Secondly, it will initially be heard as sound, but as the writing of the word or sentence progresses, the repetition creates rhythms and melodies which the ear cannot help calling music. And, finally, the word itself utters its reference, thus providing rationally contextual communication. We hear how p-a-t-i-e-n-c-e sounds, we see it as a drawing, and we grasp a word implication.

The more levels and sides we grasp from a single thing/subject, the better, the deeper we are bound to understand it, as our perception level focused widens.