The opposite of every truth is just as true! - “Pitch and duration seem to me to form the basis of a compositional dialectic, while intensity and timbre belong to secondary categories.” Boulez, Pierre. Boulez on Music Today. United Kingdom, Harvard University Press, 1971:37.

”Gestural structure is the most immediate and yet notationally the most elusive aspect of musical communication.” — Wishart Trevor and Simon Emmerson. On Sonic Art. New and rev. ed. Harwood Academic 1996, p18.

Brandt et al. define music as “creative play with sound.” Brandt, A., Gebrian, M., and Slevc, L. (2012) Music and early language acquisition. Frontiers in Psychology: Auditory Cognitive Neuroscience 3 (Article 327), 1–17.

On the origins of music. “The herd was initially enticed towards the drive area by a young man singing a spiritually potent song in the manner of a bleating calf.” Kehoe, A. (1999) Blackfoot and other hunters of the North American Plains. The Cambridge Encyclopaedia, p.16.

in 1640… ”the performers must bow, pluck, and hit the strings; hold the instruments on their laps; and play from offstage. The instruments echo, drone, mewl, bark, and crow.” Curious and Modern Inventions, Instrumental Music as Discovery in Galileo's Italy, R. Cypess, 2016:176

The future of keyboard.? — ”Timbre is fixed; pitches are incapable of any sort of inflection, …one single point of contact with the sound-object, at the initiation of the note, …no impact on the internal morphology of the sound.“ On Sonic Art (1996) T. Wishart

A Turing test for AI composers is not AI composers that know how to compose but instead how to compose who they are.

every sound is potentially musical

sound composition does that: “it can turn anything into anything else; it can make sounds which remind you vaguely of something but which are not exactly that thing. Well known instruments can be made ambiguous, made to be both themselves and something else” Harvey J, Hcmf 2009

…musical sound-making could be considered to be a subcategory of dance. Iain Morley ( 2013) The Prehistory of Music, Human Evolution, Archaeology, and the Origins of Musicality. p.317

“… pitch is an aspect of the perception of timbre…” (On Sonic Art, Wishart T. 1996:57

In my creative process I like to map out my own creative pathways and allow for chance and unpredictability to shape my work. Rather than following a predetermined plan or structure, I embrace uncertainty and the potential for unexpected connections, interactions and synergies.

A non-dualistic approach to sound would suggest that sound is a construct of our mind; there is no inherent separation between sound and the auditory system that perceives it.

"Fully professional performances" are those in which all the performers are regular professional performers (not teachers etc.), and are being paid a full fee for the performance, in a public context with a royalty payable to the composer. tinyurl.com/4h372d8f

Singing and Playing is an action not the sound. Nina Sun Eidsheim (NUNC, 2014)

“Earlier on, music was thought to come about because of a need for humans to do something together in a peaceful fashion—call to a mate, speak with the gods, communicate over long distances, work together effectively.” (Bruno Nettl, 2015:64)

“When you and the sound become one, you don’t hear the sound, you are the sound.” attributed to Zen Master Seung Sahn

A slide from my presentation today at 5º Encuentro de Composición Escuela Superior de Música y Danza de Monterrey - La Superior ESMDM in Mexico. facebook.com/lasuperioresmdm