Why not re-structure and more closely examine various philosophical and linguistic approaches to sound. Below are a set of incomplete tasks and unanswered questions that might arise in relation to that re-structuring:
- Examine the ways of hearing.
- Discover rhythm (and secondarily melody) as sources of mimetic/empathetic experience. These musical elements engage the most primal ways of learning and interacting: imitation.
- Take responsibility for the implications of performance. What is worth rejecting and protecting about a concert experience? Is musical performance necessarily indoctrination?
- Admit to persona. Decide on (create) its meaning.
- In musical contexts, explore the distinguishing qualities of prose, dialogue, narration, poetry, and lyrics.
- Re-examine the word “experimental.” What status quo does it imply? What status quo can the idea of “experimentation” engender?
- To what extent has inherited (evolved) neural “wiring” pre-determined a relationship to sound? In music, does the familiar only validate or does it create space for transformation?
- In what ways do the digital music “revolution” de- and re-commodify music? How is the composer implicated? How does the role of composer transform?
- Where does unamplified acoustic sound stand in relation to:
- Networked culture
- Simulated (virtual) experience
- Cellular and video communication
- mp3 (musical) culture
- Nano-technology
- Space travel
- amplification
- pirating
- distribution
- documentation
- studio production
- mixing
- mastering
- sharing
- marketing
- performance
- verbal/written critique
- repeated listening
- podcasts/radio/downloads
- co-opting
- sampling
- scoring/transcribing/arranging
