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:

  1. Examine the ways of hearing.
  2. Discover rhythm (and secondarily melody) as sources of mimetic/empathetic experience. These musical elements engage the most primal ways of learning and interacting: imitation.
  3. Take responsibility for the implications of performance. What is worth rejecting and protecting about a concert experience? Is musical performance necessarily indoctrination?
  4. Admit to persona. Decide on (create) its meaning.
  5. In musical contexts, explore the distinguishing qualities of prose, dialogue, narration, poetry, and lyrics.
  6. Re-examine the word “experimental.” What status quo does it imply? What status quo can the idea of “experimentation” engender?
  7. 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?
  8. 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?
  9. 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
10. Examine the “processing” that happens to sound through every channel:
  • 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