This post is in the Local Coherence category

Dear Reader

I love detail. I want to look deep inside the moment, hear it again and again, look for and revel in the tiny changes. I want to hear the micro-rhythm in the note, the catch of dissonance in that first hundred milliseconds of an erstwhile pure sound - and if it's not there I'll put it there - I don't care if you can hear it or if it will ultimately disappear beneath melodic narrative or theatrical dialogue. I want the details to have something tying them, an over-arch but not a structural integrity. It is still about the moment, not the form. I need to hear the sonic moment as it grows, to take the sound and shape it, to make aural sculpture and to match the developing sound in my head with that in my ears. I don't imagine music fully formed and then create it. I like it to grow in some organic way and put roots into the rock. I can lose myself in that.

While " the details" was destined from the start to be included in this dissertation, it gave me an opportunity to write something for its own sake, something I don't seem to get much time for these days. On the other hand, in the discussion of global vs local coherence, the detail of the carefully placed notes is far more important to me than the piece as a whole.

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