Living Music

interest is one enabling qualifier toward anenduring entertainment.Mentioned at the top of this essay, Imake sensuality (or a “sensual music”) mybasic foundation because I accept as a tenantthat music is, by definition, first an acousticmessage received (heard) by activation of aphysical mechanical sense (and/or psychoacousticinner ear realizations from musicnotation) which is then conducted through aphysical intellect. The human intellect appliesa process of associative assimilation toward aninnate goal of reasoning out a derivative“meaning,” or at least, a substantive“impression.” Finally, the original messagemight even arrive in some cases at a point oftranscendence to a “spiritual” or “soulful”plane of reasoning. If processed to this finalstage, it still remains remembered first as anemotive “felt” experience affecting heart rate,blood pressure, serotonin and endorphinrelease, but inclusive of an extraordinarycognitive association which breaks into astratum of the metaphysical.As used in this essay, I intend the term“sensual music” to in no way imply, as somemight assume, a conditional absence ofapplied abstract philosophical or mathematicalproperties, of highly refined cognitive craft, ofscientific reference, or of grand schemes ofthe highest sophistication. A “sensual music”simply means a music which successfullyrenders a stirring, association-rich experienceas it reverberates in series from ear to brain topsyche. It can be, in some cases, the mostdisciplined of musics.Below are just a few samples of musiccompositions which I have published bundledwith original poetry (and in some casesadditional texts) – information meant to beprovided to the listener within an audienceprogram or reproduced in recording bookletnotes. 3 Here, a short reference to spiritualconsciousness and transfiguration after deathfrom the complex, 7-minute metaphoricalrhapsody originally for solo violin ArcangeloRed (2003, BMP cat.80) states (ellipses areoriginal): “. . . beyond the tent - gardens ofimmortal starlight . . .” This piece alsoreferences 2 Corinthians 5: 1–5 (HolyScriptures quoted in part from The JerusalemBible). Number symbolism (using 10 and 12),and other devices explained within the prefaceof the score, leads one into deeper and deeperlayers of back story allusions involving theNation of Israel, prophetic meditations, andmore. 4“Clash! by cliffs of Aran-born,splinting spray - wet Burren brew -night-glowing bogs come ballys green.Across the Clare, a cold coastal mornblows ancient musics brightly brave.”This poetic imagery above was writtenafter I was nearly finished with the 6-minuteBally Brew (an Irish Whimsy) (rondocapriccio for alto saxophone & bodhrán, anIrish frame drum) (2006, BMP cat.87). Mytime spent near the Cliffs of Moher(Knockeven, County Clare on the westernAtlantic coast), while in residency at SalmonPublishing (April – May, 1999), was in view ofLiscannor Bay 5 and somewhat across from theAran Islands. The tenure there continues tocolor my several treatments of Irish subjects,both in music and poetry. Bally Brew is asomewhat mystic and impressionistic tale,painted simply, with a brave directness,humor, and innocence unique to its Celticheart. The form was affected by the overallneed to parody indigenous folk forms such asjigs and airs to “set the locale,” but directivesfor mood, and allusions to an underlying storyline, peek from behind the transition material,bridge sections, and contrasting themes. It isproposed in the notes that one mightfantasize time-travel within the piece – onemight hear a call to old wars, to strife, to loveand loss, and the bright tunes may stir beliefin a future of happy security and pastoralblessings. Perhaps a vision of smoky peat firesand bright breezes is invoked – the stir ofwaters is all around – and a poignant moment7