Far more important to me than visualizing the source of music is my imagination of an audience. My image of the musician, ensemble or orchestra and the situation, whether a hall or a clearing in a forest, defines qualities of orchestration simply on the basis of tessitura and acoustic dynamics, but expression requires a relationship with a listener.
“Reading knowledge is the smell of the bookbinding paste. The crinkle of thick stock as the pages turn. Paper the color of aged ivory. Knowledge is temporal. It’s about time. You know how that goes, Engineer. Even you can remember that. ‘We can read these three pages before your sisters and brothers come home for dinner.’ … Human knowledge is social. More than stimulus-response. Knowing entails testing knowledge against others. Bumping up against them. We take in the world continuously. It presses against us. It burns and freezes.” – Richard Powers (Marcel) Galatea 2.2, p148