Abstract
real duration of the work. Of most significance was the three-part relationship between the music, its real-world source inspiration, and the listener's understanding. This is manifest not only in the sound materials, but also in the way the relationships between materials are structured, and how these relationships unfold during the course of the music. The listening process takes place over two time scales: (1) throughout the course of the 13-min piece, during which time a continual flow of sound information interacts with memory, and (2) in the shorter or longer timespan after the piece has finished, where the music is remembered either in relation to itself, to private memories, or to the present environment. During this time I hope the listener can explore a crossover between musical and extramusical or allusive aspects of both sound material and structural totality.
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