In this article, centered on my work Tramespace I (2012–13), I elaborate on my thoughts about music from philosophical and musical perspectives. Behind my perspectives is the idea of a “metaphysical space in music composition” that acts as an anchor for these ideas. This “metaphysical space” is a major concept in my doctoral dissertation at Columbia University. However, throughout this lecture I do not refer explicitly to this concept. Instead, two consequential aspects of this metaphysical space are emphasized throughout: (1) the act of composition is not just an act of writing and expressing but also, as soon as the writing takes place, one must engage him/herself in the act of listening; and (2) because of (1), the aspect of the “self” that is engaging-in-(1) is illuminated. Which leads to the existential question: “who am I (who composes)?”
My most recent pieces are a form of chamber music in which traditional musical instruments interact with everyday objects: lamps, fans, mirrors and rocking chairs play together with violins, pianos, bass clarinets and cellos.
In these “mini theaters”, furniture and things acquire musical features thanks to their proximity to musical instruments, constituting a hybrid world of mixed categories.
Three musicians are on stage. Let us say it is a piano trio. They start concentrating, signaling that a performance has started. There is a long silence. Then the cello plays a sound, a simple note on the A string, lasting just a few seconds. Again, a silence – it is hard to tell how long exactly. It could be a minute, it could be many minutes. Then, out of nowhere, a piano note sounds, at the same pitch as the cello note heard before. Silence once more. Then, at some moment, the performers look at one another, and relax. Apparently, the piece is over. The violin has not played at all.