This music is maybe not so much over mind as before it or perhaps around it. Where so much of music has been built to accommodate (long-term) memory, this music is based on an immediate engagement with a strongly felt presence. It is not particularly responsive to a critical habitus that weighs musical achievement against a narrative about the history of musical rules, a critical habitus that seeks to evaluate sound structures in terms of the sophistication of their conception and/or the difficulty of their execution. There should ideally within this music be no rules at all – no enforced minimalisms or eccentric affectations, no particular preference for the tonal or the atonal.

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