A manual for the unintentional composer.

Step 1. Expose yourself to a lifetime of music and incidental sound.
Step 2. Comply with a mediative state.
Step 3. Remove conscious thought using everyday actions such as showering, eating or bicycling.
Step 3. Take in your surroundings at the point of absolute self comfort and indulgence.
Step 4. Begin to vocalise the first tune that comes to your mind in anyway possible.
Step 5. Use your surrounding as accompanying elements.
Step 6. Confidently stay in this moment and there you have it.
Step 7. Memorize all these steps so they become one with you.
Step 8. Forget them consciously and store them in the subconscious.

An example of the steps enacted.
Stepping off your bike from your trip to the supermarket, you open the door to your building, taking out your keys and fumbling around for the one that fits the lock. Chimes from the clump of keys start a process in the musical part of your brain. The door opens with a click and closes with a slam, this musical synapse has been added to. Traversing the stairs adds a backbeat.
The clang of the keys, the crack and bang of the door stay with you in a dim but prominent roll (in the same way light partials burn into the back of your retina) as you start to recognize this pattern and stamp it out in each step up, the chorus from a minute ago returns in full, rummaging chimes, click, creak and the slam as you dismount the stairs to the landing at your doorway.
The music comes to you but not as a singular song but a mixture of many, then the humming begins, the tune you make has no resemblance to the sound in your head, you are oblivious to this, feeling you are on point with the tune in your head and the one on your jaw. As the droning subsides and is replaced by the lyrics of the song the flow from you brain to your mouth is joined, the unoriginal tune is lost and you have created your own masterwork by appropriation.

By Owen Armour

This entry was posted in How to do things with academia and tagged , , . Bookmark the permalink.

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