Cocks Crow, Dogs Bark

and musicians everywhere and always have sought to move music out of themselves. Across history and geography, musical creativity has been transduced by compositional and performance procedures-formal, spiritual, inspirational, philosophical and mathematical. Composers have always made art that is collaborative; communal; channeled from above; derived from nature, speech, or scientific principles; or spontaneously received from some unknowable source: in short, music they understood as coming from some other, higher place than our own. From the isorhythmic hermeticism of late Medieval music to the Baroque's saturated fugal and contrapuntal complexity-and even to the use of the triad as a found melodic object in the symphonic work of Beethoven, Brahms and Mozart-things outside the inspired, intuitive next choice have been proven useful in musical expression. Much of twentieth-century music can be generally characterized as a multifaceted evolution toward the integration of emotion, spirituality and intellect. Many of the ideas embodied by the music on this CD are in fact synergistic and reconciliatory steps towards the disintegration of perceived distinctions between these domains. Some recent trends in the creation of new intentional com

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