The opportunity of learn about the great cultures of the Native American Indian is a great fortune and is totally consistent with the challenge of world transformation and sonic/spiritual dynamics. This is a subject that will play an important role in the reformational changes that will shape the molding of the coming millennium. It will be in viewing the dynamic spectra of the Native American culture where one can begin to get some sense of the genesis vibrational imprint of North America, that being as 1) a geographical/ vibrat-ional and 'cosmic' presence' that gives a 'hint of' the actual 'nature' of this region of the planet before the modern era 2) as a symbolic platform that comments on fundamental universal alignments from a fresh perspective and finally as 3) a dynamic continuum with its own signature idiosyncrasies and secrets. The study of this subject is necessarily connected to the composite experiences of the last two thousand years and the fact of change and adjustment. I am interested in better understanding the dynamics of 'social blending' and political organization and what that information has meant to the role of Native American creative dynamics- especially music and ideas about music. That is - in recognition of the 'fact of past events' in history (including the profound volitions of the past three hundred years, especially) - what aspects of Native American Mythology(s) can be communicated (or shared) with regards to specific musical ideas and 'zones of thought/feeling/connection' ( ie. ideas about form and/or 'image form' 'dream form' 'intuitive form', and how were these concepts talked of (or transferred through communication) in the past and in the present).

The sign of the circle in my music system denotes the identity of mutable logics, as a concept that seeks to identify sonic events from a tri-centric perspective (ie. individual, community, and symbolic integration- extending into spiritual). This is an approach to perceptual modeling that transcends the use of two deminsional static definitions as a way to achieve a summation recognition (that takes into account the fact of 'multiple routes' ( as in 'there are many ways to find 'God'). The concept of mutable logics was conceived as one in three principles - that is:1) mutable logics as a symbolic construct whose 'qualities' can be decribed as a) liquid character (movement), or the use of water and emotion: mutable logics as in 'the house of intuition and 'blending' as opposed to a 'jerky-ecthed' sharp kind of movement 2) the second principle is the concept of stable logics, as a term to comment on recognition through fixed relationships ( and points of identity). The consideration of stable logics in this context can be viewed as not separate from classical geometric recognition- the world of up and down, long and short and left and right and finally 3) the third principle: the world of synthesis logics as a platform that details the nature of integration ( as a given postulation reflects on the consideration of individual and group intention as well as the point of change and/or 'shift' ('spark') that allows for cosmic realisation ( and/or 'surprise') - that is, the consideration of transformation or the world of 'relationships'). At this point in my beginning studies I have come to view Native American culture as connected to a more 'fluid viewpoint' about life dynamics (experiences) as well as human values. And because of the 'trans-respect' that composite Native American culture has demonstrated towards the environment of our planet I have come to view the study of Nature American culture as an opportunity to better understand holistic synthesis ideas (and hopes). My effort to penetrate into this subject will seek to maintain the same alignment of 'aesthetic balances' that is consistent with my growing sense of composite Native American culture (understanding too, that my viewpoint can only be of value from a distance the Native American people's viewpoint about their work will always be the correct measurement to understand their work. Still, I am interested in learning as much from this subject as possible.


At this point in our class we have begun the study of the functional musics of the Native American - especially focusing on the great southwestern peoples in the Oklahoma region. The experience of this music opens the listener into a fresh sound-scape sonic universe that contains its own 'way of being'. The is a multi-communal experience that transcends any one domain of recognition. In this sound world one can experience a musical 'event-field' experience that contains creative postulations from a) the senior citizens of the tribe b) men and women c) children- including very young children and d) the vibrational interconnection of the environment itself, as a relevant component of the experience. The reality of the summation components that tie together the musics we have experienced in class thus far point to an expanded aesthetic that calls for its own definitions. There is a 'swirling energy' in the music ( and in the visual drama of its presentation) that gives hint of fresh concepts of identity experience and unity/vibrational/absorption).



The Native American community does not demonstrate a mono-deminsional order of political leadership as a feature of its intercultual tendencies- neither can its music be understood through 'target definitions' that don't expand (or contract). The strength of this aesthetic position would allow for the existence of many leaders in one geo-graphical space at the same time as well as the development of multiple vibrational exchanges (between all sectors of the community). This is an 'inclusive movement phenomenon' that is not separate from a historically consistent recognition that decribes the way of tendencies in matriarchal societies. The strength of this position then can be viewed as a 'taking in' of real time experiences through 'various principle 'qualities' of absorption and osmosis. The complexity of this aesthetic quality moves to challenge composite assumptions about 1) the consideration of time 2) the 'value' of Identity 3) the fact of change and rebirth 4) the profound weight of 'the right feeling at the right time' and 5) the 'currents' of flow and ebb as an aesthetic form scheme model designation that seems to have some relevance to the study of this subject.



The music we have experienced thus far establishes a world of 'moments and shadows' that reminds one of the need for fresh terms of communication/sharing and memory. This is a sonic universe that contains its own delights and 'connections'. My initial impressions of the music at this early stage of exposure is one of surprise and fascination. The musics we have heard and seen on video tape has established a context of operatives that can be commented on from various perspectives: that being 1) timbre dynamics 2) rhythmic logics 3 the use of multi-logic occurrences and/or simultaneous event occurrences 4) the experience of given sonic events that are imbedded into the whole (fabric) of the time-space experience (including the recognition of 'real nature' and the fact of centrally directed energies co-existing with local energies ( including 'crossed energies occurrences') and finally 6) the symbolic existence of ritual intention and cultural interaction. Moreover, all of these dynamics are or can be happening at the same moment in the time space.