I employ the term ‘cross-cultural music’ to refer to acoustic and/or electronic pieces that combine two or more unlikely, or apparently unrelated, musical elements, styles, or genres.

Many of these pieces have been presented in a ‘live’ format, where they were preceded by the reading of one of my short texts for speaking voice on subjects related to the music.

Creating a mix-up of radically different musical ideas and forms produces a context for the listener to identify with global processes of integration and connection, and perhaps along the way be introduced to a fresh musical experience.

For the past several decades, the world has embraced the ideal of cultural diversity, but today we are learning at ground level exactly how to live and work with others supportively, even though we may not share similar views. We are already witnessing new hybrids that reflect this uncommonality. On the global scale, new world organizations, coalitions, and partnerships are emerging. In cities, there are recurring examples of cross-cultural activity such as fusion restaurants, fashion composites, poetry slams, and more. These are clear attempts to synthesize and transcend cultural difference.

In general, the music consists of various recorded tracks that were separated into short phrases or segments, then numbered, reordered, and placed back onto the track. The segments were then separated by silences.

The accumulation and timing of the short independent phrases and sound events occurring separately from one another on the same track, and across various tracks, create an organic, diverse, and complex musical form.

The accumulation and timing of the short independent phrases and sound events occurring separately from one another on the same track, and across various tracks, create an organic, diverse, and complex musical form.