My voice goes after what my eyes cannot reach,

Now I will do nothing but listen,To accrue what I hear into this song, to let sounds contribute toward it.I hear bravuras of birds, bustle of growing wheat, gossip of flames,clack of sticks cooking my meals,I hear the sound I love, the sound of the human voice,I hear all sounds running together, combined, fused or following,Sounds of the city and sounds out of the city, sounds of the day and night,Talkative young ones to those that like them, the loud laugh of work-people at their meals,The angry base of disjointed friendship, the faint tones of the sick,The judge with hands tight to the desk, his pallid lips pronoun-cing a death-sentence,The heave'e'yo of stevedores unlading ships by the wharves, the refrain of the anchor-lifters,The ring of alarm-bells, the cry of fire, the whirr of swift-streak-ing engines and hose-carts with premonitory tinkles and color'd lights,The steam-whistle, the solid roll of the train of approaching cars,The slow march play'd at the head of the association marching two and two,(They go to guard some corpse, the flag-tops are draped with black muslin.)I hear the violoncello, ('tis the young man's heart's complaint,)I hear the key'd cornet, it glides quickly in through my ears,It shakes mad-sweet pangs through my belly and breast.I hear the chorus, it is a grand opera,Ah this indeed is music—this suits me.

The wild gander leads his flock through the cool night,Ya-honk he says, and sounds it down to me like an invitation,The pert may suppose it meaningless, but I listening close,Find its purpose and place up there toward the wintry sky.

theseemingsimplirihrofperceptionistherefore alwaysshadowedbyimperceptibleexcitationsothat“anysituationhas,asits counterpartinthatsituation,morecomplex, subtlerrhythmsthanthosewhoseaggregateisessentialforthephysicalobject.

matterisnotjustsensitivetorhythmsbutitexists,inthefullestsenseoftheterm,onthelevelofrhythm.Thetimeinwhichmatterdevelopssomeofitsfragilemanifestationsisatimethatundulateslikeawavethathasbutoneuniformwayofbeing:theregularityoffrequency.Assoon as thedifferentsubstantialpowersofmatterare studiedin detail,thesepowerspresentthemselvesasfrequencies.Inparticular,assoonaswegetdowntothedetailofexchangesofenergybetweendifferentkindsofchemicalmatter,theseexchangesareseentotakeplaceinarhythmicwaythroughtheindisposableintermediaryofradiationswithspecificfrequencies.^

Suchareductionistmaterialismthatmerelyreducesthesonictoaquantifiableobjectivityisinadequatein that itneglectsincorporealaffects.Aconcernforelementaryvibrationsmustgobeyond theirquantificationinphysicsintoprimaryfrequencies.Ontheotherhand,thephenomenologicalanthropocentrismofalmostallmusical'andsonicanalysis,obsessedwithindividualized,subjectivefeeling,denigratesthevibrationalnexusatthealtarofhumanaudition,therebyneglectingtheagency'distribute'daround avibrationalencounterandignoringthenonhum,anparticipantsofthenexusofexperience

Anontologyofvibrational forceobjectstoanumber oftheoreticalorientations.First,thelinguisticimperialism thatsubordinatesthesonictosemioticregistersisrejectedforforcingsonicmediatomerelycommunicatemeaning,losingsightofthemorefundamentalexpressions oftheirmaterialpotentialasvibrational surfaces, oroscillators.