The Music:"en-vi-ron-ment (noun): 1. The circumstances or conditions that surround one; surroundings. 2. The totality of circumstances surrounding an organism or a group of organisms, especially: a. an organism. b. The complex of social and cultural conditions affecting the nature of an individual or a community. 3. An artistic or theatrical work that surrounds or involves the audience." The music in this album is suitably described by the dictionary definition of"environment." Indeed, the music contained here touches on many of the personal, social, cultural, & artistic elements of our surroundings. However, the musical gestures heard here are highly unusual, not generally relying on traditional concepts of melody, harmony, or rhythm. The composer has created a series of tone-color compositions, using palindromic and contrapuntal forms, additive and multilayered textures, influences from abstractionism, impressionism, fantasy, and even world cultures. This is an album of moods, containing slowly evolving musical thoughts which evoke the emotions associated with both terrestrial and other-worldly settings. While a careful listening to each track in this album will reveal music of mysterious awe and childlike wonder, these selections can also function as"ambiance music" or, as Erik Satie envisioned, a type of"furniture music" which creates an atmosphere (or musical decor) without being intrusive into other events in the listening space. In other words, listen with deep concentration for one level of enjoyment or, for a more utilitarian approach, simply let the music blend into the overall environment that surrounds you. Such music lends itself to a unique and highly evocative atmosphere in your home or study; even as a sonic atmosphere for museums and planetariums, art galleries, etc.; as a stimulation for modern dance choreography or in theatrical/film/video settings; as a milieu for reading, meditation, deep relaxation; to accompany games (roll-playing, relaxation, etc.); even for holidays and other times when an unusual environment is sought.Here is a description of each"environment" in this album: Aquascape: This piece is based on the baroque musical technique of passacaglia, where a unifying chord progression is repeated while other notes swirl around the recurring theme. The flowing ideas and expansiveness of the texture suggest open deep waters and graceful water-world creatures. Windchime: Bell sounds echo and intermingle with one another, evoking the cheery clamor created by the interplay of wind and metal. This movement starts with a single bell chime, progressively adds new note, arrives at the most complex additive center point, then removes each element until only one chime completes the movement. Music of the Spheres: The idea of the planets making music as they spin through space is as old as the ancient Greeks, perhaps even older. Planetary music is based on the mathematical relationship of their motions in space. This musical selection is also based on the movement of the bodies in the solar system. The timing and tone qualities in the music are correlated to astronomical objects and events in space. The listener hears each planet, from the innermost to the most distant: Mercury, Venus, and Earth are viewed first (note the sound of human voices representing Earth); then, as if shifting our glance from Earth to the outer solar system, we encounter Mars, the asteroid belt and comets (the motif which reoccurs most frequently during the remainder of the piece), Jupiter, Saturn, Uranus, Neptune, and Pluto. The timing and number of occurrences in the music for each planet are based on the orbital period of the planet. With this in mind, notice that we move sonically through the three innermost planets within just a few seconds, and Pluto's musical signature occurs only once in the piece. Other astronomical parameters have also been given musical parallels -- viz., rotational period and mass. Once the musical choices were made, the composer simply set up the planetary cycles and timings and let them"play themselves." Mantra: This title refers to the Hindu prayer or invocation, sometimes held to have magical power. In sanskrit, the term literally means"instrument of thought," inferring a sacred verbal formula repeated in prayer, meditation, or incantation, such as an invocation of a god, a magic spell, or a syllable or portion of scripture containing mystical potentialities. Mantras are believed to have a deep affinity with particular deities or the spiritual forces they represent; by chanting them, a devotee is believed enabled to establish a link with such forces. Kolob/Eternea: This piece is based on the star (described by the prophet Abraham in the"Pearl of Great Price") which is closest to the dwelling place of God. The reckoning of time in this place is such that one day near Kolob equals a thousand years of earth time. The composer based"Kolob/Eternea" on an original, previously composed chorale-like composition (entitled"Of Goodly Parents"), played in an extremely slow motion (ten times slower than the original). This piece is a study in traditional harmony, evolving and ever-changing tone qualities, and a meditative arrhythmic musical flow. Dream Catcher: A"dream catcher" is a beautifully ornamented little icon among the Sioux Indians made of a small ring or hoop with taut sinew webbing and colorful feather decorations. According to legend, a dream catcher catches, filters, and preserves cherished dreams. The bad spirits get caught in the web and disappear with the morning sun. Then only the good spirits remain. Dream catchers are frequently placed over the beds of sleeping babies and children. Solar Wind: The solar wind is a continuous outward flow of ionized gas (plasma) from the corona of the sun, which extends beyond Earth's orbit and into interstellar space. Measurement from space probes have shown that the velocity of the solar wind, where it crosses the Earth's orbit, varies between 300 and 700 km/sec. Scientists have conjectured that"space sails" might someday be constructed to enable future spacecraft to use energy from the solar wind to push the craft through space at great speeds, similar to an ocean-going yacht which uses air currents to drive it from place to place. The music for this piece is based on a rhythmic pedal point which propels the music from beginning to end. Environments 1: This was the first piece composed for this album (1989) and is the basis for the album's initial concept. It is an abstract sonic journey from the simplest acoustical consonances to more intense dissonances and back again. Solitude: Although a private, personal experience, solitude does not necessarily mean loneliness. When we enjoy solitude, we are in the company of our own deepest thoughts, in the company of all other created things, and in the company of diety. Pond has shared that,"This particular musical expression of solitude was brought forth by some of my most memorable experiences of being alone: viewing, with wonder, the night sky; observing the stark but beautifully barren landscape experienced by astronauts on the moon; and skiing alone in the crisp air and crystalline atmosphere of an area in the Wasatch Mountains called '"Solitude'." Fractals: A fractal is a visual design in which any portion of the figure is a reduced copy of a larger portion of the figure. Fractals, based on intriguing mathematical formulae, are used to generate visual computer images, ranging from arcs and swirling spirals to cloud formations and even complete landscapes. Like its visual counterparts, this musical creation uses a reiterated hexatonic pattern for each level of musical material, from the longer time values to the faster glistening arpeggios. Kenbabwe: This most accessible of all the environments in the album uses African percussion and cross-rhythms which grow to a stirring climax.Composer's Dedication: To close friends and family who enliven my own personal environment. Especially to my wife and closest friend, Judy.