the "concept" is?  I have studied and performed schoenberg serialism. I am not sure you are presenting a new concept here.  Can you elaborate?

Any resulting structure is purely a new perception of a pre-existing reality 

secondly, Schoenberg intended emotional expressions,  not a mosaic of sounds. 

lastly, Schoenberg already employed the use of 4 uses of a tone row. original, retro-grade, inverted retro-trade and backwards inversion. The texture of his structures follow Baroque Suites, and any "mosaic" would be merely a serialist version of 

your concept of revealing the "invisible" is Bach.....who exposed moving silence in his circle of 5ths.

Hi David,  by "never" i am getting extreme and should probably not be so in such a discussion. 😎 i say never because music is fundamentally a result of what already exists as a structure in silence. would you care to discuss over email?

what a pace..sounds played by a sequencer (if not mistaken), intelligent piece that is.

What an immersive experience.  Compelling, beautiful!

fine string - Yasu.M
https://song.link/s/4ngMCRUm72JeUSN6n3aTyZ

fine string

01100010 01100001 01110010 01101001 01100101 01110010 01101011 01101001 00001010

09c4sJ3sL109.21

Thinking Against Oneself

This work wouldn't count as "12-tone music" even though it is based on an extraordinary tone row recently discovered by the composer.  And it also wouldn't count as "tonal" even though it unabashedly deploys some triadic harmonies.  And it's also not one of those pieces that pushes to the boundary of atonality or, though primarily atonal, flirts with suggestions of root progressions.  

To explain: there are about half-a-billion 12-tone rows total, and still about  10 million when you count only up to the usual transformations.  But this row
[ 0 3 1 9 2 8 10 11 6 5 4 7 ]
enjoys a unique, 1-in-10,000,000 property.  Consider the ten internal 3-note sequences 
[ 0 3 1 ], [ 3 1 9 ], [ 1 9 2 ], [ 9 2 8 ], [ 2 8 10 ],  [ 8 10 11 ], [ 10 11 6 ], [ 11 6 5 ], [ 6 5 4 ],[ 5 4 7 ].   They all turn out mutually
so different each-to-each that you can't mistake one sequence for a transposition of another even if some or all of the notes get nudged up or down a semitone!  So that means, in principle, the listener can know where she is inside the row even with only dodgy relative pitch!

Multiply by 7 and semitones turn into 5ths.  So instead of using the original row to control pitches, this piece uses the related row [ 0 9 7 3 2 8 10  5 6 11 4 1 ] roughly speaking, to control key centers.  Since this new row stands to the cycle-of-fifths as the original one does the chromatic scale, now instead of inflecting up or down a semitone,  you get to replace any chord note with its dominant or subdominant.   The result: no collision between the 10 3-chord progressions can occur, no matter what the substitutions. 

The hidden skeleton of this work comprises four statements of the second row (but overlapping, and with the middle two transposed). Thus one may think of the work as 40 variations, each exploring one of the 3-chord sequences, but with constant substitution as described above.  Each variation consists of 15 phrases (for no particular reason).  But the phrases move from low to high,  making them easy to count off when you first try to follow the structure.  Eventually your ear will just "get it" and after a few listens you'll find you don't need to count to hear the harmonic changes that distinguish each variation from the next.

Altocumulus stratiformis translucidus undulatus, for solo piano

Second Falls 3

Utmost

rupture

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Sensible Line

Ambient sounds based on the idea of a pulsing star (pulsar). This track is also available on Spotify and Apple Music.  Image is of a pulsating star (blue dot) from NASA's public domain image repository.  Available on Spotify/Apple Music.

Win Hill

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Pulsar

Composer, mathematician, visual artist. 
Seeks collaboration with performers and choreographers.

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Altocumulus stratiformis translucidus undulatus, for solo piano

David Victor Feldman

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