The concept is to compose some music and name it: the piece thematises the effect of the semantics imposed by the name on the listening process: semantics that go against the aural experience alter the perception. Musically, the solution is generally very simple. The entire piece consists of six one-minute parts with separate titles. Each such piece exhibits in one minute some elementary process, structure, which can be quite freely interpreted: for example, the timbral and rhythmic layering of texture in the second piece. The material is generally chosen on the basis of a confrontation with my own listening experience. For example, the confrontation of the grinding of nails on the blackboard with the notion of so-called "beautiful" music is an attempt to thematise certain patterns of our perception. When we are told what we are listening to or what we need to hear, certain expectations are automatically imposed on our perception, and we try to put what we hear into certain frames according to these expectations: there is either conflict or correspondence: it is this fine line between total conflict and total correspondence that the piece explores.

Image: Avdei Ter-Oganian, Radical Abstractionism