It sounds common but royal. It sounds pleasant but imperial. It sounds cosmic but very Cosmingtonian. Another genre, why another genre? Which means there might be some other subgenres in the making? These are questions that can’t easily elude any typical human imagination.
However, Cosmingtonian was the name of this out-reaching genre. It took me some considerable amount of time to finally get along with the known adjectival phases of good-better-best. I spin this for some cogent reasons. These reasons reside in the fact that there are going to be other Cosmingtonian musicians who happen to be making music in other genres and subgenres.
It is also a known fact that I sometimes do flirt with other genres in my résumé of songs as well. Hence the long anticipated genre by the name “Imperial”. Yes, it is “Imperial Music”.
If music is a knowledge form, whose medium is sound, or silence, this “Imperial Music” genre has lots of connotations that are not only beyond the confines of easy categorizations but also knock at the doors of willing musicians and musicologists alike, and then the entire show business complex as a whole. This is not accusative. It is not interrogative.
So long as the creator is neither religious nor political but musical, it is quite apparent that what happens to music happens to cultures. What happens to cultures happens to societies. What happens to societies happens to civilizations. And what happens to civilizations happens to all of habitations.
On one hand, music making, performing and its facets of consumption has gone conveniently sophisticated in line with times and the benefits of the ages. While on the other hand, its phases as far as dissemination are concerned, currently, and inconveniently, probes its future veracities.
There is no doubt that if music is a bridegroom, transmutation has always been its bride. And thus the mathematical games not only of numbers but amongst numbers. Many thanks to lots of entities who are heroes in the entertainment world. They have been able to resolve the trying conflicts that stalk their unities and uniformities at numerous levels by getting an energy frozen into an economic anchor. That energy is music and the anchor is trade. This brings us to question a unique part of these articulated texts. Should this trade go by barter, or not?
I do hereby as an artist pioneering this “Imperial Music” genre subscribe to the doctrine of paying for the music you like, love and ultimately trust. This further takes us to the quality, availability, utility, affordability and utilization issues as in the followings.
1. Quality: Digital realities
2. Availability: Cyber realities
3. Utility: Imperial realities
4. Affordability: Cosmingtonical realities
5. Utilization: Cosmingtopirial realities
It is expected that anything that goes imperial and eventually Cosmingtopirial has to reflect excellence, quality wise. With quality come digital realities and their present day indispensable arrays, which is a telling manifestation of the innate influence of affluence.
Excerpts to be continued.
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