Postmodern Music?

Postmodern music or postmodernist music is supposedly a reaction against modernist music. I’m not sure if my music is postmodern or not. I do share many of the general postmodernist ideas concerning the mixing of musical genres and elements. However I will try to explain my thoughts on music more thoroughly below:

I have always taken an interest in the human qualities of music; music that goes right through to the back of your head. Music that you feel. I am also interested in the musical qualities of the human voice; how small, subtle changes in the voice alters the way it is percepted.

I want to explore that, which is still not clear, the things that stay in between different emotions; when you can actually hear someone’s tears, getting stuck in their throat, or that a laughter, is still just a reflection in someone’s eye.

I have also realized that my music is colored by two other things: Sampling and Contrasts.

SAMPLING
To sample for me, is to take existing things out of their contexts and put them together, into a new.
Harmonically I sample harmonic intervals, that are then just looped, on top of each other. (see “the harmonics”).
When it comes to strings I sample the sounds from different sources, but I also sample orchestration, when I filter an existing string-piece, through my own harmonic structure. Creating hours of “improvised” material, but picking out just a few minutes. The work with voices is also characterized by sampling, in that I collect a big material, that I pick small pieces from. The beat-sounds are also sampled, largely from different voice-sounds, and the rhythmical structures are sampled from classical hip hop and R&B-beats.

CONTRASTS
Harmonacally I use contrast in the facts that A: The chords move with similar intervals, and are in that sense, predictable. B: The human ears, will still be looking for a tonality, an absolute anchor, around which the chords are moving and relating to, and thereby the harmonic structure is also unpredictable. The strings are contrasting against the beats, and the voices are contrasting both within themselves, and against other parts of the music.

What I find interesting is when the opposites meet each other, without loosing their own integrity; when a happy dancing beat is working together with a barren string-quartet, in the same direction, but never in the same way..