The cube matrix is intended to provide the structural framework for a composition through its logic, and its symmetry, but the composer is free to formulate his or her own methods for extracting relevant data from the model for the purpose of determining musical parameters. While my objective was to present this as a compositional model, this does not prevent any other artform from also exploring the possibilities contained therein.

The nature of this study is remarkably well suited to the internet, through which it is made available to a worldwide audience where the interaction of new ideas and opinions will no doubt lead to further discussion - and new discoveries - about this model. I am sure to expend a great deal more energy in the exploration of this model, and others like it, which are currently in the works. The most important of these is the presence of three-dimensional shapes within the cube matrix, whose properties appear to hold great potential. In truth, the cube matrix is a cube because the "traditional" construction of the matrix was based on linear progressions, not numbers, but I am investigating the possibility of other three-dimensional shapes like prisms and globes that may also hold new possibilities for symmetry and ultimately, music.

How fitting it is that the concept of the matrix, a product of the 20th century - an invention, if you will - should once more make an appearance as we enter a millennium of new musical inventions.

Thanks to Mark Trayle at CalArts, Dr. Robert Albury at Glendale Community College, and to Dr. Glenn Hackbarth at Arizona State University.

Don't forget silence.

Emlyn Addison
April 1999