The "material" of music, like other elements, depends on the system, era, the listener's method of perception, and personal background. Focusing on the material (or perhaps the term "media" could be used interchangeably) ultimately leads to a consideration of the interdependence between the existence of sound itself and the form of music.
Even if we take the example of a typical "musical instrument," such as a keyboard or a wind instrument designed for the purpose of arranging specific scales, they are almost entirely subordinate to the system.
It can be said that musical "instruments" have been formed at the intersection or point of coexistence between the countless algorithmic possibilities of the system and the physical limitations, perceptual abilities, and senses of humans.
For me, wind ensemble works hold a somewhat special meaning based on such an understanding, especially in relation to relatively new media. The challenge of weaving together extreme ranges, timbres, and the discomfort caused by the combination of instruments into a coherent and inevitable sound, as well as achieving stylistic and formal unity in music that features a "rough surface" through contrasts, alternations, and insertions of various musical characters-this, I believe, constitutes the "media literacy" in composition.

Composed in 2003, commissioned by the Saitama Prefectural Musashi Ogose High School Band

(Fumio Tamura)