Source: Tri-Centric Foundation.
At the time, Braxton was writing and performing Ghost Trance Music almost exclusively, and the music was at first frankly bewildering to me. I was drawn to Braxton’s musical universe for its broad scope and methodologies—prior to Ghost Trance Music, his output varied from those for 100 tubas, chamber ensembles, orchestras, quartet to theatrical works with constructed environments. The techniques employed and the approaches he used to integrate notation and improvisation were also continuously transforming since his first pieces in the sixties. Ghost Trance Music on the other hand, at least in its early incarnation, seemed single-mindedly focused on an unending melody. It was monumental, and indeed trance-inducing, but seemed like a complete break from Braxton’s early works.