The concept for “Music-at-Large, if I recall correctly” first struck me one evening when I was listening to my mother hum to herself. She would naturally phase in and out of different musical fragments. Some hums were excerpts from music that I knew; others were unknown to me. As always, she got many of the rhythms “wrong”, which used to bother me  immensely but instead inspired me to contemplate the ways in which our minds are machines which fracture and splice information into memory and how such a process can be manifest in the recollection of music. With this splicing in mind, I sat down at the piano to generate musical material in an improvised meditation. As always, I got many of the notes “wrong” in the sense that my off-the-cuff translation of the musical ideas in my head into the medium of the instrument was imperfect. In both cases—my mother humming and my piano improvisations—the transformed music that is physically sonified becomes what is real. The project of the piece, then, is to mimic this phenomenon; it is a collection of  fragments that, both conceptually and literally, have been transformed through mind and instrument. Finally, I would like to extend a warm thank you to the wonderful members of The Rhythm Method—Marina Kifferstein, Leah Asher, Carrie Frey, and Meaghan Burke—as well as Alyssa Weinberg and the Lake George Summer Music Festival.