iServalan™

Sarnia de la Maré FRSA
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“Welcome to iServalan™ — my stage name and podcast about music, listening, and the Continuum Approach. I’m interested in how music works over time, across genres, and inside the body — not as a set of rules, but as a living system.” iServalan™ is a music-led podcast exploring sound, structure, performing, and listening across genres, eras, and cultures. Rooted in the Continuum Approach, the podcast moves away from rigid methods and hierarchies, focusing instead on music as a living process — shaped by feeling, repetition, constraint, embodiment, and time. Episodes range from short reflective essays and performance-based observations to practical musical insights drawn from classical training, contemporary practice, and lived experience. Punk, Baroque, hip-hop, minimalism, and experimental sound are treated not as opposites, but as points on the same continuum. This is not about perfection, speed, or gatekeeping. It is about architecture, attention, and learning how music actually works — in the body, in the room, and in the mind. For musicians, listeners, and curious thinkers who want depth without dogma.

  1. 8. JAN.

    Continuum Music Framework Book Launch on Amazon by Sarnia de la Mare #iServalan™

    iServalan™ Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste. 🎧 Podcast & essays: 🎻 Music School https://iservalan.gumroad.com/l/concervatoire? https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA: https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile: https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/ #iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres #PerformanceCulture #SarniaDeLaMaré

    13 Min.

  2. 5. JAN.

    Oh Me Oh Life by Walt Whitman Lyrics Songs Live Readings in the Public Domain | Continuum Approach

    https://iservalan.gumroad.com/l/concervatoire? iServalan™ Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste. 🎧 Podcast & essays: 🎻 Music School https://iservalan.gumroad.com/l/concervatoire? https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA: https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile: https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/ #iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres #PerformanceCulture #SarniaDeLaMaré

    1 Min.

  3. 5. JAN.

    Acquainted With the Night by R Frost Live Reading Open Mic Songs and Lyrics in the Public Domain

    https://iservalan.gumroad.com/l/concervatoire iServalan™ Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste. 🎧 Podcast & essays: 🎻 Music School https://iservalan.gumroad.com/l/concervatoire? https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA: https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile: https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/ #iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres #PerformanceCulture #SarniaDeLaMaré

    1 Min.

  4. 5. JAN.

     Image Scores: Where Improvisation Meets Composition | iServalan | Continuum Approach

    Image Scores: Where Improvisation Meets Composition Image scores occupy a rare and valuable space in music-making. They sit between improvisation and composition, allowing each to inform the other without hierarchy. Rather than separating “free play” from “serious writing,” image scores quietly dissolve that boundary. They give improvisation shape — and give composition breath. At their core, image scores replace instruction with invitation. They do not prescribe pitch, rhythm, or harmony. Instead, they offer visual prompts: density, direction, contrast, interruption, accumulation. These elements are deeply musical, yet they bypass the habits and anxieties that conventional notation can trigger. For improvisers, this is liberating. Image Scores and Improvisation Improvisation often fails not because musicians lack imagination, but because they lack permission. Fear of getting lost, of doing too much or too little, of sounding incoherent — all of this can tighten the body and flatten the sound. Image scores remove that pressure. They provide an external focus that gently anchors the improviser. The player is no longer inventing in a void; they are responding. Density becomes a guide. Shape becomes a boundary. Colour becomes mood. This encourages:longer arcs rather than nervous flurriesintentional restraint instead of constant activitylistening to space as actively as soundImprovisation becomes less about filling time and more about shaping experience. Crucially, image scores support repeat improvisation. A musician can return to the same image again and again, discovering new interpretations as their confidence, technique, or emotional state evolves. This builds improvisational fluency — not as randomness, but as responsive choice. Image Scores and Composition For composers, image scores act as conceptual blueprints. They allow musical ideas to exist before notation — or entirely without it. A composer can explore structure, contrast, tension, and release visually, without committing too early to pitch systems or formal constraints. This is especially useful for:composers who think spatially or visuallythose working across media (film, movement, sound design)writers who want to escape habitual harmonic or rhythmic patternsAn image score can later be translated into traditional notation, electronic sequencing, text instructions, or remain open as a performance framework. It keeps the compositional process fluid for longer — which often leads to more original outcomes. Importantly, image scores also support compositional confidence. There is no blank page paralysis. The page is already alive with intention. The composer’s task is not to invent from nothing, but to listen to what the image is suggesting. The Bridge Between the Two What makes image scores particularly powerful is that they teach improvisers to think like composers, and composers to trust improvisation. Improvisers learn about pacing, form, and restraint. Composers learn about immediacy, embodiment, and risk. The score becomes a shared language between instinct and design. This is invaluable in teaching contexts, where students often believe they must “master” technique before they are allowed to create. Image scores reverse that logic. They invite creation first — technique follows naturally, in service of expression. Ultimately, image scores remind us that music is not born on the staff. It is born in attention, in listening, in the courage to respond. They do not replace traditional scores. They widen the field. And in doing so, they help musicians — of all ages and abilities — move more freely between improvising, composing, and simply being with sound. iServalan™ Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste. 🎧 Podcast & essays: 🎻 Music School https://iservalan.gumroad.com/l/concervatoire? https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA: https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile: https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/ #iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres #PerformanceCulture #SarniaDeLaMaré

    5 Min.
  5. Why Visual Music Scores Might Be a Good Fit For Autistic Music Students | Continuum Approach

    5. JAN.

    Why Visual Music Scores Might Be a Good Fit For Autistic Music Students | Continuum Approach

    From the new Book The Continuum Approach to Music: Building: A Pedagogical Framework for Musical Learning (The Continuum Music Framework™ Part 2) Playing the Line, without reading  note. When we remove notes, bars, and instructions, something unexpected happens: musicians begin to listen again and to simultaneously express themselves musically without prior knowlege of music score reading. This is extremely liberating, great fun, and by default highly creative. A line score, or image score, does not tell a performer what to play. It offers a direction of movement and asks the body to decide how sound should travel. The eye follows the line, the body and the impulse lead. Time becomes flexible. Pitch becomes relative, irrelevant even. Sound becomes an active flurry of instinct as the subcouncious impulses are allowed to run free. For many players — dislexic, autistic, neurodivergent, or non score reading musicians — traditional notation can feel visually loud. White pages, dense symbols, and competing instructions demand constant decoding. A line on a dark field does the opposite. It reduces visual noise and allows motion to be perceived before meaning. The line is not read; it is traced with the eye and focused in the mind with a freer committment and an honest result. This shift matters. When music is approached as motion rather than correctness, anxiety falls away. There are no wrong notes because there are no prescribed notes. There is only continuity, interruption, weight, and release. The performer listens not for accuracy, but for coherence. Line or directional scores are particularly powerful in groups. When several performers follow the same direction — or co-existing lines of possibility— the music becomes collective without being uniform. Players move together in time and space (not necessarily at a regulated tempo) while remaining independent in sound. This produces music that is often deeply human, irregular, and emotionally aligned, even when the performers have not rehearsed together.Working with a teacher/conducter can add a level of organisation that acts as a cohesive energy, perhaps blowing a whistle or ringing a bell at the start of actionable symbols or intstructions. At the piano, a line score can be followed by one hand or two. Each hand may trace a different line, or the same line in a different register. For percussion, the line becomes gesture and density. For voice, it becomes breath and contour. The image does not dictate the result; it invites it. There is no correct way to perform the piece and every performance will be different. Recording the productions leads to confident, experimental, and alternative works of pride for all participents offering an intrigueing look into a musician's personality and style.©2026 Sarnia de la Mare iServalan™ Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste. 🎧 Podcast & essays: 🎻 Music School https://iservalan.gumroad.com/l/concervatoire? https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA: https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile: https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/ #iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres #PerformanceCulture #SarniaDeLaMaré

    8 Min.

  6. 4. JAN.

    A Certain Lady D. Parker Public Domain Lyrics Poetry Song Writing | Continuum Approach | iServalan

    Words add a new dimension to music, but for some musicians, the words are difficult to render. I want to talk for a moment about writing songs before we know what they are. Not demos or tracks. Not finished things in themselves. Not even pop songs, or genre based words. Let's start with nothing... Just the act of writing — daily, imperfectly, with no expectations or judgement, and without asking where the work will end up. Many musicians stall not because they lack ideas, but because they wait for readiness. They wait for the right sound, the right software, the right emotional clarity, the right version of themselves. What gets lost in that waiting is the most vital part of music-making: the habit of return. A song a day is not a productivity challenge. It’s not about output. It’s about keeping the creative channel open. Lyrics are a particularly generous place to begin, because they sit halfway between thought and sound. They don’t demand polish. They don’t demand equipment. They only ask for attention. When we write lyrics regularly, we’re training the mind to notice rhythm in language, melody in phrasing, structure in feeling — long before we reach for an instrument. This matters, because creativity is not linear. It doesn’t arrive on command. But it does respond to invitation. One of the simplest ways to invite it is through prompts — not as gimmicks, but as doorways. An image on the table. A random word pulled from a book. A news headline overheard in passing. A sentence fragment with no meaning yet attached. These aren’t distractions from “real” composing. They are how the mind warms up. They bypass judgement. They give the creative brain something to push against, something to orbit. In this practice, lyrics don’t need to explain themselves. They can be abstract. They can be narrative. They can be unfinished or strangely complete. What matters is that they are written, not withheld. Over time, something subtle happens. Patterns emerge. Motifs repeat. Your voice begins to reveal itself without force. This is where the deeper work lies — not in producing songs on demand, but in learning how your mind enters a creative state, and how gently it needs to be led there. That understanding sits quietly at the heart of the Continuum way of working: skill and creativity developing side by side, without pressure, without hierarchy, without the false divide between “practice” and “real work.” Writing lyrics daily is not separate from musicianship. It is musicianship — just in its earliest, most human form. Some of these lyrics may one day become songs. Some may never need to. Both outcomes are valid. Because the real aim is not the track — it’s the continuity. The keeping-open of the channel. The confidence that something will arrive if you show up again tomorrow. So this is an invitation, not a challenge. Write a song today without knowing what it’s for. Borrow an image. Steal a headline. Roll a word around in your mouth until it becomes rhythm. Let the work be small. Let it be daily. Let it belong to you before it belongs to anything else. Tomorrow, another lyric.Do not be pressured by quantity. A cluster of words may be enough. A complete story may evolve.Use a pen and paper to be connected with the prosess. Feel the words, cross them out, write, rewrite, and finalise.  iServalan™ Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste. 🎧 Podcast & essays: 🎻 Music School https://iservalan.gumroad.com/l/concervatoire? https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA: https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile: https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/ #iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres #PerformanceCulture #SarniaDeLaMaré

    1 Min.
  7. Writing Songs Spoken Word Poetry and Prose Continuum Approach Pedagogy with iServalan™

    4. JAN.

    Writing Songs Spoken Word Poetry and Prose Continuum Approach Pedagogy with iServalan™

    Today iServalan begins the Continuum lyrical sketchbook of 2026 iServalan™ Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste. 🎧 Podcast & essays: 🎻 Music School https://iservalan.gumroad.com/l/concervatoire? https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA: https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile: https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/ #iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres #PerformanceCulture #SarniaDeLaMaré

    5 Min.

  8. 3. JAN.

    Copyright Tips for Scores and Live Performances and creating the Bach Cello Suites for Viola Bass and Piano with iServalan™

    iServalan™ Music, listening, and the Continuum Approach: Exploring sound across genres, eras, and performance cultures — from Baroque to punk, hip-hop to minimalism — without hierarchy or haste. 🎧 Podcast & essays: 🎻 Music School https://iservalan.gumroad.com/l/concervatoire? https://iservalan.gumroad.com📚 Books & long-form work by Sarnia de la Maré FRSA: https://www.amazon.co.uk/stores/author/B0CWGX2DJ6🎨 Professional profile: https://www.a-n.co.uk/person/sarnia-de-la-mare-frsa-2/ #iServalan #ContinuumApproach #MusicPodcast #RadicalListening #MusicAcrossGenres #PerformanceCulture #SarniaDeLaMaré

    12 Min.
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Info

“Welcome to iServalan™ — my stage name and podcast about music, listening, and the Continuum Approach. I’m interested in how music works over time, across genres, and inside the body — not as a set of rules, but as a living system.” iServalan™ is a music-led podcast exploring sound, structure, performing, and listening across genres, eras, and cultures. Rooted in the Continuum Approach, the podcast moves away from rigid methods and hierarchies, focusing instead on music as a living process — shaped by feeling, repetition, constraint, embodiment, and time. Episodes range from short reflective essays and performance-based observations to practical musical insights drawn from classical training, contemporary practice, and lived experience. Punk, Baroque, hip-hop, minimalism, and experimental sound are treated not as opposites, but as points on the same continuum. This is not about perfection, speed, or gatekeeping. It is about architecture, attention, and learning how music actually works — in the body, in the room, and in the mind. For musicians, listeners, and curious thinkers who want depth without dogma.

Informationen

  • Erstellt von
    Sarnia de la Maré FRSA
  • Jahre aktiv
    2023 - 2026
  • Folgen
    245
  • Bewertung
    Unbedenklich
  • Copyright
    © Sarnia de la Mare
  • Sendungswebsite
    iServalan™