I came across a call for scores that read in part:

Works must be for open/unspecified instrumentation- scores will not be considered if they require specific instrumentation

Works must be for a minimum of three and maximum of fifteen players

There is no maximum or minimum duration, but preference is given to works between 5 and 15 minutes in length

Works may include fixed media

Composers are strongly encouraged to include links to some sort of audio realization (MIDI, live performance, etc.) of their scores.

Never mind the apparent inconsistency between the first requirement and the fifth. When I saw this my mind went immediately to the Art of the Fugue which, although it consistently fits within the hand, was never assigned one instrument or another. I could go on endlessly about that work since it was the basis for my second symphony, but others have covered that ground much more knowledgably than I could so I’ll spare you for now.

This falls into a category called absolute music. This is music that deals with music and nothing else. If we were to take that a step further, we could say that this is music that refers only to itself and nothing else, even though with that statement we begin to tread on thin ice, since I’m forced to admit that music of this sort is not possible without acknowledgement of previous musical texts and without the body of history both musical and theoretical behind it. Instead of setting a text, scoring to a picture, describing some scene, some scenario, some pastiche or reflecting on some work of poetry or prose, rather the only thing that had ought to influence absolute music is the sound that it makes, the organization of the notes across the page, the writer’s understanding of the nature of music and of sound, his sense of aesthetics and pure compositional initiative. To put it simply, the music is written as it is because that’s how I want it and for no other reason.

You can listen to the music without commentary at soundcloud.com.