“Music is Life” has served as a mantra of sorts for the composer, and these words—stated by Carl Nielsen—continue to drive Jared into his Doctoral studies. If music is life, then looking to natural systems and the narratives they hold in their mechanics and ramifications might stand as a useful path for the composer.

This spurred Jared into the pursuit of holistic narration, which draws its name from “Holism and Evolution,” written by statesman Jan Smuts. From the perspective of a composer, Jared views it as an investigation of deliberate layering of material such that: it displays diversity of motion, interconnectivity of its interior elements, and creativity of narrative form. In his works, he hopes to temper goal-orientated experimentation, akin to non-twelve-tone serialism, with an openness toward freedom and simplicity of approach. To not be bound by rigidity or tradition, but to not forsake it without exploring how such thinking can resonate with the songs of Life remains an important tenet in this pursuit.

For example, the sonata or symphony remain central to Jared’s repertoire. His hope is to breathe new life into such forms by adopting a more holistic mindset: an ordering of chaotic, stream-of-consciousness thinking into a triumphant balance of cohesive complexity and approachable humility. With any luck, this delicate modality tells an alluring story to the audience—one that welcomes listeners who enjoy clear narration through things such as recognizable melody, or who sometimes might feel alienated by complexity for the sake of complexity, while still being sensitive to the demands of the intellect and the potential wish for novel sound space.

In compositional practice, he often works in a frenzy, generating a lot of material very quickly. From this point, the music is divided into portions of varying distribution metrics—such as density or length—and weak and strong points are identified. This ordering of seemingly free and frenzied mechanics into manageable sections scheduled for refinement and revision is partly reminiscent of divide et impera tactics that were central to Ancient Roman strategy. Another way to think of it is in the style of Frank Lloyd Wright’s compression and release approach to his architectural style in which he would be conscious in the dispersion of space throughout his design.

In this context, its purpose is to control the introduction of external narratives or procedures against the inherent flow established in the previous “data collection” that was guided in the manner of traditional stylus fantasticus writing. This perhaps originates in Jared’s background as an improviser, and the idea of the synthesis of a work as a living system.