When does the song become the singer? Is the instrument the conduit of the song, or of the one who sings? In each of GLASS HARMONICA's rigorous texts, an intense formal density of aural, grammatical, cultural, and structural echoes takes on how the presence of an appreciating but critical "I" can alter the expressive registers of what might be called the "language of information." Prosaically clear and direct, yet also poetically motivated and performed, this verbal music shows us how prose can speak an almost colloquial lyricism, creating imaginative locations where an "I" might reside, make sense, and finally even sing its own individual songs, with the aim of transforming otherwise impersonal codes and signs into the real sights and trued sounds of a more civilized humanity.