On the Music

By SANJOH | Singer-songwriter | South Korea

Where do you usually get your inspiration or ideas when composing? (I’ve heard about the etymology aspect before, so I’m curious about other influences as well.)

Usually, I get inspired by the stories I read and write, as well as moments in everyday life. Sometimes it appears when I'm in nature, or through the music and artworks I encounter. They also come from conversations with friends, or when I'm alone. I’d like to think inspiration is everywhere, and we just have to find it.

I use etymology as a way to give my ideas meaning and a deeper sense of identity. I believe that words have some power (like magic spells), and understanding their origins helps me to feel closer to the ‘true names’, allowing me to express my ideas with greater intentions.

When arranging, is there an instrument you feel particularly attached to—one you’d miss if it weren’t there? And in this project, is there a specific instrument you feel most drawn to? (It’s okay if it’s different from your usual favorite.)

Definitely the piano. The piano feels a little like home to me, and it's the instrument I've spent a lot of time on, and the most familiar with. It was where most of the writing for this project began, so naturally, I'd miss it if it weren't there.

At the same time, I wanted to include more sound design and electronic elements for this project, providing a unique and expansive soundscape. Due to some limitations, I wasn't able to fully explore in that direction, and another idea, including the harp in the final ensemble, didn't make it to the current version.

But I think it's part of the creative process too: knowing what is truly important, and finding ways to make ideas work with what you have. Sometimes limitations help us to think more creatively and discover unexpected possibilities.

When creating multiple movements from a single theme (like Zinnia in this project), what do you consider the most important element in shaping each piece’s atmosphere?

I think intention and emotion are the most important elements when shaping each piece. Even though the core melody stays the same, its meaning can change dramatically depending on how it's presented. Decisions such as the choice of instrument, the key, the tempo, or when the theme is introduced can shift the atmosphere entirely.

Because of that, I try to be intentional about how and when I use a theme or motif in each movement, so it supports the emotions of the piece rather than just repeating itself.

In a way, each movement represents different perspectives on the same idea, and an exploration on how a musical identity can carry different emotions and meaning depending on the context.

Do the kinds of music you usually listen to show through in this project?

Definitely! For this project, I had a particular aesthetic in mind, so I made a conscious effort to immerse myself in music that reflected that style. It's not about directly copying what I hear, but gathering a certain feeling and language being expressed. Sometimes I listen to a piece and think ‘this fits into the world and story’, and that helps to guide my own music so it feels consistent and intentional.

Which piece in this project is your favorite, and why?

My favourite piece would probably be the main theme (Movement V). It feels like the heart of the project, since it draws together ideas from the other movements, and it reappears throughout the other pieces. I feel like it represents Zinnia's journey through the way it develops, reflecting her growth while carrying emotions like love and courage. Personally, it is a piece I enjoy playing the most. There's something satisfying playing the melody on an instrument, and it's been encouraging to see friends connect with it.

Overall, I think it captures the essence of the project both musically and emotionally, bringing together the different ideas into a single theme.

Did you try anything new compared to your previous work? If so, what was it? (And did this process make you feel any personal growth or change as a composer?)

Not in an obvious way, I think. I actually wanted to “return to my roots” and focus on the kind of music I genuinely enjoy. That was important to me in this project: being honest with my own voice rather than trying to do something completely different for the sake of it. 

That said, I did incorporate some ideas and techniques I don't often explore as much in my other works. It was slightly challenging, but in a good way, which pushed me to think more carefully and creatively in certain aspects. 

Through that, I was able to see how much I have improved, and there was a sense of reassurance in knowing that I could create something that feels true to what I want to express, while also recognising that there is room to improve. I think that balance of confidence and curiosity is what keeps me moving forward as a composer.

Which piece was the most challenging for you to compose in “Of Fleeting Worlds: For the Dawn”, and why?

Piece IV was probably the most challenging for me. For a long time, it didn't feel quite right, and at times sounded too familiar to some of my past works. I struggle with connecting certain ideas naturally, which makes it difficult to feel confident about. On top of that, the earlier drafts received mixed reactions, which made me rethink parts of the piece. I think that process was important, and it pushed me to refine my ideas better. In the end, I was able to write something I am happy with, and it was rewarding to see others enjoy it as well.

What is the most detailed or carefully crafted aspect of the sound design in this project?

To be honest, I wasn't focused on sound design as a separate element; I was more focused on the meaning and intention behind the music as a whole. However, I did pay close attention to how each instrument and sound contribute to the overall piece. I wanted everything to feel purposeful, so each instrument has a role to play. If you were to remove anything from the (current) arrangement, it might feel incomplete or slightly out of place. In that sense, the details come from how everything fits together rather than from a single sound on its own.

Do you think Zinnia’s emotions are reflected in the tempo of each piece (almost like a heartbeat)?

Not specifically in the tempo alone, although there are moments where rhythmic elements reflect something similar to a heartbeat, especially in key moments in the story. I think Zinnia's emotions are expressed through the music as a whole instead. Tempo is part of that expression, but other aspects like melody, texture, and harmony all work together to convey Zinnia's emotions.

Battles are usually associated with or depicted as cold. However, Zinnia is a flower, which makes it even more curious. Which seasons serve as the backdrop for 'The Decisive Battle for the Dawn I and II', respectively?

The two pieces represent the same battle, just at different points in time, and I didn't originally assign the battle a specific season, unlike other projects where the stories happen during specific seasons (usually autumn). However, I imagine it taking place near the end of summer.

Summer feels symbolic of transition and maturity, when things have reached their peak but are beginning to change. It represents the triumph of light over dark too, which reflects the story, and Zinnia's journey and struggles too. Zinnias usually bloom from mid-summer through the end of autumn too, so I think it fits quite well!

Did you project any part of yourself or your own emotions onto the character of Zinnia?

Not directly. Zinnia isn't really a reflection of who I am, but perhaps more of who I aspire to be. 

Zinnia initially runs away from her own destiny out of fear, but eventually finds the strength to face those challenges and move forward, and that really resonated with me. It was less about projecting my current self, and more of expressing an ideal: being able to stay strong and keep going, even when things feel incredibly uncertain or difficult. 

Were there moments where you intentionally left space or “emptiness” in the music? If so, what meaning did that carry?

Yes, especially in the ‘reflective’ sections in the music. I wanted to create a space where the listener could bring their own emotions into the music, rather than being too guided on what to feel all the time. 

Those quieter moments create some contrast too, allowing the music to breathe, and makes the larger emotional arcs feel more impactful.

I think that emptiness is just as important as sound. It can affect the way the music is experienced, and allow emotions to settle and be processed more naturally.

When you try to include story and meaning in your compositions, there can sometimes be sections that might feel less engaging to listeners. Do you consider that when composing? Or do you prioritize meaning more?

I tend to prioritise meaning. I write with clear intention because if I lose that, the music can start to feel disconnected from its original purpose or from the story it's meant to tell. 

To me, music has a kind of ‘heart’, and that is something I want to preserve. Even if some sections might seem unimportant or “boring”, I believe they still serve a role in expressing that core idea.

When something is written sincerely and intentionally, I think that can be felt by the listener, even if they don't realise it themselves. For me, it's important that the music stays true to itself first, and from there, everything else follows. I always tell myself, ‘write music with heart’.

In piece ‘IV’, how did you design the points where the emotions shift? How did you come up with that progression?

When I was working on Piece IV, I was thinking more about the story itself rather than trying to create a particular emotional shift. The progression came from the narrative I had in mind. The transition from the love theme to the battle theme was very intentional, where it represented a moment where Zinnia starts to understand what she's fighting for, and that realisation happens before they are faced with the opportunity, or rather, challenge, to act on it, so the shift in the music reflects that turning point in the story.

What kind of emotions or story do you hope listeners will take away from “Of Fleeting Worlds: For the Dawn”?

I hope listeners take away a sense of determination and hope, being inspired by Zinnia's journey. Beyond that, I hope they can connect with the emotions and the story in their own way, and simply enjoy the music as an experience. 
On a more personal level, I really hope that people can feel the amount of care, thought, and heart I have put into “Of Fleeting Worlds: For the Dawn”, the ideas behind it, the story, and the effort to bring everything together. In a way, it represents my own growth, so I hope that sense of sincerity and commitment come through in the music.