To compose means no more or less than to exercise choice. History of music has been, after all, the results of choices made by individual composers within the confines of freedom internal or external available in any particular moments of their lives. In speaking of compositions as objects composed, as against those which are determined by rules, established through permutations, or derived purely from chance, one inevitably invokes such categories as intention, honesty, inventiveness, etc.; categories which are in general associated with, and reserved for, human conduct and its assessment. That is why works of art don’t merely interest us: they move us, the way that human beings do. In art as in life, the price of freedom apart from the tyranny of choice is the imperative of responsibility. Within the world of composition, and of art in general, one is doomed by the old theme of tragedy and made to play with man's fate of being accountable for everything one does. But art also celebrates the fact that, for all the indifference of nature and harshness of society, man can intend their lives; that amidst adversities and distractions, their actions are coherent and effective; that for the integrity of their choices, freedom reigns.