Merging will be expressed in the sound by focusing on “merging” timbre and chords. This can be reinforced by playing that “merge” rhythmically and matching that rhythm with the visual merging ideas. The wax and wane of the musical merge can be synchronized with the motive and visual merging.
The visuals integrate with the sound rather easily by matching the size and number of visual elements with the “size” and “number” of sounds. Sounds that seem “small” will be accompanied by small visual elements, and the same with the number. The visual components can easily mimic the texture and size of the chosen motions, and even more obviously than that, some visual components can literally follow the motion of the performer and the architecture.
The motion can be similarly choreographed as the sound and visuals. The give and take will all depend on which element can most appropriately accommodate the other. Its merging will be a physical merging of individual components of the garment such that it creates something new. A few different types of merging will be expressed, and will be augmented by rhythmically similar sound, and similar visual focus (both adding to and contrasting with the choreographed motion).
Merging itself has begun to morph into something more specific for the sake of the sound, motion and visual elements. It's almost as if the definition fractured into a few distinct ideas, which have themselves coalesced into about 3 different “types” of merging. These different types can be expressed in careful juxtaposition, so as to supplement and contrast with one another, (and with the other components of the performance) adding meaning to the definition.
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