What does this make you feel or think?

It could be, I certainly borrow a lot from jazz.

I recorded that on a grand piano I had access in the conservatory where I study.

It is true they are very interconnected, but that doesn't mean someone good at music will be good at maths and viceversa. Although maths are essential for music to work properly (with maths I also mean symmetry, abstract structures, etc.).

Save your boring and passe amateurish shit for the institutions

Maybe the term "math" is a bit broad, but I'm trying to understand the connection.

For example, I can teach myself to solve most math problems with just a text book, whether it be calculus or algebra.

I don't feel like I can do the same with sheet music.

the piano piece is very nice btw, soothing.

What institutions? Did you bother to check more than 30 seconds tho? Also of course I'm not that good yet, I'm still learning and that's why I'm interested about how other people perceive what I do.

That's because music involves a lot of our instinct and it is more subjective. It involves the experiences we have had in life, because that will condition how we understand and enjoy a piece. Life is very chaotic and difficult to predict, and each one of us has a very different experience with it.
But you can generalize some concepts based on very basic principles. Like for example simple frequencie ratios creating a consonant sound or a binary musical phrase feeling more balanced than a long phrase with 7 segments. From those pseudo musical axioms you start building up, towards chords, scales, rhythms, etc.

Thank you.

Thanks for the thoughtful response.
Have you read anything that explores music theory from the perspective of the physics involved (both raw physics and how we interpret sound) that you could recommend?

I actually write music a lot like this but I could never finish anything, this feels a lot like something I would write too. You’re definitely going in a good direction but in my opinion your counterpoint could use some work, in measures 13-22 it’s especially noticeable because it’s parallel tenths all the way through. You could afford to shift your harmonic rhythm more during sections as well, in my opinion it’s a little stiff. I have more feedback but I have to go for now, will post more if this is still up later

OP, I'm going to be completely honest with you. Every time I see some young(er) contemporary composer post their music I listen to it for about 30-60 seconds for the fun of it and laugh. Why? Because it's always some talentless cliché new age or tryhard garbage. What's the problem? I don't know how exactly to describe it, especially not in music theory terms, but it always sounds so lame and inauthentic? That or they're copying a really dated style, and creating a really inferior version of it obviously.

Your piece though. I listened to it in its entirety while reading the sheet music. It actually sounds the opposite of what I'm used to. It sounds good and there's multiple sections that bring a slightly different sound and texture, but it always sounds homogenous, so you obviously have a sense of harmony and form, which is rare. I don't find myself being bored to tears by it, I actually find it rather enjoyable and interesting.

I've listened to a shitload of classical piano music from different eras and styles, so I'll give my two cents regarding the genre/style. It reminds me of a late(r) kind of impressionism, something that could have been written between, say, 1910 and 1960. However, not the insanely virtuosic type like Debussy or Ravel, for example, but the kind of stuff mainly inspired by Satie. The composer that comes to my mind most is Frederic Mompou, although that's just a feeling because I haven't actually listened to a whole lot of his music, however, it's the closest association I could make with a particular composer. You tell me what you think...

In conclusion, this style might not be novel or very popular, but to me it sounds like you actually have some sense of composition and soul, as opposed to the majority of stuff that's written for piano today. Well done, OP.

More feedback

I don’t really "buy" the parts where you transition from complete tonality to something more ambiguous. Measure 69 feels too abrupt especially, and measure 43-49 feels undercooked, like it needs another contrapuntal line to temper the contrast between your repeating A and the block chords you’re playing underneath. Since you’re trying to do tonal ambiguity in that section, your counterpoint line should be of ambiguous tonality as well.

I think the reason I say this is because the "nice" parts of your piece are a little too nice to accommodate the parts that are not so "nice", so when those parts arise it’s a little jarring. In a Debussy/Ravel/Scriabin piece even the diatonic parts tend to be tempered with some tonal ambiguity.

If I may make a suggestion I would try a C flat rather than C natural in measures 50-53, see how that sounds to you. That’s just for an example.

You're welcome.
I haven't read anything specific to be fair. My advice is to try to find some good quality YouTube channels that might be related with music, physics, maths, biology, psychology, etc. After gathering a lot of knowledge you can start tying stuff and make your own way of understanding how music works.
It also helps to check music that challenges that view and see where the theory doesn't work there (usually it is because the piece is built that way, not because your theory is inaccurate, but there are exceptions).
Idk, I think about the matter a lot because it will be my job and I love science too, so at some point I'm going to try to find points in common.

That's nice, do you post it anywhere?
Yes, I feel the same way about it. I did it that way for a reason but I still find it kind of dubious, because most people are going to find it too still and boring and not really the sense of time freezing I wanted to achieve.
My idea was to make that section feel like it is hard to tell how fast time is going, a sense of temporal confusion to portray how I felt some time ago. And the parallel tenths symbolize me and the person I dedicated this piece, although it is kind of personal. You can also see that duality when the melody is exchanged between hands.
And no problem, take your time, thanks for the honest opinion.

That's okay, I can relate to a lot of young people not doing very well crafted stuff, I used to be awful to be fair. I also do some pastiche from time to time, but it is usually for fun, to practice technique or because I'm curious about that style.

Glad to hear so. I still have to polish my sense of form tho, it can get a bit too free sometimes.

I have to check more stuff by Monpou so I can't say for sure. But I agree on the piece fitting in the impressionistic style, maybe a minimalistic variant.

Thank you man, I appreciate the comment.

>Idk, I think about the matter a lot because it will be my job and I love science too, so at some point I'm going to try to find points in common.
Yeah I think about it a lot as well.
Super interesting, best of luck to you in your endeavors, I'm in awe of musicians more than any contemporary scientists, even though I struggle to understand it.

I understand measure 69 can feel quite odd to most people. For me there are two elements that try to justify it, they are the fact that the weird harmony is borrowed from another piece of mine (that piece I shared is part of a set of 3 fantasies) and it has a meaning, and that the sudden change for me describes the frustration and harsh time accepting what happened between me and the person I dedicated this. So it kind of works for me even if I know it is going to be weird for other people.
I agree with measures 43-49 being undercooked, my idea was to show an extreme contrast, but I'm not sure it works.

You are right, I never put much thought on that. I will try to make the contrast a bit more thought out for next time.

Interesting idea, I will check it. Thank you for the feedback.

Keep it up, I'm sure that effort will bring you some interesting realizations in the future.
Thank you!