The sounds that open a work do not prescribe a determined form for the composer. Every sound is conceivable in different contexts.
Indeed, the logic of the sound material comes up repeatedly in Kosk's notes on his works, of the coherence and stringency of musical forms. But this suggests neither the teleological form of redemptive classical provenance, nor is he concerned with the aesthetics of consistency and integrity of the early avant-garde.
Instead, Kosk looks for relationships of tension that do not resolve; he creates antitheses that refuse a synthesis. Kosk's logic is one of fragmentation and unpredictability.
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