Einbond explores "the intersection of composition, computer music, music perception, field recording, and sound installation" (Issue Project Room 2012). He records sound landscapes and analyzes them based on what we know about auditory perception to highlight the sounds that the human ear will pick out of an auditory landscape. He uses those sounds to create music.

The ear hears; the brain perceives. What we perceive is a small fraction of the available aural information. We have the ability to take apart an auditory scene and distinguish between its many components, choosing to focus on the ones we consider most salient. Listening, or aural processing, is the creative act of selecting which sounds to pay attention to. 

Here is how speech and music sound together when given "equal weight" by the brain (to get the full effect of these demonstrations wear stereo headphones):

Here is the same speech and music as we would hear them if we wanted to focus on the speaker:

This phenomenon of  "focusing in" on certain aspects of what can be heard and "tuning out" others is known as "source separation" or the "cocktail party effect." Here is what two speakers at a "cocktail party" sound like if we do not distinguish between the two speakers:

Here is what the same "cocktail party conversation" sounds like if we focus on Speaker A:

And here is what the "cocktail party conversation" sounds like if we focus on Speaker B:

Thus, listening involves making creative choices. It also involves "filling in" auditory information that we assume to be present based on past experience. Listen to the following clip:

You just listened to a single phonemic restoration. Here is an example of a multiple phonemic restoration:

What is true of phonemes is true of other sounds: 

Neuroscientist Andrew King explains: "Our sensory systems fill in information obscured by other, competing signals to maintain a stable representation of the world" (2007:1).

Finally, our brains transform what we hear over time (you do not need to listen to the entire clip): 

And what we hear in one ear affects how we process what we hear in the other ear:

Thus, auditory processing -- listening -- is a creative act.

Einbond's compositions reflect, incorporate, and embody what we know about auditory processing. He composes how we listen. His compositions give auditory life to auditory processing; we hear how we process his composition as we hear the composition itself. Einbond will, for example, record the sounds of rain and analyze details of the sound, called "audio features," to reflect the way we listen in the composition itself. Einbond notes that every moment of the final composition includes "a recorded sound somewhere in the background," but the entire soundscape is not present throughout the entire composition (Einbond 2012). Da Prato calls this a "cover" of rain (in Einbond 2012); I call it a cover of the way we perceive the sounds of rain. 

Einbond perceives a parallel between the way he created "Passagework" and the way Lloyd created his sonifications. Einbond transcribes or translates our perception of a soundscape, which is in turn transcribed or translated by Chavez's brain, and finally sonified (translated) by Lloyd.