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How One Can Listen To Ambient Music

How One Can Listen To Ambient Music

Many years ago, I had a school good friend who was an evangelizing devotee of the abstract painter Marc Rothko. I bear in mind her gushing over a catalog of Rothko's work, while I was thinking that I must be aesthetically challenged; I just did not "get" it. After all, many of the paintings were nothing but giant rectangles of colour, with slight irregularities and a contrasting border or stripe. All the familiar reference factors of line and shape, perspective and shadow, were gone. I might admire them as "design," but not as "art." While they had been pleasing sufficient, I couldn't see why anyone would rhapsodize over these abstractions... till I first noticed them for myself in individual--a totally completely different expertise! When I encountered them on the Museum of Fashionable Artwork, they literally stopped me in my tracks, subverting acutely aware thought and plunging me instantly into an altered state. They were not just flat canvases on a wall, however seemed more like dwelling things, pulsing and throbbing in resonance to a wavelength that had a elementary connection to the Supply of things. I was stunned. They didn't "categorical" a feeling--they had been more like emotions themselves, and they appeared like nothing personal to me, or Rothko, or anyone. When I later regarded on the reproductions Rothko's works in books, they reverted to flat swatches of color. There was a recollection, but no recreation of my experience. This was an expertise that depended on the presence of the original artifact (art: a reality).

A Tune is Not a Tone

I spent my early musical life working mostly with music that used-like representational art--some set of familiar musical conventions to create its effect. There are various vocabularies of melody, counterpoint, rhythm, concord, and construction that place music in a context of form that makes it understandable to listeners. "Comprehensible" isn't precisely what I imply--it suggests that music communicates only intellectual ideas, whereas in fact, it conveys and expresses an entire range of ideas, feelings, sensations and associations. But there is a component of "intelligibility" to conventional forms of music that depends on a shared formal vocabulary of expression. There are acquainted parts that listeners use to anchor their real-time experience of a composition, formal or sonic elements that are borrowed from other items created and listened to in the past. When I find myself humming a tune from a Beethoven symphony, or invoking one of its characteristic rhythms (dit-dit-dit-DAH), I reduce a fancy sonic tapestry to an abstraction, a shorthand that is simply recognizable to others familiar with the music. I could also be able to share a musical concept with different musicians using the abstraction of notation. But a "tune" isn't a "tone," and a "note" will not be a "sound." It's an idea, even a strong concept, however after I discover myself buzzing the tune, I do know that I have in some way "consumed" the music, reduced it to a subset of its conventions, deconstructed and reconstructed it for my own purposes.

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