Many years ago, I had a school buddy who was an evangelizing devotee of the abstract painter Marc Rothko. I keep in mind her gushing over a catalog of Rothko's work, while I used to be thinking that I have to be aesthetically challenged; I just didn't "get" it. After all, a lot of the paintings weren'thing however giant rectangles of shade, with slight irregularities and a contrasting border or stripe. All of the acquainted reference factors of line and form, perspective and shadow, have been gone. I could admire them as "design," however not as "art." While they have been pleasing sufficient, I couldn't see why anyone would rhapsodize over these abstractions... till I first saw them for myself in individual--a totally different experience! Once I encountered them at the Museum of Fashionable Artwork, they actually stopped me in my tracks, subverting aware thought and plunging me immediately into an altered state. They were not just flat canvases on a wall, but appeared more like dwelling things, pulsing and throbbing in resonance to a wavelength that had a fundamental connection to the Source of things. I was stunned. They didn't "specific" a sense--they had been more like feelings themselves, they usually seemed like nothing personal to me, or Rothko, or anyone. After I later seemed 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 unique artifact (art: a fact).
A Tune is Not a Tone
I spent my early musical life working principally with music that used-like representational artwork--some set of familiar musical conventions to create its effect. There are a lot of vocabularies of melody, counterpoint, rhythm, harmony, and structure that place music in a context of type that makes it understandable to listeners. "Understandable" just isn't exactly what I imply--it suggests that music communicates only mental concepts, whereas in reality, it conveys and expresses a whole range of concepts, feelings, sensations and associations. However there is an element of "intelligibility" to standard types of music that is dependent upon a shared formal vocabulary of expression. There are acquainted elements that listeners use to anchor their real-time experience of a composition, formal or sonic parts which are borrowed from different pieces created and listened to in the past. Once I discover myself buzzing a tune from a Beethoven symphony, or invoking one among its characteristic rhythms (dit-dit-dit-DAH), I reduce a complex sonic tapestry to an abstraction, a shorthand that's simply recognizable to others accustomed to the music. I could also be able to share a musical idea with other musicians using the abstraction of notation. However a "tune" is not a "tone," and a "note" just isn't a "sound." It is an concept, even a strong thought, but when I find myself humming the tune, I know that I've not directly "consumed" the music, reduced it to a subset of its conventions, deconstructed and reconstructed it for my own purposes.
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