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Pagan Dawn 65 posts |
Jan 22, 2003, 11:41
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and well done that man, clap,clap,clap 8o) must admit,was suprized that no other gurlies had said anything,seeing as this thread started on monday. But hey,ive put my oar in now. 8o)
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ratcni01 916 posts |
Jan 22, 2003, 11:58
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Nicely put PD. I don't follow rules for listening to music, it isn't worth worrying about. Life is too short and there is too much music to listen to and too much shite about so at least I can be half/quarter/eighth listening to something decent rather than fircone shakitney clubsteps. To me life is more now about doing things than being into me sounds, although this is nice and I have in the past few years neglected this and paid the price for it!! Also my perspective on this is great enhanced by having kids, who prevent the "proper" listening to of music with a mixture of bashing, reciting snippets of adverts repetitively, asking questions, showing you stuff and needing to have stuff done for them This morning tho' I have been mostly listening to Copey!!! Whilst changing some scripts, finding me mum a birtday present, regaling me colleague with a trip I remembered for the first time for 15 years, flying along on a button etc you get the picture and am now going to listen to some sabbath .. love to you all in rule making/breaking - sounds listening to/peace desiring thingyness
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Pagan Dawn 65 posts |
Jan 22, 2003, 12:08
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Bingo !! I think we come from the same planet don't you ?? Rock on matey 8o)
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elderford 482 posts |
Jan 22, 2003, 12:26
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one of my favourite reviews of an ambient eno album said something along the lines of "like listening to a fridge". ...to agree with moey and chip in at the same time, "Music For Airports" also by eno takes as its theme the idea of composing music to be interrupted, logically enough by information announcements at airports. Bang on a Can recently performed (and re-recorded) the pieces in a way which i thought missed the point a bit, but it does show the duality of music in that: 1. Eno wrote four pieces of background music designed to be interrupted without breaking the flow of the pieces. 2. bang on a can covered it and presented it as a performance piece designed to be listened to intently. ...so there you have one thing made to be heard in a particular way by the original composer which someone else has turned on its head to claim it should be heard in another way. ps. Robert Wyatt plays piano and co/composes on Eno's one.
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Lord Lucan 2702 posts |
Jan 22, 2003, 12:34
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Interesting point there, moey, which actually links into something I've been thinking about as far as this thread's concerned. The functionality of music can be all sorts of things, as various people have said (from attentive concert hall listening to hearing a tune on the radio whilst washing up). I think the beauty of it is that it's an artform which allows the imagination a lot of space and is open enough not to demand constant, rigid attention. Pop tunes are designed to be immediate, and generally not deeply analysed. Some forms of prog/ classical etc beg for repeated listens with a great deal of intellectual input. Moey's mention of Eno's ambient way of listening leads me to ask how dance music fits in with the idea that only many, many attentive listenings can mean the listener has heard the recording properly. Dance music is listened to by people in altered states of consciousness, with lots of distracting lights, people etc, and often only heard once. This is actually the primary intended function of dance music. The very fleetingness of it is part of its appeal. The same goes for pop music, which is often marketed to be infectious even when listened to in passing, without chin-scratching attention. What about punk (or Eno's 'idiot energy' music) - intended to be immediate without deep intellectualising? Although I'd go further and say that the artist's original intentions aren't necessarily that relevant once they've released a recording. If the listener misses 'the point', so what? If they're getting something else out of it by interpreting it in a different way that satisfies them, fine. The point I made about dance music also makes me wonder if listening to any type of music on drugs would be considered 'listening to it properly', as perception is altered. Surely by all this logic listening to psychedelic music NOT tripping means you're not listening to it 'properly'. Let's face it, listening to music can never become an objective thing. You only have to read the sleeve notes to most classical recordings to realise what a sterile path that can lead to - what someone (can't remember who) once called 'So-What' criticism. The fact that we all like different music shows how differently we all hear it. Listening to a pop song on the radio whilst washing up, dancing whilst off your tits in a club to a banging tune and sitting stock-still infront of a HiFi listening to that Holy Grail prog album for the 500th time in a row with a furrowed brow are all valid ways of listening to music. There's nothing wrong with fleeting listening and it doesn't mean the music isn't being listened to properly at all. That's my 2p's-worth on the subject. Enough already.
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Howden 216 posts |
Jan 22, 2003, 13:09
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This weekend's 'Soundtracks...' should be an interesting read.
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Pagan Dawn 65 posts |
Jan 22, 2003, 13:15
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hehehe,yeah,can't wait !! I might have to put me nose in there aswell ! Pagan Dawn8o)
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Angel of the North 21 posts |
Jan 22, 2003, 21:44
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Hey Norbert!! Have you left the Ministry or what?
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Lascivia 422 posts |
Jan 22, 2003, 23:07
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The point has been raised that music can and should be listened to differently depending on circumstances, familiarity with the music, and the type (esp. genre) of music. Does no one else think that, given those factors (especially the last), there may be a "best" method of listening? For example, much of the modern dance music is perfectly suited for dancing, perhaps especially when augmented by certain ingested substances, but probably not for sitting still on the couch in the golden spot, giving careful attention. Another example would be much of the droning sort of minimalism. On instances I played Phill Niblock's "Five String Quartets", which consists of twenty slow drones (produced by five multitracked performances of a string quartet) that converge at a glacial rate over forty minutes. At high volume, and listening to all the sum and difference tones, this can be great, and some listeners loved it, but there would also be those who were rather baffled. The general manager once told me that it was the most annoying thing he had heard played in the afternoon in a long time. It's not something I think you would probably listen to casually.
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23 242 posts |
Jan 25, 2003, 00:07
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Was it me that said that Eno's early work was idiot energy dada punk? I am sure that if I didn't I meant to, and was wondering if it was my description you were putting in adverted commas? Eno's 1st few (with the exception of discreet music and another green world) are worthy of that description (here come the warm jets, taking tiger mountain, and before and after science) I love Eno, me ( with the exception of Thursday Afternoon and Music for Airports which are to be honest, boring)
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