- the participant audience
- the audience as an artist
- the audience in control (barrel-organ; music boxes; karaoke...), maybe wanting to create music without the mediation of the interpreter; as if music would come from the universe and nature directly to the individual listener
- from the heart to the heart
- radio as the new future: radio killed the video star
- how we stop listening to music
- stop and listen
- to understand how the relation image/music works outside the music industry
- getting more spiritual through music
- try to narrow art into design in opposition to elevate design to art
- the way we communicate and share information
- location as the programme, the space as the thrill
- self-knowledge: "not to purge ones feelings but to articulate them."
- produce an event (mixing: video, typography. MUS.A.):
1 to exacerbate music, to maximize the experience of listening
2 to bring the best of both experience of listening to music: the public and the private; individual experience in public domain
3 around the concept: stop and listen
4 music as a spiritual medium
5 build a "temple of music"
6 to give back (ex: to record the sound of people entering the venue and mix that with the sound already there) (people would be given an empty animation sheet to be added to MUS.A and they would be able to see that animation immediately)
- maybe you need your eyes free to free our imagination; in a live event, or at our place listening to music maybe we should just clean our vision so we can actually let our brain/heart engage with the music and transport us to were we should/want/whatever go;
- maybe all we want is a trickery: LIGHT!
- being practical and looking at the market:
"The problem for labels and artists, though, is that their business has long relied on selling music rather than generating money from what people do while they're listening to it. "
"Don't Sell The Music, Sell The Time Spent Listening To The Music"
by Marc Cohen
- be aware that we cannot predict the future: in the 70's we also thought we were predicting the future (start wars, bla, bla,bla) now we look at all that and it all look absolutely 70's, and only that. we are simple creatures.
Before I was trying to dissect music. Know I'm trying to see the big thing.
And for that I think it would be interesting to look at other cultures, other ways of living with music, outside the western world and outside the music industry as well.
To listen it's also to participate. It help us map our emotions.
When a musician is playing he's trying is best to execute well, sometimes in a very rational way. (this is specially true in classical/orchestral music.
Our choices, what we chose to play, to listen, are more to do with emotions.
"A ornithologist knows better than the bird how flying is done, but no one expects him to fly."
"Instrument" was the word enthusiasts used in the 20s and 30s when referring to their phonograph.
Well... I guess I've been training that instrument my all life.
How we learned to stop listening to music, by Steve Guttenberg
I'm talking about listening to music, as opposed to having music serve as background to other activities. "Listening" when you're on the computer, making dinner, reading, driving, running, working, etc isn't the same thing as listening at home without doing anything else.
A friend who owned a record store in the 1980s put it best when he said, "Recorded music is the worst thing that ever happened to music." At first I thought he was kidding, but he explained that before Edison recorded sound most families played music, on their own instruments, at home. Most middle class families had a piano, or at least a guitar and sang and played at home. Involvement was on a whole different level than it is now for most people.
Records changed that, so fewer and fewer people played instruments, but at least they were listening to records. They'd put a LP on the record player, sit down and listen to music. Yeah, I know that seems a little strange in 2008, but people actually did that on a regular basis. Especially when they bought a new LP or 45, when they really wanted to take it in, they listened with their eyes closed.
But when CDs came out people immediately used the format's longer playing times to do other stuff, they were no longer tied to the music and stopped listening. Music was just there, filling up space.
Fast forward to the present and now they don't even have to think about the music they want to play. They hit shuffle and let the iPod program the music. And once music is relegated to the background sound quality is no biggie.
Muzak
For anyone living in the West today, "background art" and music are virtually unavoidable. Public and business space are often saturated with visual and aural stimulation,
"Muzak" is not simply another term for background music, but the name of an American corporation, and the indicator of something more sophisticated at work. I will consider these two then, as separate phenomena, and also introduce a third variant, Anti-Noise, which while not strictly music, also comes under the umbrella of sound designed to be heard but not listened to.
Muzak is scientifically engineered sound - functional music rather than entertainment. It affects those who hear it but does not require a conscious listening effort.
They all went there to see him playing live
"I dare you, to be real"
It used to happen before. The big difference is that now people share information much easier.
Albion Records circle of music creation
I'm glad Debussy died before he saw this:
What in hell does this add to the music?
It occupies your eyes with stupid rectangles of color, it stops your imagination from running free, exactly the opposite of what Debussy wanted...
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