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, a lot of the paintings were nothing however massive rectangles of colour, with slight irregularities and a contrasting border or stripe. The entire familiar reference points of line and form, perspective and shadow, were gone. I may respect them as “design,” but not as “art.” While they had been pleasing sufficient, I could not see why anyone would rhapsodize over these abstractions… till I first noticed them for myself in person–a completely different experience! When I encountered them on the Museum of Modern Artwork, they actually stopped me in my tracks, subverting acutely aware thought and plunging me immediately into an altered state. They weren’t just flat canvases on a wall, however appeared more like living things, pulsing and throbbing in resonance to a wavelength that had a elementary connection to the Supply of things. I used to be stunned. They didn’t “express” a sense–they have been more like feelings themselves, and they seemed like nothing personal to me, or Rothko, or anyone. Once 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 experience that depended on the presence of the unique artifact (artwork: 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 various vocabularies of melody, counterpoint, rhythm, harmony, and construction that place music in a context of form that makes it comprehensible to listeners. “Understandable” isn’t precisely what I imply–it suggests that music communicates only intellectual ideas, whereas actually, it conveys and expresses a whole range of concepts, emotions, sensations and associations. But there is a component of “intelligibility” to standard forms of music that is dependent upon a shared formal vocabulary of expression. There are familiar components that listeners use to anchor their real-time expertise of a composition, formal or sonic parts which are borrowed from different items created and listened to in the past. Once I discover myself humming a tune from a Beethoven symphony, or invoking certainly one of its characteristic rhythms (dit-dit-dit-DAH), I reduce a complex sonic tapestry to an abstraction, a shorthand that’s simply recognizable to others acquainted with the music. I may be able to share a musical thought with other musicians using the abstraction of notation. But a “tune” isn’t a “tone,” and a “note” will not be a “sound.” It’s an concept, even a robust concept, however once I find myself humming the tune, I know that I’ve 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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