Many years ago, I had a school friend who was an evangelizing devotee of the abstract painter Marc Rothko. I remember her gushing over a catalog of Rothko’s work, while I was thinking that I have to be aesthetically challenged; I just didn’t “get” it. After all, many of the paintings were nothing however massive rectangles of colour, with slight irregularities and a contrasting border or stripe. All the acquainted reference points of line and form, perspective and shadow, have been gone. I might recognize them as “design,” however not as “art.” While they had been pleasing enough, I couldn’t see why anybody would rhapsodize over these abstractions… till I first saw them for myself in individual–a totally different expertise! After I encountered them on the Museum of Trendy Artwork, they literally stopped me in my tracks, subverting conscious thought and plunging me instantly into an altered state. They weren’t 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 Supply of things. I was stunned. They didn’t “specific” a sense–they had been more like feelings themselves, and they seemed like nothing personal to me, or Rothko, or anyone. Once I later seemed at the reproductions Rothko’s works in books, they reverted to flat swatches of color. There was a recollection, however no recreation of my experience. This was an experience that trusted the presence of the original 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 construction that place music in a context of form that makes it comprehensible to listeners. “Comprehensible” is just not exactly what I mean–it means that music communicates only mental concepts, whereas in fact, it conveys and expresses an entire range of ideas, feelings, sensations and associations. However there is an element of “intelligibility” to conventional forms of music that is determined by a shared formal vocabulary of expression. There are familiar elements that listeners use to anchor their real-time experience of a composition, formal or sonic elements that are borrowed from different pieces created and listened to in the past. After 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 posh sonic tapestry to an abstraction, a shorthand that is simply recognizable to others familiar with the music. I may be able to share a musical thought with other musicians using the abstraction of notation. But a “tune” shouldn’t be a “tone,” and a “note” shouldn’t be a “sound.” It’s an thought, even a powerful concept, but when I discover myself buzzing the tune, I know that I’ve indirectly “consumed” the music, reduced it to a subset of its conventions, deconstructed and reconstructed it for my own purposes.
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