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 should be aesthetically challenged; I just didn’t “get” it. After all, most of the paintings were nothing however large rectangles of coloration, with slight irregularities and a contrasting border or stripe. All the acquainted reference points of line and form, perspective and shadow, had been gone. I may appreciate them as “design,” but not as “art.” While they have been pleasing sufficient, I could not see why anyone would rhapsodize over these abstractions… till I first saw them for myself in person–a very totally different experience! Once I encountered them at the Museum of Trendy Artwork, they actually stopped me in my tracks, subverting conscious thought and plunging me instantly into an altered state. They were not just flat canvases on a wall, but appeared more like living things, pulsing and throbbing in resonance to a wavelength that had a fundamental connection to the Source of things. I used to be stunned. They did not “express” a feeling–they have been more like feelings themselves, and so they seemed like nothing personal to me, or Rothko, or anyone. Once I later appeared 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 relied on the presence of the original artifact (artwork: a truth).
A Tune is Not a Tone
I spent my early musical life working largely with music that used-like representational artwork–some set of acquainted musical conventions to create its effect. There are various vocabularies of melody, counterpoint, rhythm, concord, and construction that place music in a context of type that makes it comprehensible to listeners. “Understandable” will not be precisely what I imply–it suggests that music communicates only intellectual ideas, whereas in truth, it conveys and expresses a whole range of ideas, feelings, sensations and associations. But there is a component of “intelligibility” to traditional forms of music that relies on a shared formal vocabulary of expression. There are familiar components that listeners use to anchor their real-time experience of a composition, formal or sonic components which might be borrowed from different pieces created and listened to in the past. When I find myself buzzing a tune from a Beethoven symphony, or invoking considered one of its characteristic rhythms (dit-dit-dit-DAH), I reduce a complex sonic tapestry to an abstraction, a shorthand that is simply recognizable to others accustomed to the music. I could also be able to share a musical concept with different musicians utilizing the abstraction of notation. However a “tune” is not a “tone,” and a “note” isn’t a “sound.” It’s an thought, even a powerful concept, however after I discover myself humming the tune, I do know that I have 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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