The emotive penetration of a sound as we perceive it is taken for granted. On the other hand, in the more common musical methodology of the time, every detail was emphasized and put on display without allowing our attention to maybe pick up on it, and on the direction of the song's engagement as a whole. On the surface, every clear, concrete, and reliable element of a song vanishes, and all that's left for the ear to hear is the selected sounds that remain, and cognitively pursue their development. But before ambient à la Eno came along, there was another, primordial phase of it that came about a few decades earlier that we don't always remember.Īt the end of the day, the over-intellectualism that influenced one subset of the classical music genre was actually brought on by a much more transparent and clearer opinion than the one that occupied most of traditional music thought. Take Brian Eno, for example, who's commonly referred to as ambient's "founding father," the first guy who started weaving all the threads of its large-scale development towards the ends of the 1970s. The reason that it's possible to define ambient music as a sort of branch of psychoanalysis of contemporary genres-particularly electronic and new wave music-is because ambient music is firmly aware of its desire to not be designated as an intrinsic participant in its own art, but instead as a thing that corresponds to its own metaphysics. But can you still consider it a success if you're able to understand the thing an artist wanted to get at, especially if the artist in question considered music as the antithesis to their own words-and especially if that artist was born at the beginning of the last century? Yeah, we know. Even the most complex histories can be understood if you treat them as reality and contextualize them in a way that, within a few clicks, opens your eyes to the thing that the artist wanted to convey in their art. There'd be a map of the network-something to reconstruct all the how's and why's all the hierarchies and concepts of any and all musical ideas that have come and gone on this earth, from Vivaldi to Sinatra to Pink Floyd and Beyoncé. Nowadays, you'd think it'd be easy to follow the conversational thread of discourse on a certain genre. Image created courtesy of THE BRITISH LIBRARY BOARD.If you were to ask the same questions to Erik Satie and John Cage, what would the response be-especially when they attempted to introduce the world to a sound that doesn't exist and is therefore all the more relevant to over-existing, in terms of sound at all? Newcastle Journal – Monday 15 February 1915 Image created courtesy of THE BRITISH LIBRARY BOARD. Hull Daily Mail – Saturday 31 October 1931 We’ve also included a newspaper report on a lecture about Erik Satie that was given in Newcastle-upon-Tyne in 1915 – we like the description of Satie being ‘the Mark Twain of music’. The whole newspaper article is a fascinating celebration of composers who thought about things a little differently. ‘Play this in exactly the same way as a crab walks’. In the last paragraph of the second section, the writer quotes the weird and wonderful instructions that Satie wrote for people who wished to play pieces of his music, for example:
While reading articles about Satie in the Archive, we found this terrific story about what the newspaper writer calls ‘ultra modern composers’. Satie was a member of the Parisian avant-garde of the late 19th and early 20th Century, and was famous for the eccentricity of his work. Erik Satie, the French composer and pianist, was born in Honfleur, Normandy, on.
0 kommentar(er)
