|
runner -> RE: Flamenco and Classical guitar duet (Sep. 10 2014 23:46:58)
|
Ruphus' post points out that I need to clarify Meyers' timeframe in regard to listening to some specific piece of music: when he says we predict what notes we expect to hear next based on what we are hearing and have heard, Meyers refers to a short timeframe very close to the actual moving sequence of notes in the piece as we listen. Longer-term concerns are more associated with issues of mood and style of the composer, performer, or genre of the piece being listened to. The short-term emphasis is especially potent when we hear a piece for the first time; the longer-term concerns will also always be in play. We may not have heard a particular piece by Brahms, but his propio sello may be well-known to us, and that will also color our reaction.
A striking example of the importance of expectation and prediction in music is the total collapse of both serialism and indeterminacy (aleatoric music) worldwide. Both these musical schools destroyed utterly the ability of a listener to make any prediction at all, ever, about what the next note or note sequence might be. The result was that, except for the tiny handful of composers supported by sinecures in college music departments, people in droves failed to recognize the product as music. They certainly refused to pay to hear such sounds, with the result that Milton Babbitt of Princeton sourly proposed that serialists and their kin compose music only for each other--nobody else was "getting it".
Hope this clarification helps.
|
|
|
|
