Everything is connected – entangled senses

syn og hørsel

Music is known as an efficient emotional trigger, but physiologically speaking our auditory senses has the potential for creating multi-sensory experiences and sometimes making it possible for us to accomplish seemingly impossible tasks.

Among the gastronomic diverse experiences on offer in Berlin you will find the restaurant Unsicht-Bar, a place where the guests dine in complete darkness served by blind waiters. The role as a food critic is not to be taken here (something which would incidentally leave the restaurant with little credit). The experience however has relevance for the theme of this blog which is listening, as it highlights the degree of interconnectedness existing between our different senses and how they might, often surprisingly, affect one another.

A sensory network

Our senses cooperate in a system of intricate coordination, the most common example is how the loss of one sense might strengthen another. It is for instance a well-known fact that blind people often have a particularly sharpened sense of hearing (something which makes them eminent piano tuners). However, there is another connection between hearing and seeing which is not equally well-known.

American teenager Ben Underwood lost his eyesight to cancer at an early age yet, as a teenager, were able to perform seemingly impossible tasks such as playing basketball, bicycling and zigzagging between parked cars on rollerblades.

In order to perform this Ben made use of human echolocation, a technique where sharp sounds such as tongue clicks or clapping is used to orient oneself. The technique of echolocation is also used by bats hunting in the dark and in the sonar technology of U-boats.

flaggermus

The sound waves from the clicks hits objects close by and reflects them back to the sender. But what is truly remarkable is that the reflected sounds are processed in what is normally the “visual” part of the brain, creating an internal “image” of the object. In other words: an experienced echolocator is actually “seeing” i.e. using the visual parts of his brain but without the eyes being the provider of the sensory input.

Many people, when listening to music, experience a sense of internal imaging triggered by associations to the music but the fact that our brain is able to “re-map” a more direct connection between auditory input and visual imagining is nevertheless quite extraordinary, as is the fact that the human brain is not dependent of the eyes in order to “see”.

You talkin´ to me?

There is however no need to lose a sense in order to experience how sight and hearing are interconnected. The restaurant in Berlin might be used to highlight another interesting connection between hearing and seeing. unsichtbar

The concept of the place worked like this: you order your food out in the bar, were given a designated waiter which then led you, Jenka- style, to your table. Here the food were served and digested, all in complete darkness before you were led back out into the bar and the awaiting bill.

The most interesting part of the experience (which might say something concerning the quality of the food served) was that even though my sense of hearing were sharpened in the pitch black dining hall what quickly became obvious was to what degree my sense of vision was normally aiding my hearing when it came to organising the received auditory information.

The ability to be able to see the origin of surrounding noises turned out to be quite important in arranging the auditory input into an understandable sensory experience. Without this help the surrounding noises quickly became an un-distinct mesh of sensory input, sort of like the difference between a two-dimensional and three-dimensional picture: to the brain everything was equally important and consequentially the result was confusion. (Added to this came the unpleasant experience of tentativly fumbling over a plate of uncertain content and the awareness that half of this content might indeed be outside of the plate or in my lap at the end of the meal without my knowing it).

What was lacking was in other words the ability to filter out the important parts of the surrounding auditory information, a task familiar to anyone who has ever tried to have a conversation with a friend while sitting in a cafe surrounded by the noise of clicking copy cops, background music, traffic and hissing steamers.

It is possible that a somewhat longer exposure would have changed the experience. Whatever the case: the novel sensory experience was worth the unpleasantness of the moment.

Changeable brains

Even though Ben Underwood is far from the only blind person making use of echolocation few have been able to match the ease with which he were able to navigate his surroundings. Using a technique called Functional Magnetic Resonance Imaging in which activity in the different areas of the brain are detected scientist were able to show that whereas the brain of an echolocation-expert showed significant activity in the brains “visual” areas when subjected to the reflected sound waves of clicking, a non-blind person subjected to the same sounds showed no activity in these areas. In other words: the connection between the different areas of the brain is due to something called neuroplasticity, an activity in which the brain essentially re-maps itself, creating new connections -and this takes time. Learning to echolocate is therefore not easily done. At the same time there is evidence that the connection between our different senses are initially rather tightly woven in all of us.

Colourful letters and sweet smelling pitches

Synesthesia is the name of a neurological phenomenon where stimulation of one sense (for example hearing) unwillingly triggers other senses creating uncontrollable parallel sensory experiences. The sight of a particular colour might trigger the experience of a taste, certain sounds might create the experience of particular smells and (the most usual variety) different numbers and letters (either spoken or written) are perceived in colours even though they might be written with black ink on white paper. Synaesthesia appears more often in children than in adults and tends to disappear as the child reaches adolescence (some scientists also claims that before the age of three months we are all colour-hearing synesthetes) but in some cases synaesthesia might linger on into adult age.

The musical world is full of synesthetes which with a varying degree of success has made use of this condition and allowed it to affect their music making and creativity. Among the great classical composers several have told of how certain pitches or chords triggers the experience of a certain colour. The Russian composer Alexander Scriabin made an attempt to convey his own inner experiences to the audience by composing works which were to be performed on specifically designed “colour-organ” where each tone simultaneously produced a beam of coloured light projected into the concert hall. Olivier Messiaen and Franz Liszt are among other classical composers who are known synesthetes but in the world of popular music we also find artists such as Duke Ellington and Elvin Jones who has described similar experiences. Scriabin-Color-Circle

Many synesthetes report that they consider this condition as an enriching part of their music making (indeed for many it initially came as a surprise that not everyone shared their experience.)This might not be so strange, after all: when considering a phenomenon like a contemporary rock concert it might seem that the goal is to create something similar to the synesthetes multi-sensory experience with the rock concert’s sensory onslaught of light show, sound, film and pyrotechnics. And this wish for multisensory stimulation is no new phenomenon either.

The multisensory listening experience

A central term from the time period known as Romanticism is the so-called “Gesamtkunstwerk” where the goal of the composer was to create an art-form in which all of the different art-forms were merged together into a single unity. Richard Wagner is considered as a composer who were consistently striving towards this goal. According to Wagner art had been in a pitifully fragmented state of being ever since its ancient Greek roots and he promptly set forth merging the different forms by revolutionising the opera genre. The result was, as we know, gigantic works in which the music no longer were seen as merely the means to convey text but where melody, chords, harmony and rhythm all were used as conveyors of meaning in themselves, and where the elements of drama and music were integrated in a completely new way.

The 4 operas known as the Ring cycle is one of the great achievements of this thought where every person and important object in the great 4-part saga has its own designated theme or sound-flavour making it possible to a certain extent to follow the story without understanding the text. In 2010 – 2012 at the famous Metropolitan Opera in New York City director Robert Lepage staged a spectacular rendering of the complete Ring cycle in which projected film, a gigantic movable scene -construction, music, colours and drama merged in a way that would make any synesthete nod which recognition. (The entire cycle is available on Blu-ray and is highly recommendable). Ringen boks

Even among the most ardent sceptic’s the staging was an immediate success. Could it be that all of us harbour deep inside an indistinctive longing towards the multi-sensory experience of the synesthete? Especially when considering that this most likely mirrors a way of experiencing the world which we all have had at an early infant age?

That is however not to say that more is always better: the earlier mentioned Alexander Scriabin (the one with the colour-organ) is also famous for having planned an enormous work. Stretching over seven days the intended work was to stimulate not only the visual- and auditory- but the olfactory-senses of the audience as well: at certain points in the score the audience were to be showered with different perfumes which would change according to the music. If the idea originated from a wish to recreate his own synesthetic experiences or merely were the result of a stroke of creative madness one cannot tell. As perfume has a tendency to linger one can only imagine the state of smell inside that concert Hall after only a couple of pages of music, let alone after a stretch of seven days.

Neurology versus perception

In addition to the amazing possibilities for cross connections hidden within our neurology we humans also possess the ability to willingly alter our perception to a certain extent: we have the possibility to mentally organise the auditory experiences we receive, allowing us to experience a work of music in numerous different ways.

Even though our neurological starting point might to a certain extent be given (most synesthetes have at least one relative sharing their condition so scientists strongly believe that genes are involved here) our ability to train our perceptional abilities when it comes to listening is not so limited. As the ability to change focus while listening to a large extent is dependent on knowledge and having listened a lot to music, subjecting oneself to new listening experiences is the first step towards a richer musical experience. In the Blu-ray box with Lepage’s staging of the Ring cycle a whole DVD is given to extra material where the listener is guided into the numerous quirky secrets and meanings hidden in the music; a fascinating roadmap into a complex and multisensory experience.

https://www.youtube.com/watch?v=FBmDU7RKI_s

Listening intentions part 1: It is all about attitude

Nameless sounds
In the last post I promise to talk a little bit about listening intentions. The background for this term is found in the development of the electroacoustic music in the late 1940s. With the electroacoustic music composers and musicians were faced with a brand-new sound-world, the world of recorded sounds, which, for the time being, lacked a terminology.

In order to talk about music you need words to name the different parts of it. In traditional music there is a wealth of terminology for elements such as pitch, rhythm, timbre, dynamics and tone which can all be used in order to put our experience of the music into words. But what happens when you are suddenly given a new set of toys which gives you the possibility to create sounds that does not fit into the previous models of what we consider “music”? What terms do you use for the sound of ice being crunched under a boot? Or a keychain hitting a sement floor? Or the drumming of train wheels hitting iron rails?

Have a try yourself: what words would you use to describe what you have just heard?

The clip you have (maybe) just heard were made by Pierre Schaeffer, creator of the phenomenon Musique Concrete, you can read more about that here .P schaeffer In addition to composing with recorded sounds Schaeffer also sought a way to analyze and talk about this strange new sound-world. The noise-loving Composer s approach to the music was a typical phenomenological one, meaning that he sought to describe and reflect upon the sound-experiences rather than to explain them. The main focus was: how to name the new nameless sounds within the music. In Norway this approach was continued within the Aural Sonology Project at the Norwegian Academy of Music in Oslo led by the two composers Lasse Thoresen (a great Norwegian composer whom I was lucky enough to have as my mentor when I wrote my Master thesis at the conservatory) and Olav Anton Thommesen.

The Frenchman François Delalande took this research a step further. While Schaeffer’s main interest was the musical objects themselves and how to name them, Delalande was more interested in music appreciation in general. Through interviews with listeners he identified six types of reception behaviour or what we might call listening intentions. Through his research he found evidence that a listener might favour a specific listening intention regardless of the type of music he or she listens to. At the same time through experiments it became obvious that a person’s listening intentions might be “open for negotiations”, in other words: we ourselves have the ability to change them.

So what is needed in order to make a conscious choice in the way we listen?

Change your perception – change your world
Two things.

One: that we have knowledge of the fact that there are different listening intentions available,
and two: that we are able to make a specific change in our everyday way of perception. Now this change is concerned with how we perceive things in general, not only music.

Every day we experience the world through our senses, from the touch of a door handle and the sight of a view to the scent of a flower. These experiences are a natural result of having functional senses and living in the world of today. We respond to these experiences in different ways: speaking of them, acting or reacting upon them. They might trigger emotional responses of different kinds in us (some things might appear attractive, others things repellent) and the reasons for these different responses might be more or less subconscious.

Within the subject of phenomenology this way of perception is called the Natural Attitude. It might seem strange that this natural way of experiencing the world might be called an “attitude” but the reason is that there exists another way, another “attitude” towards reality.

As humans we have the possibility of not only having a sensory experience, but at the same time to take a “step back” and watch ourselves have the experience and reflect upon how the experience affects us. Instead of simply smelling the flower I observe myself smelling the flower and at the same time I observe how “I” react to the smell.blomster This is called the Phenomenological Attitude and when moving into this attitude we become philosophers and mystics reflecting upon everything that presents itself to us instead of merely acting upon it (be it the smell of a flower, our own stream of thoughts during meditation or a piece of music).

Fascinating!

Yes, but I don’t like that kind of music
A subject´s way of listening is a highly personal and individual matter. 100 people might be listening to the same performance and each of them might experience a unique reaction towards what they have just heard. Each of these experiences are equally valid and important to the person experiencing it.

The point of listening intentions is not to enable us to give the “correct” interpretation of a piece of music but rather to open up different routes into the music. Either consciously or subconsciously a lot of people might have a tendency to think: “the music has to be in a particular way for me to be able to enjoy it“. A more uncommon idea is that maybe “I” as a listener have to listen in a certain way in order to be able to fully experience music of this particular kind.

As I mentioned earlier: listening is not a natural gift that follows the ability to hear, but rather an acquired skill that must be honed in order to be developed. So, as we have just talked about: what is needed is the right attitude (the phenomenological one) and a wee bit of knowledge concerning listening intentions. So here goes:

Selected listening intentions according to Delalande
Lastly in this blog post we are going to look at one of Mr Delalande’s listening intentions. The others will follow in a later post. I’m going to present you with a specific type of listening intention that is very common among musicians.

#Taxonomic listening
Taxonomic listening is concerned with form and analysis. In this type of listening intention we focus on the abstract music itself and the architecture within it. For musicians the knowledge of musical form (i.e. the structure or plan along which a piece of music is constructed) is essential both in analysis and in performance.

sonataform

When we adopt a taxonomic listening intention we recognise and subtract parts of the music, we compare it to other parts and we look for an overall shape or logical form.

How do you convey meaning through music? In the beginning the meaning of music was mainly conveyed through its text but from around 1700 instrumental music had developed to a great degree and musical forms was beginning to replace text as the meaning conveyor. The concert audiences at this time in history were mainly from the upper classes of European society as concerts at this time were not yet a public spectacle. People from the upper classes were often given a general tuition by house-teachers which consisted among other things of knowledge of literature and music.

Today taxonomic listening is not that normal among listeners except by those who have had a musical education. During the classical period however, (a musical period primarily associated with the names of Haydn, Mozart, and Beethoven) the taxonomic listening perspective was somewhat of a standard as audiences discussed and took delight in discovering and observing a comprehensible musical landscape organised according to general musical forms; forms which were recognised by everybody at the time who listened seriously to music.

Natural limits
Of course, in order for this type of listening to be possible it is often necessary that the music fulfil certain criteria. The composer Arnold Schoenberg once said:

“To be concerned with form is taking into account man’s limited powers of understanding; as he is unable to keep in mind very long time stretches, the musical discourse must be subdivided into manageable segments. However, these shorter segments must again be joined to the others in such a way that one segment presupposes the other and vice versa (…).”

For those of you who got stuck in the part about “man’s limited powers of understanding” no, this is not meant as an insult, it merely points to the fact that all of us are in the possession of a short-term memory which, being short-term, has certain limitations: it has an upper limit of 7 objects at a time, give or take a few (this is why we always memorize 0ur phone number like this: 122 33 455 instead of like this: 1 2 2 3 3 4 5 5 ).

When using a taxonomic listening intention our short-term memory is actively at work. In the standard diagram of the sonata form shown above the principal subject is repeated in the recapitulation. In order for me to experience that I need to be able to remember the principal subject, and it is the composer’s responsibility to make sure that I do. How does he do this? By making sure that it is, in the words of Schoenberg, “manageable” (i.e. short enough) and by repeating it.

Just look at the beginning of Beethoves 5th Symphony and you get the picture. That motif and that theme sticks

5th_symphony

It is however are also possible to use a taxonomic listening intention in the encounter of more modern music.

In the 1960s composers like Penderecki and Ligeti came up with a kind of music unlike anything ever heard before. This was music as mass, as process, as development. All ideas of motif and themes were discarded in favour of gigantic constructions of sound, often built by adding layer upon layer of voices a quarter tone apart.

But still, even if we don’t have any recognisable themes or motifs it is still possible to listen to this kind of music with a taxonomic intention. We will take a quick tour through this great and terrible piece of music. Keep an eye on the timer and look at the points below:

  • From the beginning at 00:07 – a static layer is developed by adding more and more voices.
  • At 00:23 the intensity receides and the layer is given a more flexible and moving texture as the strings start playing tremolos instead of repeated static pitches.
  • At 00:43 there is a sharp break as the middle part of the mass is drawn back and we are left with a thin sliver of sound in the upper and lower register forming a shimmering frame.
  • Then, at 00:55 a new layer slowly developes within this frame, one whose texture is more chaotic, uneven and rough, consisting of percussive sounds and sliding. squeeking noises. Gradually these noises are increased by adding more and more voices from the thin static frames until they form a complete tapestry of writhing mass which increases until it abruptly ends at 01:57.
  • 01:57 Now we are left with a static ribbon of sound which is slowly streached in both directions like a piece of wet cloth before it recedes again.
  • At 02:08 a new ribbon is introduced, this one also spreading out like aquarell paint diluted in water. And so on and so on….

I do not know how this works in writing but I have used this sort of guided listening at lectures and it seemed to give people a sense of this kind of form-and-structure-listening that taxonomic listening intention is all about. Personally this is one of my favourite ways of listening but then I am a bit of a structure-maniac who always loved geometry in school…

Interested in more? The next post will be about Emphatic and Figurative listening intentions.

Listening intentions, sound-pollution and singing tapestries

The SoundscapeIn an earlier post on this blog I mentioned the book “The Soundscape” by Canadian composer and writer R. Murray Schafer. The word “soundscape”, one of Schafer’s designs, is used to describe our sonic environment, all of the everyday sounds which surrounds us in our lives. Schafer talks about how these soundscapes have changed as a result of our ever-changing society. The sonic onslaught of the Industrial Revolution, and the ever-spreading urbanisation of the world forever altered our natural sonic surroundings, filling them up with ever more sounds, both pleasurable and otherwise.

Schafer looks at how these soundscapes have become ever more denser, no longer linked to the natural rhythms of day and night but stretching our borders of consciousness along with our waking hours. Last but not least the author investigates how these our soundscapes affect us and how we adapt to them by different means. It should come as no surprise that Schafer bears no love for our current sonic environment, in fact, the term he uses is “ sound-pollution”.

I dare say many will agree with him. People of today, at least those living in an urban environment, have come to depend on different kinds of filters. From the simple earplugs which we use in order to get a good night sleep dispite the screaming todler next door øreproppto the kind we use to lock ourselves into our own private bubble of sound:earphones

(often used on the subways and buses in order to shield ourselves from other people’s attempt to shield themselves from other people´s attempt to….)

Musical tapestries
Music has gradually changed from being an object of focus to being a screen which allows us to focus on something else. In the year 1917 the composer Erik Satie coined the term furniture music (a slightly more literal translation would be furnishing music ) which at the time were background music meant to be played by live performers. Satie only used this term on four smal pieces of Music, as in: 1. Tapisserie en fer forgé (“Tapestry in forged iron” – for the arrival of the guests (grand reception) – to be played in a vestibule – Movement: Very rich) but the term has since stayed, evolving into our present-day “beloved” shopping mall- phenomenon: Muzak

Eric Satie Yuri Khanon Vospominania zadnim cislom
I’m not sure that Satie really knew what he was unleashing with these humorous notions. But what is certainly true is that music has gradually become one of our most readily available filters shielding us from the steadily increasing chaos of our present sonic environments.

Earplugs – for better or for worse?

“For the listener who wears earplugs are very LOUD performance is the best” – J. Levinson

The American philosopher J. Levinson gives here his rather humorous contribution to the topic of filters. Levinson addresses the notion of “inner” earplugs, the sort of conscious and unconscious filtering which we all make use of during our day. Chatting with a good friend in a cafe on a Saturday afternoon would be a completely hopeless task unless we were able to effectively sift out and ignore parts of the surrounding mayhem of hissing coffee machines, loud chattering, background music, screaming babies, revving cars and blaring cellphones.

Our ability to pick out the voice of our friend from all of these surrounding sounds is part of the same ability our brain uses when it filters away the parts of our reality which it deems not strictly necessary for us at the moment. Without this ability we would all quickly die of mental overload. This is more or less an unconscious act on our brains part. However, interesting things might happen when we try to challenge this natural inclination in ourselves.

The reason for doing this is simple: most of the time this filtering ability protects us from a very real danger of mental overload but just as many times a filter might have been created for a specific reason: as protection against a situation long gone. It might have been a reaction to a situation which we once found threatening or invasive but even if the situation now has changed the filter might still be in place.

The standard word for this mechanism is prejudice.

Today we are however following a different trail: that of Listening. There is a very important difference between hearing something and listening to something. Hearing is a purely physical process which happens automatically provided that we have the necessary physiological components. Listening, on the other hand, demands a change of attitude from passive receptor to active observer.

Hearing versus Listening

“To listen is an effort, and just to hear is no merit. A duck hears also”         – Igor Stravinsky

The most important ingredient when turning from hearing to listening is intent. Intent is the tool with which we are made masters of ourselves. With it we reach into the world around us with a clear purpose.

At this point it is tempting to diverging into a long philosophical discussion but to keep (at least a little bit) in line with the topic of this blog I will instead turn to Listening Intentions, a term used to denote the kind of intent or different attitudes with which we might approach a piece of music.

L1020411The ever-changing experience
The famous proverb about not being able to step into the same river twice could apply just as easily to music: it is never possible to listen to the same piece of music twice. Of course a work of music can never be performed identically twice but the point here is that even listening to a recorded piece of music will yield two different experiences as we as listeners will be at different mental stages or in different places when we hear them.

Our attitude towards what we hear changes what we hear. Therefore by changing our listening attitude or our listening intent we can change our experience of the Music.

Still with me? In the next post I will take you by the ear and we will enter the wonderous land of listening intensions. It is well worth a visit..

The inner and outer experiences of music

kamfestHaving  just returned from the annual Trondheim chamber music festival KAMFEST I had some thoughts in my head, spurred by the many musical experiences there. KAMFEST has always been one of my favourite festivals in Norway as it always seems to somehow be able to think outside of the Box when it comes to chamber music and concert programming in general. A great mix of Expressions, genres, venues and, most often, superb musicians. This year’s composer in residence was the multi-faceted composer /pianist/poet and artist Lera Auerbach who were participating in all of her artistic roles. The program varied from the music-theatre-opera The Blind, chamber music works where the composer performed herself, poetry recital and a silent auction of some of her pictures.

This combined presentation was a rare experience and I wondered in advance how Auerbach would succeed in filling all of these roles. Through history there have been many examples of great composers who also have ventured into the field of performer; a double role which was much more common in older times, from the improvisation-competitions of Mozart´s time to the semi rock star-hysteria surrounding virtuosi composer-performers like Chopin and Liszt. But that said there are considerable differences between the demands to performers of today as to that of earlier times, both in instrumental changes and technical demands.

Some of the things I experienced with Auerbach concerns the theme of listening in a very profound way, more specifically: it concerns something we might call outer and inner listening.

Outer and inner listening

Inner listening

When a musician performs, he or she is experiencing the music emotionally and bodily as well as intellectually and technically. It is easy to get swallowed by the emotions welling up from within when confronted with music by Rachmaninov or Scriabin. We often choose the music we play precisely because it talks so strongly to us. A musician, however, is faced with the responsibility of making not only himself but the audience as well experience these same emotions. That is quite a different thing.

There is a myth going around that says that if you only experience something very strongly yourself, then your experience will somehow automatically spill over onto the people listening to you. Maybe the reason for this idea is the convincing nature of these strong emotional reactions. Often they might get us so involved in our own experience of the music we are playing that we quite forget about the audience.

We might call this process inward listening as the performer is completely absorbed in his or her own emotional reactions to the music. It is a very personal kind of listening which can have a tremendous impact on our lives, creating sometimes a lifelong relationship between the performer and the composer of the music.

L1020891However, just like a spiritual or religious experience, experiences like these are often highly personal. A performer who aims to communicate with an audience needs to take on a different role. The purpose is not to experience for ourselves but to make the audience experience, and in order to do so we need outer listening.

This type of listening is strongly linked with the ability to tear ourselves loose from our own emotions and to be able to observe the sounds we are making from the outside. Just like a pointillist picture needs distance in order to be perceived properly a musical composition needs the all-encompassing perspective of a musician who knows its totality and is able to portion out every last detail according to its place in the sum-total of the work.

When a particular place or harmonic turn in a composition yanks our emotional cords we are naturally turned inwards, listening deeply to our own emotions reacting to the call of the music. In a natural response our emotions are crying for the release of a fortissimo blow-out to match our inner experience but our mind and musicality knows there is more to come and that this part must be balanced against both what has gone before and what is to follow.

The great Rumenian conductor Sergiu Celibidache adresses this in the following way:Sergiu+Celibidache+celibidache8

“A sequence of tones follows a structure which finally connects the beginning with the end. When do I know that a piece has come to its end? I know it when the end is in the beginning. When the end keeps what the beginning promised. Continuity doesn’t mean: to go from one moment to the next, but: after going through many moments to experience timelessness. That is where beginning and end live together: in the now. What is required to experience any structure as a whole? The absolute interrelation between the individual parts.” ( from the film “You don t do anything. You let it evolve”. Produced by Pars Media)

If we choose to simply wallow in our inner bliss while playing we have left the audience behind and are no longer listening to the actual music we are making but only to the one we are experiencing internally. We have also paradoxically lost the sense of “now” in the music which Celibidace talks about.

In the case of Auerbach the word “overwhelmed” seemed essential. In the works where she performed herself this was the essence that she projected as a performer, and I was left with the impression of a performer struggling (but quite ecstatically) with too strong emotions, emotions that were literally choking the music she was performing. Emotions in music shouldn´t be a problem except if the emotions exist solely in the performer and doesn´t extend to the audience.

At one point when struggling with the balance between outer and inner listening we might actually feel as if we are committing some sort of betrayal, consciously leaving our emotions behind to get about the work of communicating. We fear losing those emotions which the music initially stirred in us. But what is the result if we fail to make this switch between outer and inner listening?

When Auerbach played her own music I saw only her. She filled every pore of the music with her own experience of it and there was no question about how it made her feel. At the same time it was a lonely experience listening to her playing because I was witnessing a reaction to a music of which I was deprived; the music was happening inside of Auerbach, not on the stage. As a consequence I was presented with a music that lacked in depth and detail, where there was no holding back in anticipation of later pleasures, no lines stretching over more than three bars at a time, no delicate differentiating between subtle nuances of tone colour. The elements were all there in the music but they passed by un-noted like an unlit tramcar.

I´m sure it was a great experience, I´m just sorry I didn´t get to hear it.

(This blog-post might seem overly anti-Auerbach which was not my intent, it was just that she provided a chance to adress this topic and illustrated my point to perfection. However, I quite enjoy some of her more symphonic music very much and would encourage everyone to check out her Works here:  http://www.leraauerbach.com/ )

The lost art of listening

This blog centers around the lost art of listening.
I am a musician, therefore listening is a main topic of my life. So what do I mean by “listening”? Well, for starters there is a big difference between hearing and listening. Hearing might be said to be an automatic response when encountering soundwaves whereas listening on the other hand involves directing one’s attention towards a specific part of something we perceive.
However, today this act of directing our attention has become an endangered ability which are being increasingly threatened by the very world we live in.

Have you ever felt overwhelmed by an overload of sense-stimulation? The background music of the malls and the shops, the intertwining tunes of the cell phones, flimmering commercial banners, neon signs, flickering screens, the half muffled sounds emanating out of earplugs.

This is the world we live in today, a world where distractions are labeled as enriching experiences. A world where we spend huge sums on learning to practice mindfulness and internal silence while at the same time stuffing our environment with an ever-increasing amount of noise and distractions. In this world of distractions I am concerned with the comprehension of music.

In order to comprehend music we need to be able to listen to it. To be able to listen is to be able to focus. The ability to focus is not something which we are born with, it is an acquired skill.

In this blog I write about attention, focus, musical comprehension and the lost art of listening.

L1030139