In 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. Continue reading
Having 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. Continue reading
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.