[LAU] re Subconscious Affecting Music
gnome at hawaii.rr.com
Sat Sep 4 07:16:19 UTC 2010
Without memory, we don't have time. Without time, we don't have music. A
single note is just a sound. A time-series of sounds without memory is
just separate sounds. With memory, it becomes music.
Arvind Venkatasubramanian wrote:
> Hi All:
> Slightly deviating off the conversation, I am sharing with you all some
> interesting stuff that I encountered.
> I discovered this while I was walking besides the school of philosophy
> after completing my class in in engineering. As I was hearing to the
> sounds of leaves and birds, I was approaching my music lab at the Frost
> school of music. As I was about to get into my department, I heard a
> beautiful melody from a saxophone. I kept chanting the melody for
> sometime as I started to work on my computer. With time, I started to
> feel the image of the melody subjectively. But I felt that to be too
> faint to hear. I wanted it to be a bit louder and tried to turn up the
> volume button in me. I noticed that I could not do that. Any attempt
> that I made to turning up the level of the music only helped me
> transposing the melody up my one or two keys (semitones). Similarly, any
> attempt to lower the tone helped only in transposing the melody down by
> few keys.
> I started experimenting this at home by listening to music on tape. Then
> I turned the tape off and "immediately" started to listen to that piece
> subjectively. I turned up the volume button. It worked now. The volume
> went up in my head without transposing the music to higher keys. Seeing
> the contradictions, I tried the same experimented the next morning. This
> time, I was not able to have control over the parameters of the music.
> The volume did not go up but transposition happened again. Is the
> amplitude control mechanism not possible after data storage in memory?
> Does the feel of amplitude control experienced only if external matter
> is tweaked? That clearly re-defined the problem formulation in me about
> the "theory of forms" mentioned in Plato's Cave Allegory/Republic.
> These events lead me to think that memory plays a vast, unpredictable
> role in connecting independent events of the world and give a meaning to
> it. If memory does not work, each phrase in a music is an individual
> phrase; each note in a phrase is individual note, each part of sound in
> a note is an individual sound; each granular atom in a sound in
> individual grain. The necessary connections to these events are
> "believed" to be happening in human brain. But the existence of a human
> brain is also part of memory. The residence or location of memory is
> said to be in human mind. Wherein, the human mind dwells cannot be told
> because it comes from living experience.
> Arvind Venkatasubramanian
> Audio DSP Engineer and studio musician
> On Fri, Sep 3, 2010 at 8:55 AM, David Santamauro
> <david.santamauro at gmail.com <mailto:david.santamauro at gmail.com>> wrote:
> On Fri, 3 Sep 2010 17:56:13 +0530
> Rustom Mody <rustompmody at gmail.com <mailto:rustompmody at gmail.com>>
> > There are two voices I hear here vis-a-vis Bach:
> > 1. Art for art's sake -- the romantic idea
> > 2. Art for money's sake -- the distinction of commercial vs
> > commisioned being a fine semantic distinction.
> > Bach himself expressed a view however which does not fit in with
> > either: *
> > Anything done other than for the service of God is vanity*
> "The aim and final end of all music should be none other than the
> glory of God and the refreshment of the soul."
> God, unfortunately, doesn't pay for food directly. The refreshment of
> the soul alone would have left him starving as well.
> Although he was extremely devote and clearly most of his inspiration
> was generated by that religious stance, he was not above squabbling for
> better pay. The fact that his employer was the church might also had
> something to do with that stance as well.
> "He regarded himself as a conscientious craftsman doing a job to the
> best of his ability for the satisfaction of his superiors, for the
> pleasure and edification of his fellowmen, and to the glory of
> God." [ Grout & Palisca: A History of Western Music ]
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