A long time ago, I'd a university friend who had been an evangelizing devotee from the abstract painter Marc Rothko. I recall her gushing more than a catalog of Rothko's work, while I believed which i should be aesthetically challenged I simply did not "get" it. In the end, the majority of the works of art were only large rectangles of color, with slight irregularities along with a contrasting border or stripe. All the familiar reference points of line and shape, perspective and shadow, were gone.
I possibly could appreciate them as "design," although not as "art." When they were pleasing enough, I could not understand why anybody would rhapsodize of these abstractions... until When i first saw them personally reggaeton 2019--a totally different experience! After I experienced them in the Museum of contemporary Art, they literally stopped me within my tracks, subverting conscious thought and plunging me immediately into an altered condition. They weren't just flat canvases on the wall, but appeared a lot more like life, pulsing and throbbing in resonance to some wave length which had a simple link with the origin of products. I had been stunned. They did not "express" a sense--these were a lot more like feelings themselves, plus they appeared immaterial personal in my experience, or Rothko, or anybody. After I later checked out the reproductions Rothko's works in magazines, they reverted to flat swatches of color. There is a recollection, but no entertainment of my experience. This was a experience that relied on the existence of the initial artifact (art: a well known fact). I spent my early musical existence working mostly with music that used-like representational art--some group of familiar musical conventions to produce its effect. There are lots of vocabularies of tune, counterpoint, rhythm, harmony, and structure that place music inside a context of form which makes it understandable to listeners. "Understandable" isn't precisely what i'm saying--it shows that music communicates only intellectual ideas, whereas actually, it conveys and expresses an entire selection of ideas, feelings, sensations and associations. But there's some "intelligibility" to traditional types of music that will depend on the shared formal vocabulary of expression. You will find familiar factors that listeners use to anchor their real-time experience with a composition, formal or sonic factors that are lent using their company pieces produced and took in to previously. After I find myself humming a tune from the Beethoven symphony, or invoking certainly one of its characteristic rhythms (dit-dit-dit-DAH), I reduce an intricate sonic tapestry for an abstraction, a shorthand that's easily recognizable to other people acquainted with the background music. I might be able to share a musical idea along with other musicians while using abstraction of notation. However a "tune" isn't a "tone," along with a "note" isn't a "seem." It's an idea, a effective idea, however when I've found myself humming the tune, I understand which i have in some manner "consumed" the background music, reduced it to some subset of their conventions, deconstructed and reconstructed it in my own purposes.
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