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Re: means to an end (was "the diatonic-chromatic-noise paradigm")

in the end of the creative process,are we the artist satisfied?if one does reach a enlightening artistic state of bliss...is that enough?(tree falls and no one to hear it syndrome)lol.if the artist makes it look too easy will the ideal listener think less of a composition?just a nuerotic paranioa?                 scary visionary.

goddard.duncan@mtvne.com wrote:

>>It has to do with the "process" involved with creating music vs. the just the output by and in itself. It must be how peoples' brains work when they try to understand music, but I have met some people who are only interested in the nature of the final sonic output of a composition, and not "how" or the process by which it was created. [snip]

I was raving about the process by which I created some tune of mine, and the other person basically didn't care...it was all about the final output...<<

if your listener is only concerned with the end-product, & not the torture (or otherwise) involved in bringing it to life, then they are missing a whole emotional dimension of the work in question.

I bet they don't read sleevenotes either.
they aren't appreciating the effort, the frustrations, the hours of blistering practice sessions, the years of study..... the thousands of dollars you've spent on toys to be able to do what you do.

in short, your emotional investment is meaningless to them.
& this is true of the "won't"s, aswell as the "can't"s.

is it valid to appreciate the music entirely disregarding how it got there? even if one were to accept that a musician is just a "channel" for some higher entity, & that the music comes through rather than is made by him, his listener in choosing to remain ignorant of this process is being a bit disrespectful, no?

I often wonder about this when considering the experiences of live show vs recording, whether this latter is studio-crafted or off-the-board-at-a-live-show.

I might look into the audience while we're playing, & most of them are either looking somewhere else or have their eyes shut.

fair enough, I think, well at least they know we're here & that it took us some effort to get here with our stuff & set it all up, & hopefully they can also tell we're improvising.

well.... can they? how does an innocent bystander, musician or no, tell when you are improvising? is it easier to tell if it's a solo artist or a group playing? & how much does it matter if they simply don't care?

we have some fans who turn up to every gig no matter what it costs them to get there, & some other fans who wouldn't come see us live if we played in their back garden. including a label boss, in fact, who's never seen us play live. I think I need to do some research on this.



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