Painting with colors you can't see
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:lol:
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Are you making fun of a typo or are you getting seriously heavy with a reflection on "money you can't spend"?
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Maybe I'm misunderstanding what you're trying to say, but I completely disagree. I see jazz as the exact opposite of what you describe. Hmmm . . .
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That's what I think also. Hmmm... I guess it's all on a personal level, but I'd especially say music (including jazz) is all about emotions you can feel.
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Probably not right for me to reinterpret what vonbraig is saying but I think I get where he is coming from. Music is not literal like reading a book or hearing a conversation where everything is laid out the same for each listener/observer to take in. Doesn't mean that all interpret written or spoken information the same way, but the communication is precise. Music is imprecise and leaves all interpretation to the listener.
Although I haven't heard a lot of vonbraig's music he doesn't seem to be playing standards so a vocal story line is absent. This means that there is potentially a reference gap unless there are some stylistic or cliche clues. All of the reference is within the listener who may or may not resonate with whatever the player (composer) was feeling/thinking. Mike (nice sculptured air comment), is keen to tell anyone who listens that he could care less about whether they get where he's coming from or not. He does what he does, you, as a listener, do whatever you do.
When writing/playing music that has few(er) references you have no idea what anyone else will hear/think. It's a stimulus without a defined receptor.
Vonbraig's statement seems very personal and is possibly shared by a few others but doesn't apply to the way most play jazz. Jazz (as played by most) is far too predictable and formulated to an extent that one can easily guess at what will be played within a range of possible notes. Many play with little or no attempt at communicating anything other than one's technical abilities.
As a generalization about jazz I think the statement's unfortunately wrong. As a statement of intent of what could/should be, I think it's right on.
Although I haven't heard a lot of vonbraig's music he doesn't seem to be playing standards so a vocal story line is absent. This means that there is potentially a reference gap unless there are some stylistic or cliche clues. All of the reference is within the listener who may or may not resonate with whatever the player (composer) was feeling/thinking. Mike (nice sculptured air comment), is keen to tell anyone who listens that he could care less about whether they get where he's coming from or not. He does what he does, you, as a listener, do whatever you do.
When writing/playing music that has few(er) references you have no idea what anyone else will hear/think. It's a stimulus without a defined receptor.
Vonbraig's statement seems very personal and is possibly shared by a few others but doesn't apply to the way most play jazz. Jazz (as played by most) is far too predictable and formulated to an extent that one can easily guess at what will be played within a range of possible notes. Many play with little or no attempt at communicating anything other than one's technical abilities.
As a generalization about jazz I think the statement's unfortunately wrong. As a statement of intent of what could/should be, I think it's right on.
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Wade you get me totally. I meant it as a challenge to myself when I listen back. It is also the way I feel AFTER hearing the really heavy stuff I like and you all know what that is.
Art enables us to lose ourselves and find ourselves at the same time. -Thomas Merton
I believe this is not possible given the grafting of perceptions required to interpret most music or sound for that matter.
Art enables us to lose ourselves and find ourselves at the same time. -Thomas Merton
I believe this is not possible given the grafting of perceptions required to interpret most music or sound for that matter.
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Me too. But that includes a lot of emotions I can feel, as well as sound and music and art in any medium.
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True but what about emotions that don't have words used to name them? What about music that creates its own emotion and doesn't just trigger some reference to an emotion previously experienced? I'm not saying i don't feel anything. After thinking about it more for me I want to feel things because of music not be reminded of other feelings by it. Did that make any sense?
Also is it possible to feel the emotions of an audience as you play? What if the audience can't hear you (me)?
What the heck is an emotion in reference to music anyway? Chicken egg?
Also is it possible to feel the emotions of an audience as you play? What if the audience can't hear you (me)?
What the heck is an emotion in reference to music anyway? Chicken egg?
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I think that makes sense. But I don't really think any emotion can be expressed with words used to name it. Poetry may be the one exception. Otherwise it's all beyond words.
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To go off on a tangent that I actually think is relevant...I once watched a totally blind man paint incredibly beautiful night-time landscapes with almost photographic realism, using only black and white paints. To me...some of the best jazz is painted entirely with shades of grey.
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