Many years ago, I had a college friend who was an evangelizing devotee of the abstract painter Marc Rothko. I keep in mind her gushing over a catalog of Rothko’s work, while I was thinking that I have to be aesthetically challenged; I just did not “get” it. After all, a lot of the paintings weren’thing however giant rectangles of shade, with slight irregularities and a contrasting border or stripe. All the familiar reference factors of line and form, perspective and shadow, have been gone. I might appreciate them as “design,” but not as “art.” While they were pleasing enough, I couldn’t see why anybody would rhapsodize over these abstractions… till I first saw them for myself in individual–a very completely different expertise! After I encountered them on the Museum of Trendy Art, they literally stopped me in my tracks, subverting conscious thought and plunging me instantly into an altered state. They were not just flat canvases on a wall, however appeared more like living things, pulsing and throbbing in resonance to a wavelength that had a elementary connection to the Supply of things. I was stunned. They didn’t “express” a feeling–they have been more like emotions themselves, and so they appeared like nothing personal to me, or Rothko, or anyone. When I later appeared at the reproductions Rothko’s works in books, they reverted to flat swatches of color. There was a recollection, but no recreation of my experience. This was an experience that trusted the presence of the original artifact (artwork: a truth).

A Tune is Not a Tone

I spent my early musical life working mostly with music that used-like representational art–some set of acquainted musical conventions to create its effect. There are a lot of vocabularies of melody, counterpoint, rhythm, harmony, and construction that place music in a context of kind that makes it understandable to listeners. “Comprehensible” will not be precisely what I imply–it suggests that music communicates only intellectual concepts, whereas actually, it conveys and expresses a whole range of ideas, emotions, sensations and associations. But there is a component of “intelligibility” to traditional types of music that is determined by a shared formal vocabulary of expression. There are acquainted parts that listeners use to anchor their real-time experience of a composition, formal or sonic components which can be borrowed from different pieces created and listened to in the past. When I discover myself humming a tune from a Beethoven symphony, or invoking one among its attribute rhythms (dit-dit-dit-DAH), I reduce a posh sonic tapestry to an abstraction, a shorthand that’s easily recognizable to others familiar with the music. I could also be able to share a musical idea with different musicians using the abstraction of notation. But a “tune” is not a “tone,” and a “note” just isn’t a “sound.” It is an idea, even a powerful concept, but after I discover myself humming the tune, I know that I have ultimately “consumed” the music, reduced it to a subset of its conventions, deconstructed and reconstructed it for my own purposes.

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