We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
Brian EnoRead
Music in itself carries a whole set of messages which are very, very rich and complex, and the words either serve to exclude certain ones or point up certain others.
Interpretation
Music conveys deep messages that words can either support or detract from.
In this quote, Brian Eno highlights the intricate nature of music as a medium of communication that transcends simple lyrics. He suggests that while words can enhance certain emotions or themes present in music, they can also overshadow or limit the broader, often more complex messages that the music itself imparts, emphasizing the rich tapestry of meaning found in the auditory experience.
In practice
In a discussion about the impact of music on emotions, this quote can illustrate how vital music is beyond its lyrics.
We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.
When I first started making ambient music, I was setting up systems using synthesizers that generated pulses more or less randomly. The end result is a kind of music that continuously changes. Of course, until computers came along, all I could actually present of that work was a piece of its output.
People do dismiss ambient music, don't they? They call it 'easy listening,' as if to suggest that it should be hard to listen to.
In the future, you won't buy artists' works; you'll buy software that makes original pieces of 'their' works, or that recreates their way of looking at things. You could buy a Shostakovich box, or you could buy a Brahms box. You might want some Shostakovich slow-movement-like music to be generated. So then you use that box.
Ambient music must be as ignorable as it is interesting.
Beauty . . . cannot be interpreted. It is not an empirically verifiable fact; it is not a quantity.
You do something on television, and so many people see it that it follows you around. It's interesting. I've done a couple of things on TV, and probably more people saw me than in all the movies I've made.
The essential thing is to spring forth, to express the bolt of lightning one senses upon contact with a thing. The function of the artist is not to translate an observation but to express the shock of the object on his nature; the shock, with the original reaction.
I have been doodling with ink and watercolor on paper all my life. It's my way of stirring up my imagination to see what I find hidden in my head. I call the results dream pictures, fantasy sketches, and even brain-sharpenin g exercises.
Storytelling was a way to see the world bigger than the one you were looking at, and that had great appeal for me. I think, since that was part of my upbringing, it became part of me, and I wanted to pass it along to my kids and my grandkids.
Poems are rough notations for the music we are.
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