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.
In the studio you can auto tune vocals, and with drums, you can put them on a grid and make them perfect. I hate that sound. When someone hands me a record and the drums are perfectly gridded and the vocals are perfectly auto tuned, I throw it out the window. I have no interest in rock music being like that.
That's what happens in a good horror movie: there are always metaphors of greater subjects like humanity and empathy and compassion. It's not about the action and scary moments: You really care about these characters because they're mirrors of our own reflections.
The most honest form of filmmaking is to make a film for yourself.
I have said no to many, many Day of the Dead projects in the past, about 10 or 15, because every time I heard a take it was from someone who didn't know the celebration.
I just wanted to write something about running, but I realized that to write about my running is to write about my writing. It's a parallel thing in me.
My heart beats more for a raw, average vulgar art, which doesn't live between sleepy fairy-tale moods and poetry but rather concedes a direct entrance to the fearful, commonplace, splendid and the average grotesque banality in life.
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