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Date: | Mon, 1 May 2000 14:48:38 -0700 |
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Chris Bonds writes:
>With all due respect, I don't find this to be especially useful as an
>approach. I'm not sure there are as many as 10--grief, fear, anger, joy,
>jealousy (although that appears to combine fear and anger)--hey, but what
>do I know? The ones I've mentioned have many "colors", though, depending
>on the external circumstances. You might get a statistically valid result,
>but then what conclusions would you derive from the result? How would
>knowing there is or isn't a consensus help get more out of the music?
You might be right.
My whole thrust in examining the underlying feeling that motivated a
composer to do this or that is to better understand how to write it
(or have my computer write it). I am amazed at the difference between
wandering through a museum looking at paintings and taking the tour and
having them explained by experts. They point out things that I never
noticed and I enjoy the painting more by knowing these things. I was
wondering if the same thing could be done with music.
I can't help think that the composer's subconscious was actually
controlling the effort, unbeknownst to the composer. Freud and the now
widely accepted notion of a subconscious occurred at the end of the 19th
Century after all those 17th, 18th, and 19th century composers may have
not themselves understood their true motivations.
Bill Pirkle
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