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1、UNIT 3 ART FOR ART S SAKE 1 How We Listen 1 We all listen to music according to our separate capacities But for the sake of analysis the whole listening process may become clearer if we break it up into its component parts so to speak In a certain sense we all listen to music on three separate plane
2、s For lack of a better terminology one might name these 1 the sensuous plane 2 the expressive plane 3 the sheerly musical plane The only advantage to be gained from mechanically splitting up the listening process into these hypothetical planes is the clearer view to be had of the way in which we lis
3、ten Text 2 2 The simplest way of listening to music is to listen for the sheer pleasure of the musical sound itself That is the sensuous plane It is the plane on which we hear music without thinking without considering it in any way One turns on the radio while doing something else and absent minded
4、ly bathes in the sound A kind of brainless but attractive state of mind is engendered by the mere sound appeal of the music Text 3 3 The surprising thing is that many people who consider themselves qualified music lovers abuse that plane in listening They go to concerts in order to lose themselves T
5、hey use music as a consolation or an escape They enter an ideal world where one doesn t have to think of the realities of everyday life Of course they aren t thinking about the music either Music allows them to leave it and they go off to a place to dream dreaming because of and apropos of the music
6、 yet never quite listening to it Text 4 4 Yes the sound appeal of music is a potent and primitive force but you must not allow it to usurp a disproportionate share of your interest The sensuous plane is an important one in music a very important one but it does not constitute the whole story 5 The s
7、econd plane on which music exists is what I have called the expressive one Here immediately we tread on controversial ground Composers have a way of shying away from any discussion of music s expressive side Text 5 Did not Stravinsky himself proclaim that his music was an object a thing with a life
8、of its own and with no other meaning than its own purely musical existence This intransigent attitude of Stravinsky s may be due to the fact that so many people have tried to read different meanings into so many pieces Heaven knows it is difficult enough to say precisely what it is that a piece of m
9、usic means to say it definitely to say it finally so that everyone is satisfied with your explanation But that should not lead one to the other extreme of denying to music the right to be expressive Text 6 6 Listen if you can to the 48 fugue themes of Bach s Well Tempered Clavichord Listen to each t
10、heme one after another You will soon realize that each theme mirrors a different world of feeling You will also soon realize that the more beautiful a theme seems to you the harder it is to find any word that will describe it to your complete satisfaction Text 7 Yes you will certainly know whether i
11、t is a gay theme or a sad one You will be able in other words in your own mind to draw a frame of emotional feeling around your theme Now study the sad one a little closer Try to pin down the exact quality of its sadness Is it pessimistically sad or resignedly sad is it fatefully sad or smilingly sa
12、d Text 8 7 Let us suppose that you are fortunate and can describe to your own satisfaction in so many words the exact meaning of your chosen theme There is still no guarantee that anyone else will be satisfied Nor need they be The important thing is that each one feels for himself the specific expre
13、ssive quality of a theme or similarly an entire piece of music And if it is a great work of art don t expect it to mean exactly the same thing to you each time you return to it Text 9 8 The third plane on which music exists is the sheerly musical plane Besides the pleasurable sound of music and the
14、expressive feeling that it gives off music does exist in terms of the notes themselves and of their manipulation Most listeners are not sufficiently conscious of this third plane Text 10 9 It is very important for all of us to become more alive to music on its sheerly musical plane After all an actu
15、al musical material is being used The intelligent listener must be prepared to increase his awareness of the musical material and what happens to it He must hear the melodies the rhythms the harmonies the tone colors in a more conscious fashion But above all he must in order to follow the line of th
16、e composer s thought know something of the principles of musical form Listening to all of these elements is listening on the sheerly musical plane Text 11 10 Let me repeat that I have split up mechanically the three separate planes on which we listen merely for the sake of greater clarity Actually we never listen on one or the other of these planes What we do is to correlate them listening in all three ways at the same time It takes no mental effort for we do it instinctively Text 12 11 Perhaps
