* * * * * * * kdm

For centuries, music was made (beside the brain) always with the help of the breath and mouth (singing, blowing, whistling) and with hand and fingers (touching, knocking, pressing. plucking).
. . . . Now, after many thousands of years, it's only the human brain that sets the patterns to a machine, a computer. Maybe that's the reason why electronic music has sceptic critics; no one can actually SEE what the artist does. That's why some 'modern' composers give (and need) a lot of explanations to explain their music.
. . . . There is no immediate activity anymore, no sweat, no jitters, no tension and no fear because of playing a wrong note, of missing a cue, of a broken string. (Dance music is another topic or branch. I just speak of music for the ears, for the pure listening and entertaining).
. . . . Compare this with sports (e.g. soccer or snooker), and more & very clearly at car race, boxing, gladiatorial combats, or just "America's [Britain's] Got Talent" ("Deutschland sucht den Superstar"). The spectators always wait for something happen, they don't want to SEE the normal, the banal. They crave for emotions. And other people's (artists, actors...) obvious and visibly exhibited joy or their suffering offer exactly this desired little sensation.
. . . . That's why I can cry when listening to a certain music, even when I'm alone at home.

(From The KS Circle 256, January 2019)
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