The Recovery of Music
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3 word format
document in English
arts and art history
school essay
published 12/09/2007
review : Completed
level : General public
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SummaryTo experience music as it is exactly is a great thing, but a difficult thing. Being an audience to a piece of music does not ensure such experience, and in fact the performers of music themselves can experience music. Bystanders and composers also experience music in unique ways. All of these people who experience music have parts of their experience in common. The music affects each and every person, and each and every person then recovers the music in a particular way. To recover music is to be able to respond to music as well as simply to listen to it. When you respond to music, “you make your mark on it, casting it in your terms. But the [music] makes its mark on you as well, teaching you not only about a subject but about a way of seeing and understanding a subject” (Bartholomae and Petrosky 4). You will be able to “see through someone else’s powerful language” (Bartholomae and Petrosky 4).
Table of Contents
- Each sort of recovery is unique: first let us take the case of a bystander
- Another example of recovery is the experience of a musician preparing to give his work to the public.
- Now, let us give this musician an audience.
- Barring such perfect circumstances, recovery can still occur.
- Sophistication is not necessary for such recovery
- The average listener will recover music best listening to pieces that are a common part of the culture of his time
- Every sort of recovery has its own advantages, and the recovery of the composer may in fact be the most complete.
- In this way, the composer gives birth to music.
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