[soundhaspriority]

"Jenn" wrote in message
...
In article ,
"Robert Morein" wrote:

"Jenn" wrote in message
...
In article ,
JimC wrote:

A question sometimes asked by those who aren't audiophile enthusiasts
(and don't understand the logic of spending thousands of dollars for a
decent system in the first place) is: Why do audiophiles want to
spend
hours of their time simply listening to music played on their stereos
or
surround systems? To many non-audiophiles the concept of "listening
to
music" is to use it as mood-enhancing background noise while doing
something else, to liven up a party, or to listen to it in association
with TV or a home theater system, but certainly not as something
entailing listening to music with some degree of attention for
extended
periods of time. In other words, why waste all that money on a stereo
system other than as a high-tech toy for impressing your buddies?

This subject was addressed in an essay published years ago, in either
Stereo Review or Hi-Fi Review, describing the experience of listening
to
classical music. As I remember it, the thesis of the author was that
listening to classical music is a subjective (note: highly
subjectivist!!!) experience in which the music bypasses conscious
thought and current mental clutter and begins to communicate directly
with the subconcious. Unlike other art forms, it requires giving up
the
amount of time required to listen to a given work. (Hard to "browse" a
Beethoven symphony, for example.) But the reward is that the music
can
speak to and sometimes reenergize the most civilized aspects of the
inner self. Obviously, audiphiles vary in how and to what they
listen. -
In addition to classical, I happen to be an enthusiastic Stones fan.
But
listening to the Stones has never had quite the same effect. As to
why
a good sound system is especially important for listening to classical
music, IMO, in addition to minimizing distortion, a major factor is
that
many classical works have such substantial variances in sound level
that
ordinary "stereos" can't handle them without lots of distortion in the
louder (pianissimo) passages.

Well, maybe this topic isn't appropriate for discussion on RAO in the
first place, since it doesn't relate directly to personalities, the
objectionist-subjectivist debate, dbt, etc. Somehow I thought that
considerations such as this were part of the underlying reasons for
getting into the hobby in the first place. In any event, if anyone
remembers this particular article, I would appreciate getting the
reference.

Jim

Good post, IMO. (predictably, LOL!)

Why do I spend time listening to my system? Because I can't have
Mozart, Beethoven, Bach, et al performed in my home by the Vienna Phil,
the Berlin Phil, the Eastman Wind Ensemble and so forth. Because I
love
the music that I listen to with a passion. Because the composers and
the performers change my life for the better. Because music expresses
what words alone cannot. Because music informs me about human nature
and the nature of creating and the nature of the Creation.

--
Jenn, you have the added involvment of actively creating music, which can
only amplify [sic] your pleasure. In that, I envy you.

I'm very lucky.

Recently, I put
together an electronic piano with Cubase and Fatar keyboard. I discovered
that I have the ability to noodle tunes from memory, but I lack the
polyphonic capabilities of a musician. It reminds me that I am no more
than
an enlightened consumer.

Good for you. I would hope you keep exploring. Fun, isn't it? ;-)


BTW, I recently spent some time in the Four Corners region of the
southwest,
and have returned with a collection of Indian flutes. Do you know
anything
about these?

Bob Morein

Not too much, but I have a student who is heavily into Native American
flutes and she is becoming a nationally known expert. She played at her
son's funeral, and even though he was also one of my students and I
played and spoke at the funeral, I lost it when she played as they
released white doves. I'll never forget how beautiful it was.

--
If you could point me to a faq, I would appreciate it. I did read that real
Navajo flutes were made of reeds. Since these flutes are made of either
cedar, or pine stained to look like cedar, do they have any legitimacy with
any Native American tradition?
I acquired three styles, all of which have six finger holes:
1. round mouthpiece, with slide tuner held in place with a narrow rawhide
strap/wind
2. same style mouthpiece, absent the tuner, with one noticeably off-spaced
finger hole. Would the scale be harmonically related to any known scale?
3. Blow-over, no-contact mouthipiece, no tuner.

The ends of these flutes are perpendicular to the pipe, or a straight
oblique cut, or a curve close to an oblique cut.

There is also a style known as the "love flute" that I did not buy, where
the end is closed. Four sound holes, about the size of finger holes, near
the end of the pipe, release the sound. I blew on it, and found the sound
very soft and indefinite. I could well imagine use by an Indian beau to woo
his lover.