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Too much numerous, expansive and varied listening?

1626 Views 36 Replies 21 Participants Last post by  Phil loves classical
I have been wondering sometimes whether or not I got greater kicks from classical music when I concentrated more on fewer composers and works.

Those days even just one work, like the Sibelius 4th, could be life changing. Nowadays when I listen to it, I am not as thrilled by the dissonances because Mahler is full of such chord progressions. Just to give you one example. (I need to consciously change my mental state to get into the receptive Sibelius 4th mood.)

So it is harder and harder to gain the mental state of the ”innocent, open minded listener, tabula rasa.”

It is also harder to tune up for a certain composer. And composers require their own mindsets! You cannot listen to everything the same way.

In a way, greater ignorance was bliss!

Has anyone had similar experiences?

Could there be something gained from a more limited but concentrated listening? Or is wide, numerous and expansive listening a value in itself, not worth questioning?
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Experience inevitably seems to make people jaded eventually to where they no longer get the same thrill out of whatever they were interested in. I'm someone who gets burned out very easily with anything I'm interested in, and that's why I've picked up such a variety of interests in my lifetime. Even when it comes to music I've switched between genres liberally: classical, jazz, pop, rock, metal, prog, folk, etc. Even if I narrow it to classical I've tried to explore all the major composers and era to a significant extent so I've never gotten stuck in one sound/style.

My recommendation for people anytime they speak of getting jaded/cynical with anything is to switch it up. So you say you're not thrilled with Sibelius because you listen to him and hear too much Mahler; well, why not listen to something completely different, like music from much earlier or much later? Come back to Sibelius when Mahler is less fresh/present in your mind. So much of our tastes are going to be governed by not just our general experience with music/art, but also by the temporality of our experience; meaning that listening to someone like Sibelius just after Mahler is likely going to produce a different effect than listening to him after, say, Josquin or Carter.

There is definitely some truth to the "ignorance is bliss" aphorism, as when you're new to something everything is new, fresh, even magical in its own way. People often wish they could go back and experience X art for the first time, as there's simply nothing as powerful as one's first experience, and that sentiment holds not just with individual works but even to entire mediums/genres. I think it's a rare person who can spend their entire lives immersed in one thing and not go through periods where that thing loses some of its magic; but the only way I've ever found to deal with that is simply take regular breaks from it and come back later.
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Experience inevitably seems to make people jaded eventually to where they no longer get the same thrill out of whatever they were interested in. I'm someone who gets burned out very easily with anything I'm interested in, and that's why I've picked up such a variety of interests in my lifetime. Even when it comes to music I've switched between genres liberally: classical, jazz, pop, rock, metal, prog, folk, etc. Even if I narrow it to classical I've tried to explore all the major composers and era to a significant extent so I've never gotten stuck in one sound/style.

My recommendation for people anytime they speak of getting jaded/cynical with anything is to switch it up. So you say you're not thrilled with Sibelius because you listen to him and hear too much Mahler; well, why not listen to something completely different, like music from much earlier or much later? Come back to Sibelius when Mahler is less fresh/present in your mind. So much of our tastes are going to be governed by not just our general experience with music/art, but also by the temporality of our experience; meaning that listening to someone like Sibelius just after Mahler is likely going to produce a different effect than listening to him after, say, Josquin or Carter.

There is definitely some truth to the "ignorance is bliss" aphorism, as when you're new to something everything is new, fresh, even magical in its own way. People often wish they could go back and experience X art for the first time, as there's simply nothing as powerful as one's first experience, and that sentiment holds not just with individual works but even to entire mediums/genres. I think it's a rare person who can spend their entire lives immersed in one thing and not go through periods where that thing loses some of its magic; but the only way I've ever found to deal with that is simply take regular breaks from it and come back later.

You speak wise words, like always!

How wonderful it was to start listening to baroque music on solo guitar, and some renaissance music, like Palestrina and Josquin, after my Mahler period. The contrast indeed brought something meaningful and an extra level of enchantment into the listening.

I will have to start bringing rotation a bit more consciously into my listening. For sure. It might be the best thing we can do!
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I think both listening styles can be both useful and rewarding. Over the past 5-8 years or so I have listened primarily to music I had not heard before (or did not recognize). Most of that has been in modern/contemporary or Renaissance music. There is so much diversity in modern/contemporary that it is difficult to become bored unless one dislikes post Romantic music in general. On the other hand, listening to such variety makes it harder to plumb the depths of a particular work or even composer.

For a while now, I have assumed that at some point I will vastly cut back on listening to so much new music and focus much more on listening to works/composers I have identified as exceptional (to me). I'm just don't know when I'll make that switch.
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Definitely can run into this problem. One way around is to read a good book or watch something that has classical music running through it and listen to all the referenced works. Gives you a new association with the music. Mozart in the jungle is a good show and The time of our singing is an amazingly good read, both for the story and the music mentioned.
@chesapeake bay has made a good suggestion in that it's always a good thing to have other interests. Of course, music is what I'm most passionate about (I live and breathe it), but I also like film, art, video games (I'm an old school kind of gamer though and I don't like something that's overly complex), books (mainly composer biographies) and graphic novels (aka comic books :D). I think with these varied interests, it keeps me even more focused on classical music when I return to it. In terms of listening routines, well, I don't really have one. Sometimes I like to create concert programs based on some kind of theme (right now I'm playing a program that features the horn prominently in all the works), but I like to mostly be a bit more spontaneous in my listening and I love variety in my listening, too. There was a time where I would do deep dives into composer's oeuvres, but I don't do this much anymore, although I do see the benefit in listening this way, but I also see it can become a negative whenever you become a bit bored with a composer. This shouldn't happen, especially with a composer you love, so I'm more conscious of this nowadays. Anyway, there isn't a right/wrong answer here --- only different experiences.
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music is a big ocean and we don't live long enough to explore it all.

its the same when you play music, too. I like to play alot of string instruments, but I'll never have the time to get equally proficient on all of them. Just like I wont live long enough to play all the music that is out there

I think that is a part of the human condition
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We have had a similar discussion in a progressive rock forum I frequent. It seems to me when I was younger I had more time, energy and focus to put into deep listening so that I could catch more nuances, repeated themes, cleverly disguised reprises, etc. Now, I'm just searching for the next unheard thing because so much is available, both in prog and in classical. I think less really was more.
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I don't think I have any issues being able to enjoy music from many different centuries. I still love Bach, even though I've heard plenty of Beethoven. I still like ragtime, even though I've heard Artie Shaw. I still enjoy Fats Domino, even though I've heard Led Zeppelin.

There are some things I thoroughly enjoyed in childhood that I'm not so fond of now: The Three Stooges comes to mind.
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Ove my lifetime I've listened to a lot of classical music and I have a wide variety of music listening interests. It's essential for me to pick a few priorities, then delimit one of them and pursue it. Otherwise I feel that I'm all over the place, wasting my time. Also there needs to be a reason for what I am doing. I doesn't need to be formal, like writing an essay. It could be just familiarizing myself with a few pieces by a certain composer, to decide if I want to delve more deeply.
No........ .
Experience inevitably seems to make people jaded eventually to where they no longer get the same thrill out of whatever they were interested in. I'm someone who gets burned out very easily with anything I'm interested in, and that's why I've picked up such a variety of interests in my lifetime. Even when it comes to music I've switched between genres liberally: classical, jazz, pop, rock, metal, prog, folk, etc. Even if I narrow it to classical I've tried to explore all the major composers and era to a significant extent so I've never gotten stuck in one sound/style.

My recommendation for people anytime they speak of getting jaded/cynical with anything is to switch it up. So you say you're not thrilled with Sibelius because you listen to him and hear too much Mahler; well, why not listen to something completely different, like music from much earlier or much later? Come back to Sibelius when Mahler is less fresh/present in your mind. So much of our tastes are going to be governed by not just our general experience with music/art, but also by the temporality of our experience; meaning that listening to someone like Sibelius just after Mahler is likely going to produce a different effect than listening to him after, say, Josquin or Carter.

There is definitely some truth to the "ignorance is bliss" aphorism, as when you're new to something everything is new, fresh, even magical in its own way. People often wish they could go back and experience X art for the first time, as there's simply nothing as powerful as one's first experience, and that sentiment holds not just with individual works but even to entire mediums/genres. I think it's a rare person who can spend their entire lives immersed in one thing and not go through periods where that thing loses some of its magic; but the only way I've ever found to deal with that is simply take regular breaks from it and come back later.
What DOES work for me is to take it to a higher technical level. Whatever the subject is, there's always a higher level for deeper understanding, we’re willing to pursue it in entertaining subjects like music. We should know that there’s continual rewards in music. They get bigger, they shrink, they come back.
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We have had a similar discussion in a progressive rock forum I frequent. It seems to me when I was younger I had more time, energy and focus to put into deep listening so that I could catch more nuances, repeated themes, cleverly disguised reprises, etc. Now, I'm just searching for the next unheard thing because so much is available, both in prog and in classical. I think less really was more.
Yes, when I was young (before I was making money) buying an album was a big event for me. I would take a long time trying to decide which album I would choose. 'Only one or two a month. And then I would see the album in the record store in the racks and I would look at the cover (for info, for lyrics, for cover art) to make sure it was a good value. heh Checking prices of other selections, last minute. Then I would finally decide, buy it and feel great(!) on the way home.

I don't know if any part of these good vibrations happen today. Push a button, there's not much story to tell. 'Not much to be involved in - as a young person's artistic quest or whatever.

But what young person would understand the positives of such delayed gratification today?
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Yes, when I was young (before I was making money) buying an album was a big event for me. I would take a long time trying to decide which album I would choose. 'Only one or two a month. And then I would see the album in the record store in the racks and I would look at the cover (for info, for lyrics, for cover art) to make sure it was a good value. heh Checking prices of other selections, last minute. Then I would finally decide, buy it and feel great(!) on the way home.

I don't know if any part of these good vibrations happen today. Push a button, there's not much story to tell. 'Not much to be involved in - as a young person's artistic quest or whatever.

But what young person would understand the positives of such delayed gratification today?
I had to save my allowance for two weeks before having enough to buy a CD at HMV or Tower Records in downtown Toronto. The trip took about an hour, and I quite enjoyed sitting in the bus (followed by the train) in anticipation of my purchase. Such small pleasures no longer exist. :)
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What DOES work for me is to take it to a higher technical level. Whatever the subject is, there's always a higher level for deeper understanding, we’re willing to pursue it in entertaining subjects like music. We should know that there’s continual rewards in music. They get bigger, they shrink, they come back.
That can definitely work for many. Personally, I've always found that such technical understanding is really its own kind of reward that's very different from the actual experience of the art. I've also never found that such understanding makes me enjoy the art any more, but it does/can make me appreciate it more.
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That can definitely work for many. Personally, I've always found that such technical understanding is really its own kind of reward that's very different from the actual experience of the art. I've also never found that such understanding makes me enjoy the art any more, but it does/can make me appreciate it more.
If instead, you listen many times, you'll lose the 'trickiness' that stimulates you to the art experience. So it's a narrow path to navigate between too little and too much.
When you play a piece it comes alive again, because you're physically (kinetically) in the mix. You can't help but be in the creative process.
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... When you play a piece it comes alive again, because you're physically (kinetically) in the mix. You can't help but be in the creative process.
Surprisingly I've had that kinetic response with some chamber music by Faure -- specifically the A Major violin sonata and the C Minor piano quartet. To be sure these are early, energetic works. I say surprisingly because of course his Requiem and songs like 'Clair de lune' have a much different atmosphere
because you're physically (kinetically) in the mix.
I have the answer. If you get bored with Sibelius then put it on and dance.
No........ .
Over my lifetime there have been times that I tried to do too much as a music professional. Now as a listener I can still get too involved. My post mentioned some "limiting" ways because music can be trouble for me. There are also "changing" ways: meditation, long walks, friends, church. Everyone is different and I hope that my post isn't taken as suggesting what others "ought" to do.
We have had a similar discussion in a progressive rock forum I frequent. It seems to me when I was younger I had more time, energy and focus to put into deep listening so that I could catch more nuances, repeated themes, cleverly disguised reprises, etc. Now, I'm just searching for the next unheard thing because so much is available, both in prog and in classical. I think less really was more.
I was into progressive rock in a big way years ago. I'd be interested to look into that forum. Can you give me the details?
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