Can social media compose 'music of the mind'?
'Harold Garfinkel [UCLA phenomenologist] taught that socialization was a process of convincing each individual that generally agreed upon descriptions actually define limits of the real world. What he was saying was that people generally agree on something being real and true, therefore, it becomes real and true; the view of a few random schizophrenics, catatonics and autistic children notwithstanding.'Just before taking off on my travels I picked up a cheap copy of A Magical Journey With Carlos Castaneda by Margaret Runyan Castaneda. I must confess Carlos Castaneda is not my favourite spiritual warrior, which may explain why I found this memoir/exposé by his first wife to be a worthwhile read. Recently I asked if classical music tastemakers queuing to praise modish composers are actually hearing a ‘music of the mind’ embellished by their own preconceptions, and that quote from Margaret Runyan Castaneda is worth reflecting on in view of the current fascination with social media. And talking of something becoming real and true by general agreement; received wisdom tells us that Arnold Schoenberg originated serial composition, but did he?
A robust free wi-fi connection allows me this unplanned post from Aigues Mortes; the header photo was taken en route at Gigny sur Saône and is © On An Overgrown Path 2012. Not posting to Facebook while mobile as their security hassle is more than I can bear, but using Twitter. Any other copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and errors to - overgrownpath at hotmail dot co dot uk
For example, in the 1750's the Royal Navy was instructed to employ a fiddler on board all south-seas voyages, not for the crew's benefit, but because they had discovered, the hard way, that the world's peoples are far more inclined to British traditional jigs and reels than to the 'classical' tradition they'd always assumed was closer to the ideal of Orpheus.
There can be very interesting and intellectual experiments in the arrangements of sound, I don't deny that, I enjoy many such all the time, but I think we may come to face a non-phenomenological reality that there is more to a 'music' than mere programmes of sound, and one or the other may demand our language coin a new term.
and could there be a hierarchy? that latter question begins to hint a little kabbalistic, but I'll throw it out there just for fun ;)