They didn't "express" a feeling--they were a lot more like feelings themselves, albanische lieder 2022 and they looked like nothing particular to me, or Rothko, or anyone. When I later looked over the reproductions Rothko's operates in publications, they reverted to smooth swatches of color. There clearly was a recollection, but no sport of my experience. This is an event that depended on the presence of the original artifact (art: a fact).
I used my early audio life working mostly with music that used-like representational art--some pair of common audio conferences to generate its effect. There are many vocabularies of track, counterpoint, flow, harmony, and design that position audio in a situation of variety which makes it comprehensible to listeners. "Comprehensible" is not exactly what I mean--it suggests that audio communicates only intellectual a few ideas, whereas in reality,
it provides and expresses a complete selection of ideas, emotions, feelings and associations. But there is some "intelligibility" to main-stream forms of music that is dependent upon a discussed formal language of expression. There are familiar components that fans use to anchor their real-time connection with a composition, formal or sonic components that are borrowed from different pieces produced and listened to in the past.
When I find myself humming a tune from the Beethoven symphony, or invoking among their quality rhythms (dit-dit-dit-DAH), I minimize a complicated sonic tapestry to an abstraction, a shorthand that's quickly identifiable to others knowledgeable about the music. I might have the ability to reveal a musical strategy with other musicians utilising the abstraction of notation
.But a "tune" is not just a "tone," and a "note" is not just a "sound." It's a concept, even a strong thought, nevertheless when I discover myself singing the song, I realize that I have in some manner "consumed" the audio, reduced it to a part of its conventions, deconstructed and reconstructed it for my very own purposes.