It’s easy to recognize several time scales to a meal, from the succession of courses (even simply saving dessert for last) to the entropy that occurs as a hot dish cools or a frozen dish melts to the succession of individual bites. Recognizing these time scales is straightforward, but synchronizing music to them is a much trickier proposition.
A distinction needs to be made between music that uses a work of visual art as a source of inspiration and music that has been envisioned expressly for the purpose of illuminating, commenting upon, and conversing with visual art—music where viewing the art while listening to the music is, in some sense, essential to the full realization of the composer’s vision.
As we’re moving beyond the mere novelty of pairing sound or visuals with a meal, the focus needs to shift to what is being communicated by the resulting amalgamation; it’s not enough to simply put things side by side.
Has an experience with music ever helped you to better understand or appreciate an idea, a realm of knowledge outside of music itself, or some other aspect of life? Have you observed this happening for others? What elements of the musical content and/or its presentation do you think made that experience particularly effective?
Studies show that loud sounds dull our sense of taste, which may explain why airplane food tastes so bland, and why people order more tomato juice on planes, as umami flavors are the most resilient to volume.
Systemic bias is nowhere near its death throes and we all need to be vigilant against it. Be mindful of what you vote for with your dollars and your attention.
Composer John Supko and critic Jeffrey Edelstein discuss collaboration.
It should make us all deeply uncomfortable how white the new music scene is. We must address the fact that we are missing out on certain new music because it is being classified for different communities, or not being classified at all.
Composer John Supko and critic Jeffrey Edelstein on when composers get a little help from their friends.
There is this split between the media’s impulse to categorize and the artist’s impulse to resist classification.