# Hearing music in and out of context



## Weston (Jul 11, 2008)

An extraordinary thing happened to me at work last week.

I usually have pieces of music playing at random in headphones to ease the tedium and help me focus. It can be anything from Renaissance music up to 21st century electronica. Last week a piece came up that sounded like a horrible soundtrack to a cheesy Rock Hudson / Doris Day movie. It was full off the silly woodwinds imitating laughter that is so prevalent in these soundtracks. Made me cringe.

I thought, "What the _bleep_ IS that?" I looked at the playlist. It was Ravel - Piano concerto in G, movement 3. Now I had heard this several times before and really enjoyed it when I knew it was Ravel. Taken out of context it hit me as banal.

So I have some questions about this effect. Does pop culture ruin the impact of some forms of classical music, for instance did I dislike the Ravel because Hollywood imitated him in my parent's day? Are we someday going to dislike bombastic romantic orchestral music because science fiction blockbusters have made that style prevalent again?

Did knowing the piece was by Ravel when I first heard it change the way I perceived it? In other words, do we need context for a piece before we can appreciate it? Or are we just bringing a false reverence to some pieces because of the name attached?


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## Aramis (Mar 1, 2009)

Hym...

When I started to explore late romantics their symphonic music reminded me of 30's and 40's melodramatic movies, particularly scenes when the main characters are saying "farewell" to each other or are meeting after a long and difficult time and are kissing passionately. There was always such music in background, just like Rachmaninoff. It didn't do any charm, probably because I enjoy this kind of movies :S

I never listen to music randomly, so I can't share any experience like yours. But I suspect that if I would hear some Debussy, for example, "out of context" I could think "what a semi-sensivite crap" or something. I just have to known that's impressionism and I have to look for interesting harmonies and colouristics to appreciate the piece.


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## Aramis (Mar 1, 2009)

And as for Ravel's concerto - movement that you mentioned never really fascinated me. First two are clearly amazing, but third one seem just like a hole hanger.


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## PartisanRanger (Oct 19, 2008)

Aramis said:


> And as for Ravel's concerto - movement that you mentioned never really fascinated me. First two are clearly amazing, but third one seem just like a hole hanger.


Agreed there. I usually skip the third movement when I give the concerto a listen. It always seems a little out of place.


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## Weston (Jul 11, 2008)

So it's not just me then. Even in context it's not great. That's totally not the answer I expected. Interesting . . .


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## nefigah (Aug 23, 2008)

There are a couple of different ideas here, and I think both are worthy of attention.

For one, our own exposure to music can indeed influence how we accept or appreciate other music. One example I can recall personally is from Mahler 1, which although I think is good, has seemed a bit "cheesy" in certain moments I think due to its orchestration reminding me of soundtracks. I don't expect anyone else to feel this way, as it's a twinge I get largely based on what has stuck with me personally in other music. Other late romantic works can get me in the same way, because I think it is most similar to what movie scores aspire to be.

By the same token, how often does (for example) organ music get instantly associated with "creepiness" thanks to its use in pop culture? 

The other idea is the importance of keeping pieces in the proper context, and this is something that is important to me personally. I firmly believe that a part of a work, even if of great value on its own, is meant to be appreciated not only for its own merits but for its function in the work as a whole. For that reason, I can't bring myself to put my playlist on "random."

For instance, the Grosse Fuge clicks with me better when I hear it as the final movement of that whole SQ. The fiery final movement of the "Appasionata" sonata becomes even more intense when preceded by the sonata's 2nd movement. The brilliance of the individual passacaglia or fugue sections of BWV 582 is enhanced when heard in conjunction with the other. And as an extreme example, a leitmotiv in The Ring might be beautiful on its own, but is much more meaningful when experienced in the context of its previous and future usage and evolutions.

Of course, there are instances where works were somewhat randomly put together, like some of Mendelssohn's organ sonatas, but I'd like to think that's more of an exception to the rule.


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## Weston (Jul 11, 2008)

I understand the reticence not to play at random. I only do this when I am at work or doing housework and can't really focus on the music anyway. It does reduce it to ambiance or wallpaper and I know some may find this blasphemous. I suppose I shouldn't be too alarmed at the consequences of the practice.

I do however set aside time at least once a week, or lately more like twice a week, to sit down and experience the music as it was intended, as if I were at a concert. Usually I "program" some smaller scale works coupled with a large work depending on my time limits. The music then better conveys its fullest meaning to me. In my case a few annotations help too.


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## nefigah (Aug 23, 2008)

Well, if having some music in the background helps you think, I don't think anyone here would argue against using classical 

Besides, even "casual" listening helps increase familiarity with a piece, which I think is always a good thing.

I didn't mean my comments to seem like a criticism; I was just vocalizing some thoughts prompted by your post.


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## SalieriIsInnocent (Feb 28, 2008)

I wouldn't be a fan of Mahler if it wasn't for sitting at the computer for hours with my Mahler playlist (non-random) 

I will be done with my work and open winamp and I will see that I have listened to almost all of his symphonies.


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