Classical Music

Brian Eno: Music For Airport

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Chopin

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Opening post by Chopin

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I was reading an interview with Brian Eno in the Giornale della Musica where he spoke, among other things, about his Music for Airports, recounting that he got the inspiration in an airport (Cologne) where the only music being heard was a pop song and for him it wasn't the right music for that environment, so he created one himself... now I am listening to it:

http://www.youtube.com/watch?v=ALvc2ivuxeI

but it is terrible!!! In an airport, music like this wouldn't even be heard with all the noise there is, and then in a potential closed room where one could listen more quietly, a passenger waiting for their flight falls asleep and risks missing the plane!

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Reply 2 by Dino

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It's a piece from 1978 that is undoubtedly terrible, there's no doubt about that. I don't see why music has to be spread everywhere. To give work to poor musicians?

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Reply 3 by thallo

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it is the first internationally recognized piece of a fundamental genre of contemporary music, ambient.

You may like it or not, but it is one of the "musts" of that avant-garde. And obviously, I like it

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Reply 4 by ScalaQuaranta

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personally, I like it. I can't bring myself to despise this piece all that much. It seems obvious to me that it is not a piece of particular distinction.

but I don't think it is all that banal either. I like it because it is a timbral piece that utilizes the resonances of a simple harmonic circuit. the basic idea, in my opinion, is interesting....and I must say that even the musical product, to me, is not unpleasant (at any level of listening).

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Reply 5 by Dino

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Besides, even the "basic" idea of Beethoven's fifth is nice... sol sol sol mi flat ... perhaps the rest is also needed to become something fundamental ...

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Reply 7 by Valchiria

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Chopin wrote:

but it's terrible!!! In an airport, music like this can't even be heard with the noise that there is

At the current state, waiting for a train at the station, for example, turns out to be a nightmare: continuous advertisements on rotation; waiting for an hour, you might hear the same spot eight times, a madness that, in my opinion, tends to make people aggressive!

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Reply 8 by thallo

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Dino wrote:

Besides, even the "basic" idea of Beethoven's fifth is cute... sol sol sol mi flat ... perhaps the rest is also needed to become something fundamental ...

but will you explain to me why on earth you NEVER limit yourselves to saying "I don't like it" and always go to things like "I don't like it, the composer is an absolute idiot, anyone who listens to it deserves to die in prison and the success of this piece is the cause of all the evils of the universe"????!!!!!"}

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Reply 9 by Dino

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No, sorry. You are telling the wrong person ... read my previous posts in the forum. I am interested in the avant-garde, but frankly the aesthetic that Eno pursues competes with the worst Allevi

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Reply 10 by Xenakis

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I acknowledge all its aesthetic dignity, but frankly it is an aesthetic that bores me very much

I don't know what to do about it

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Reply 11 by ScalaQuaranta

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this is a more coherent and more conscious discourse, which I share.

considering that it is functional music (and not absolute music), considering that the generating idea is simple but interesting (for some, for others less so), beyond personal tastes, in my opinion, the piece in question has within itself some aesthetically objective elements that give it a certain 'artistic dignity' that transcends personal tastes and opinions.

of course, such dignity will not be on par with a Beethoven 5th, for example; but nor will it be on par with that of the "society of gluttons".

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Reply 13 by thallo

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Brian Eno has written some of the most interesting essays of the second '900 and ambient music has been an international success for decades. Besides, it is based on very complex and philosophically significant music such as Indian music, drone music, and minimalist music. Eno was one of the first famous fans of La Monte Young, and for this reason alone he has my total respect. All of his productions have been great international successes; whether this can be placed within a rock-pop system or a classical system is another matter.

And, Dino, I don't care whether you like contemporary music or not. For me, speaking ill of a musician, even if I don't like them, is always and anyway wrong

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Reply 14 by Talentuoso

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thallo wrote:

For me, speaking ill of a musician, even if I don't like them, is always and anyway wrong

If I may say the opposite, speaking well of them if one likes them, and indeed:

thallo wrote:

And obviously I like it

That being said,

thallo wrote:

Brian Eno has written some of the most interesting essays of the second '900

...but he talks about music, not theory

Even Gedalge is studied by everyone...but the beautiful fugues (since we are talking about tastes) were written by Bach, but also Liszt, Franck, etc.

thallo wrote:

ambient music has been an international success for decades.

Well, from what I read, they were talking about Music For Airports, not the genre...then the aesthetic "germ" insinuated itself, which caused the discussion to collapse into grouping everything together. Frankly, this (SPECIFIC) track bores me very much and the author may have written the best treatises on earth...which is his business

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Reply 15 by thallo

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Talentuoso, a large part of my annoyance is directed at this comment by Dino

It's a track from 1978 that is undoubtedly pathetic, there is no doubt about that. I don't see why music should be widespread everywhere. To make poor musicians work?

"pathetic" does not mean "I don't like it"; regarding the fact that "there is no doubt about that," I tried to offer at least a different opinion, arguing it, even if slightly, from an academic point of view (and that is what the references to aesthetic foundations and Eno's writings refer to) but placing it above all in the realm of taste (if you say you don't like something, I don't understand why I shouldn't say that I do.

Furthermore, I take a stand against the reference to poor musicians.

I will be aggressive and sincere. To me, anyone who speaks this way about any other artist on the face of the earth, who after saying "I don't like it" adds "they are poor [at it]" is simply frustrated, rude, and know-it-all. I continue to be someone who speaks very calmly about Allevi, even though I do not appreciate his music, and more than once I have "challenged" my musician and musicologist friends to truly argue Allevi's musical inferiority, based on the analysis of his pieces and his statements on poetics. Instinctively, the scale of a forum discussion where a little group of loser nerds (myself included) gather to speak ill of the whole wide world, making silly jokes about other people's work, horrifies me. It is a matter of civilization, of manners. Some time ago, I strongly criticized a journalist for giving a "musicological" introduction at a concert in Cremona. I said, verbatim, that in the city of musicologists, one could deny the stage to someone who was not a musicologist. A relatively calm statement, in a sense. A person who knew more than me told me that my statement was fascist. And they were right. I was ashamed and corrected my course. My taste, my judgment, however argued and supported by studies, is personal, partial, and often unrequested. In short, people should calm down.

In this sense, I imagine it takes very little argumentative strength to respond to Talentuoso regarding the possibility of speaking well of someone you like... negative action causes harm, positive action does not. But in my use of the expression "speaking ill," I meant to imply attacking needlessly, transforming what is a subjective judgment into an absolute judgment, the kind that often characterizes children, pets, and neighbors. I do not like this type of judgment; I consider them insults, not judgments. They are not interesting argued opinions; they are swear words, exclamations. You aren't saying "guys, now let me explain why this person has defrauded the entire world," you are just saying "sh*t! Asshole!". The informative value of "there is no doubt about that" is null; the phrase means "this opinion is unarguable, true by assumption, and anyone who says otherwise will be censored." I am taking the discussion to the extreme, as the guy who called me a fascist did, to make you understand that saying something is disgusting doesn't require divine science, nor does it prove we are great people or good musicians. To say that we like something, instead, infuses positivity and reaffirms the true purpose of music: making us feel good.

This does not mean one does not have the right to their own tastes. I don't like Allevi, I don't like Bocelli, I don't like Massenet, I don't like the crazy Nina for the sake of Paisiello, I don't like Fabri Fibra. But because of this, I do not consider all these people to be poor composers, fraudsters, nouveau riche, and other things of that sort...

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Reply 16 by riccardoM

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the boundary between experimentation and throwing random things into the cauldron is very thin

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Reply 17 by Bit

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riccardoM wrote:

the boundary between experimentation and throwing random things into the cauldron is very thin

I didn't understand

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Reply 18 by ScalaQuaranta

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absolute music (thallo, confirm or deny what I am about to say) refers to all music free from specific functions, music exclusively for listening and end in itself, in short.

examples of functional music: sound effects for an opera scene, a film soundtrack and/or a commercial, a piano intermezzo (for entertainment during a salon gathering of 19th-century intellectuals), a waltz (which by its nature is born with the purpose of accompanying a specific dance step), a virtuoso piece (with the aim of highlighting both the creativity of the composer and the technical agility of the performer/interpreter), etc.

examples of absolute music: all music that refers to sonata form (sonata, quartet, symphony, concerto), etc. etc. etc.

attention: any musical piece, taken in its 'absolute value', could be categorized as 'functional music' or 'absolute music'. to clearly define the 'nature' of a musical composition, it must be contextualized based on the historical context. a Beethoven symphony could be used as a film soundtrack, but this does not mean it can be defined as 'functional music' because it was composed in another historical period, in another historical context and for another reason.

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Reply 20 by ScalaQuaranta

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silbermann, could you be more specific? which work are you referring to?

i would like to make it clear that between 'functional music' and 'absolute music' there is no hierarchical link of importance, if one considers the purpose. naturally, the discussion changes if one refers to the typical and topical objective aesthetic parameters of each musical piece compared.

in reality, the concept of 'absolute music' is synonymous with the classical period ('700), when in art perfection, balance, symmetry, etc., were sought. thus, at a certain point, much classical music (that is, from the classical period) seemed to have been written by a single composer and the artistic reaction to such excessive homogeneity was romanticism.

so I improperly used a historiographical term, but the substance of my intervention does not change, in the sense that in every era, music for listening and purposeful music has been written.

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