I too had an issue (albeit minor) with the yin-yang characterization. However, I did not make an issue of it in part because I think I know that what Ghosthouse means is the reliance primarily on a personal observational and emotional reaction to music or event when making commentary vs making commentary that is rooted in a generally accepted factual reality: subjective/objective...yin/yang. Please correct me if I am misconstruing.
I have no interest in claiming any superiority or authority when participating here. I participate and make comments, agree or disagree, based on what I believe (or know) to be factual and anyone who cares can decide whether what I write has any merit or not. However, this does not mean that I will be yielding to what I believe is incorrect or incomplete information. As always, I think the key is to do all this in a civil and respectful way regardless of which side one is coming from. I also don't claim to never have failed in being civil, but I believe that anyone who cares to look at how the exchanges here transpire will find that things get derailed when the commentary from the yin side turns personal and often nasty when the yang disagrees and won't yield. I believe the most recent exchange between yin and yang is a fine example of this.
Now, the main reason I had an issue with the yin-yang characterization is what I think is the most important message in all of this for all of us. The emotional and subjective aspect of the music listening experience cannot and should not be entirely separated from the factual reality; or vice versa. The two can and should live side by side. One of the reasons for "ill-humor" here has been the suggestion or insistence by some on the yin side that the simple fact that a listener acknowledges the factual (yang) means that that there is somehow less appreciation of or openness to the emotional (yin). Nothing could be further from the truth. In fact, and as I have suggested before, the understanding of the factual can enhance the emotional experience. Whether this can work for any one individual is a personal matter however. ( Example, and speaking for myself: I can acknowledge the craft and technical excellence of the music of Richard Wilson, but I still can't stand it. Or, I can point to all the flaws in Elvis Costello's voice and still really like his singing).
The most recent ill-humor was luckily relatively minor and I would like to respectfully point out to O-10 that there was no attempt of any kind to "teach" anything; certainly not music. Again, the problem stemmed from simple disagreement with a statement that he made about.....musicians. That only musicians are capable of understanding late period Trane. Frankly, it all seems a little ironic to me.
(Speaking of facts and relating to much of the above. Glad to see attention paid to this sort of detail on the part of acman3 when he refers to the chord changes of "Impressions". Perhaps the notes are incorrect but the changes of "Impressions" are the same as the tune "So What" not to "KOB".)
Nice Mingus clips, O-10. One of the geniuses of the music.
I have no interest in claiming any superiority or authority when participating here. I participate and make comments, agree or disagree, based on what I believe (or know) to be factual and anyone who cares can decide whether what I write has any merit or not. However, this does not mean that I will be yielding to what I believe is incorrect or incomplete information. As always, I think the key is to do all this in a civil and respectful way regardless of which side one is coming from. I also don't claim to never have failed in being civil, but I believe that anyone who cares to look at how the exchanges here transpire will find that things get derailed when the commentary from the yin side turns personal and often nasty when the yang disagrees and won't yield. I believe the most recent exchange between yin and yang is a fine example of this.
Now, the main reason I had an issue with the yin-yang characterization is what I think is the most important message in all of this for all of us. The emotional and subjective aspect of the music listening experience cannot and should not be entirely separated from the factual reality; or vice versa. The two can and should live side by side. One of the reasons for "ill-humor" here has been the suggestion or insistence by some on the yin side that the simple fact that a listener acknowledges the factual (yang) means that that there is somehow less appreciation of or openness to the emotional (yin). Nothing could be further from the truth. In fact, and as I have suggested before, the understanding of the factual can enhance the emotional experience. Whether this can work for any one individual is a personal matter however. ( Example, and speaking for myself: I can acknowledge the craft and technical excellence of the music of Richard Wilson, but I still can't stand it. Or, I can point to all the flaws in Elvis Costello's voice and still really like his singing).
The most recent ill-humor was luckily relatively minor and I would like to respectfully point out to O-10 that there was no attempt of any kind to "teach" anything; certainly not music. Again, the problem stemmed from simple disagreement with a statement that he made about.....musicians. That only musicians are capable of understanding late period Trane. Frankly, it all seems a little ironic to me.
(Speaking of facts and relating to much of the above. Glad to see attention paid to this sort of detail on the part of acman3 when he refers to the chord changes of "Impressions". Perhaps the notes are incorrect but the changes of "Impressions" are the same as the tune "So What" not to "KOB".)
Nice Mingus clips, O-10. One of the geniuses of the music.