Has education expanded your listening tastes?


This point recently came up in another thread: a member was of the opinion (if I am paraphrasing them correctly) that critical thinking plays little role in what our tastes in music might be. We like what we like and that's it. So that begs the question for me, how many of us feel that our reaction to music is primarily rooted in the emotional centers of the brain and that rational analysis of musical structure and language doesn't potentially expand our range of musical enjoyment? I ask because I am not a professional musician, but I did take a few college level music history classes, learn to play guitar in my forties (now sixty,) learn to read music on a rudimentary level of competence, study a little music theory, and enjoy reading historical biographies about composers and musicians. I can honestly say that the in the last fifteen years or so, I have greatly expanded what types of music I enjoy and that I can appreciate music I might not "love" in the emotional sense that used to dictate what I listen to. Take Berg, Schoenberg, and Webern for example. Their music doesn't sweep you away with the emotional majesty of earlier composers, but I find their intellectual rigor and organization to be fascinating and very enjoyable. Same with studying the history of American roots music, I learned a lot about our cultural history and enjoy listening to old blues and country music now. How do other's feel about this emotion vs. learning to appreciate thing?
photon46
Years ago, I recall a NPR program called "The Art of Fugue" which went into great detail explaining that particular work. My appreciation of the music of Bach went way up from that.

Some music is just fun though. Not much to think or learn about. Music can work so many different ways. Just one of the interesting things about it.

SW thanks for those kind words.
Rok2id, glad you found the link entertaining, I thought it was rather witty. I know what you mean about the difficulty of conveying the exact meaning of our thoughts in these forums, it can be difficult.

If anyone has any interest in further exploration of Bach's work and his times, a very entertaining and non-technical book is the easily read biography of Bach and Frederick the Great "Evening in the Palace of Reason." It explores the collision of Baroque and Enlightenment world views and how a challenge from Frederick goaded Bach into writing "A Musical Offering." http://www.amazon.com/Evening-Palace-Reason-Frederick-Enlightenment/dp/0007156618/ref=sr_1_1?s=books&ie=UTF8&qid=1393257326&sr=1-1&keywords=evening+in+the+palace+of+reason
Photon46:

I put the book in my CART. Thanks for the tip. My bookcase currently is filled with books about music and war / military, so I know I will like it.

One of my favorite books "The German Way of War", has a section on 'The Orgins of Frederician Warfare'. Very interesting. Brings home the point that Geography is Destiny!

Cheers
A music question:
I think about this a lot. What is the difference between a first chair violinist in any of the world's top Orchestras, and a person that makes a career as a violin soloist.

I assume a solo career would be more rewarding from both an artistic and financial perspective.

I am not aware of any situation where a player 'moved up' from Orchestra to solo career. What's holding them back? Could anyone talk about this?

Thanks

Cheers
Rok2id, Lynn Harrell went from 1st Chair cello in the Cleveland to a distinguished solo career. On the other hand, I remember several years ago listening to Alban Gerhardt discuss the excruciatingly difficult decision he had to make in turning down an offer from the Berlin Philharmonic for 1st chair cello in favor of a solo career. I’m sure there are many other examples.
I will say this—if you think about the soloists that really do well, it is my perception they tend to have more than their fair share of personal charisma in addition to their musical talents. There are obvious examples where this is not true. But just think about people like Hillary Hahn, Itzhak Pearlman, Yo Yo Ma, Joshua Bell—they can work a crowd in a unique way.
For others, a steady job in a world class orchestra may be a better fit.