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1、Wealllistentomusicaccordingtoourseparatecapacities.But,forthesakeofanalysis,thewholelisteningprocessmaybecomeclearerifwebreakitupintoitscomponentparts,sotospeak.Incertainsensewealllistentomusiconthreeseparateplanes.Forlackofabetterterminology,onemightnamethese:1)thesensuousplane,2)theexpressiveplane
2、,3)thesheerlymusicalplane.Theonlyadvantagetobegainedfrommechanicallysplittingupthelisteningprocessintothesehypotheticalplanesistheclearerviewtobehadofthewayinwhichwelisten.?Thesimplestwayoflisteningtomusicistolistenforthesheerpleasureofthemusicalsounditself.Thatisthesensuousplane.Itistheplaneonwhich
3、wehearmusicwithoutthinking,withoutconsideringitinanyway.Oneturnsontheradiowhiledoingsomethingelseandabsent-mindedlybathesinthesound.Akindofbrainlessbutattractivestateofmindisengenderedbythemeresoundappealofthemusic.?Thesurprisingthingisthatmanypeoplewhoconsiderthemselvesqualifiedmusicloversabusethat
4、planeinlistening.Theygotoconcertsinordertolosethemselves.Theyusemusicasaconsolationoranescape.Theyenteranidealworldwhereonedoesn’thavetothinkoftherealitiesofeverydaylife.Ofcoursetheyaren’tthinkingaboutthemusiceither.Musicallowsthemtoleaveit,andtheygoofftoaplacetodream,dreamingbecauseofandaproposofth
5、emusicyetneverquitelisteningtoit.?Yes,thesoundappealofmusicisapotentandprimitiveforce,butyoumustnotallowittousurpadisproportionateshareofyourinterest.Thesensuousplaneisanimportantoneinmusic,averyimportantone,butitdoesnotconstitutethewholestory.?ThesecondplaneonwhichmusicexistsiswhatIhavecalledtheexp
6、ressiveone.Here,immediately,wetreadoncontroversialground.Composershaveawayofshyingawayfromanydiscussionofmusic’sexpressiveside.DidnotStravinskyhimselfproclaimthathismusicwasan“object”,a“thing”,withalifeofitsown,andwithnoothermeaningthanitsownpurelymusicalexistence?ThisintransigentattitudeofStravinsk
7、y’smaybeduetothefactthatsomanypeoplehavetriedtoreaddifferentmeaningsintosomanypieces.Heavenknowsitisdifficultenoughtosaypreciselywhatitisthatapieceofmusicmeans,tosayitdefinitelytosayitfinallysothateve
