The nights are drawing in & the season for pyrotechnics has begun across Britain. Starting with Halloween, it gathers pace, culminating with a bang at the New Year. Revered highly by the ancient Greeks & worshipped by the Zoroastrians fire has fascinated man since the dawn of time. The old traditions of history, like the Hindu wedding ceremony & the Olympic torch, all depict a harmonious relation between fire & music. So as I wander throughout London, I can just imagine the City’s historical grandeur consisting of gaslights, architecture & beautiful music – perhaps some of the finest works ever created.
European classical music has been created to grip, captivate & provoke thought. Could the creative purity remain unadulterated, not confined to today’s chart topping convention! Today’s instrument definitions have changed whilst fire remains constant. The contrast intrigues me. Classical music is deceptively simple in execution & creation, despite the complexities of the stories & human emotions conveyed. With our shorter attention spans, craving more extravagant visual displays, is our aesthetic appreciation rising at the expense of our musical concentration?
Is our changing perception evolutionary or revolutionary? Was there an event that tipped the balance to make us resonate more with transverse light than with longitudinal sound waves? Is the trend reversible? If so then what would the catalyst be? Only a few days after Guy Fawkes Night, I leave you with these thought provoking questions. Meanwhile, I am hoping for a new, more fulfilling sound leading into 2016.
It is the season for pyrotechnics across Britain. It normally begins with Halloween & gathers momentum, culminating with the new year with a bang. Fire has fascinated man since the dawn of time; the ancient Greeks regarded it as one of the primary elements, & the Zoroastrians even worship it. The old traditions of history, like the Hindu wedding ceremony & the Olympic torch, all depict a harmonious relation between fire & musical accompaniment. So as I wander across the busy streets of London, I can just imagine a time when the historical grandure of London would have consisted of gaslights, architecture & beautiful music – perhaps some of the finest works ever created.
Music through Europe’s history has been created to grip the listener, captivate the imagination & provoke thought. There were no editing tools, no recording studios & tracks did not end after four minutes. We of course now have more types of instruments at our disposal than ever before. It makes me wonder that if people have still maintained the love for fireworks- simple yet spectacular in appearance- then what has happened to our oratory tonal sense? Classical music was simple in execution & creation, despite the complex layers of stories & human emotions conveyed. What has happened to us that our musical concentration has waned in spite of easier access to sound, whilst simultaneously, our fascination with fire has heightened as we find it possible to create & enjoy newer ways of enjoying bigger & better fire based displays, even in the face of fire safety legislation & our unpredictable weather?
Could our changes in perception be explained by events that are evolutionary, or are these events revolutionary? And I wonder if there was an event that marked the turnaround for us humans to develop our appreciation of light at the expense of our appreciation for good sound? Are our combined senses now drawn to entirely different types of rhythms, that the transverse light waves resonate more with our consciousness, compared to the longitudinally generated sound waves? Most important of all, are these trends reversible, and if so, then what would be the catalyst to tip the balance to a more stable equilibrium? I wish to leave my readers with these thought provoking questions. Meanwhile, I am hoping for a new, more fulfilling sound amidst the fireworks leading up to Christmas & beyond.