Tone, mood, atmosphere: being sensory images or impressions, and thus suggestive of emotional content, these convey implications words alone can not provide the listener.
It is a widely-held view that emotional content forms the essence of music, and that it is the central reality of the musical experience. There is no reason to dispute the nature and fact of this belief, yet it is equally certain there are other ways of listening and composing that are, by intent, removed from the ordinary limits of emotional experience.
Works created for such aesthetic ends may be thought of as presentations of auditory imagery designed to evoke environments in which the listener's consciousness is not subject to the vagaries of emotive excitation, but rather directed toward contemplative states of mind.
It is a widely-held view that emotional content forms the essence of music, and that it is the central reality of the musical experience. There is no reason to dispute the nature and fact of this belief, yet it is equally certain there are other ways of listening and composing that are, by intent, removed from the ordinary limits of emotional experience.
Works created for such aesthetic ends may be thought of as presentations of auditory imagery designed to evoke environments in which the listener's consciousness is not subject to the vagaries of emotive excitation, but rather directed toward contemplative states of mind.
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