Certainly any listener gravitates toward the sounds that provide the most enjoyment, or, if you prefer, aesthetic pleasure.
Of particular interest are scenarios in which the sounds of the listener's surroundings generate that peculiar attraction that music, in the general sense, does not. These are the sounds of the human and natural world, sharing little more than qualities of tone and pattern with the elements of music, yet they possess a beauty, in totality of effect, that is uncanny in the sense of being simultaneously familiar, yet strange.
For the composer, this means coming to terms with the myriad aspects of such atmospheres, and, through aural experimentation, composition, and production, reflecting their virtues.
Of particular interest are scenarios in which the sounds of the listener's surroundings generate that peculiar attraction that music, in the general sense, does not. These are the sounds of the human and natural world, sharing little more than qualities of tone and pattern with the elements of music, yet they possess a beauty, in totality of effect, that is uncanny in the sense of being simultaneously familiar, yet strange.
For the composer, this means coming to terms with the myriad aspects of such atmospheres, and, through aural experimentation, composition, and production, reflecting their virtues.
