We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
Brian EnoRead
I used to think that, given enough goodwill, anybody would be able to 'get' any music, no matter how distant the culture from which it came. And then I heard Chinese opera.
Interpretation
Understanding music from different cultures requires more than goodwill; it may also depend on cultural context.
In this quote, Brian Eno reflects on his initial belief that a genuine appreciation for music could bridge cultural divides. However, his experience with Chinese opera challenged this belief, suggesting that cultural differences can create significant barriers to understanding and appreciating music fully.
In practice
This quote can be used in a discussion about cultural diversity in music education.
We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.
When I first started making ambient music, I was setting up systems using synthesizers that generated pulses more or less randomly. The end result is a kind of music that continuously changes. Of course, until computers came along, all I could actually present of that work was a piece of its output.
People do dismiss ambient music, don't they? They call it 'easy listening,' as if to suggest that it should be hard to listen to.
In the future, you won't buy artists' works; you'll buy software that makes original pieces of 'their' works, or that recreates their way of looking at things. You could buy a Shostakovich box, or you could buy a Brahms box. You might want some Shostakovich slow-movement-like music to be generated. So then you use that box.
Ambient music must be as ignorable as it is interesting.
There is something about the melody of 'Thunder Road' that just suggests 'new day.' It suggests morning; it suggests something opening up.
When my time is up in hip-hop, it's going to remain what Afrika Bambaataa thought it was supposed to be. It's going to remain what Kool Herc thought it was supposed to be; what Wu-Tang Clan sees it as; what Outkast sees it as; what Snoop Dogg sees it as. People are trying to forget that brand of hip-hop.
One of the things that touches me most when I play for an audience is that although we may be unable to communicate in words or have diametrically opposed views on hot-button issues, while the music sounds we can be at peace, we can be friends. The vibrations that fill an auditorium have no passports, and they unite ears when hearts may be divided.
Since I was two years old, all I knew was gospel music. That music became such a part of my life it was as natural as dancing. A way to escape from the problems. And my way of release.
Paul Ryan's love of Rage Against the Machine is amusing, because he is the embodiment of the machine that our music has been raging against for two decades.
We are the same. There is no difference anywhere in the world. People are people. They laugh, cry, feel, and love, and music seems to be the commons denomination that brings us all together. Music cuts through all boundaries and goes right to the soul.
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