hannahjoy wrote:However, I do think that we as composers can at least consider:
1) What effect does this music that I'm writing have on me?
2) Is that effect good or bad?
3) Is that effect intrinsic to the music, or is it only the result of a subjective association?
We may not be able to answer those questions, but we should at least consider them.
Just outta curiousity... are you familiar with Keith Jarrett? More specifically his concerts at, say, Köln, Bregenz, La Scala?
hannahjoy wrote:I think our disagreement is over the meaning of amoral.
hannahjoy wrote:Music is on that line by virtue of its influence on our actions.
Actually, I think our disagreement has more to do with your tendency to confuse music (in all of its nounly forms) with the acts of listening, responding, composing, etc. For example:
ENIGMA wrote:Could you perhaps give an example of something that, under your definition, is amoral?
hannahjoy wrote:Maybe . . .
a block of wood.
It could be used to hit someone, start a fire, prop up a crooked table, etc., but it doesn't affect our actions by its very nature, as music does.
(Emphasis added) And whether we hit with, prop up, listen to, or compose, our
actions are the subject of moral evaluation, not the block of wood or the song. QED.
Regards,
mrmufin