BenMMusTech
... read you corectly you question whether mystism and music can match, I have to say they can. Music because it's sound waves can do amazing things to the bodies chemical structure add some different illicet and non illicit herbs and it can do wonders.
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I don't have to have you to tell me this. I know it works from all the literature, music and art that I have seen and tasted, and touched and appreciated.
The hard part, and you can see in a lot of things I say here, is getting people to see and realize ... there is more here I can do ... unffortunately, this IS ... something I would like to see, and myself expecting Bapu or anyone else in here to understand that, or consider it ... is presumptuous and not kool and I won't do it. It would also make me a total idiot, Karen style, even though she won't say it for Mosh.
BenMMusTech
... music is perhaps apart from alterted states of consciousness can elicit the biggest answers within ones self, and of coures music in itself can atler ones consciousness, think of the monks and their head singing.
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This is what a "raga" is supposed to do. Take you further to the next level. It is not exactly an idea or concept that is appreciated or enjoyed in the world of rock music ... and when I mention a longer cut that has a guitarist flying around, this is not something that most people have heard, or can appreciate or learn to do ... and here is the example from the acting point of view and I will corrolate this to music.
Low lights, closed stage. Several actors. You have 5 minutes to devise/think of a character. Boom. Ready? Go. You, as an actor are ok with it for 30 minutes. At 1 hour? You are not, and are scratching and clawing for ideas and doings. At 2 hours ... you are out of ideas, scared, and not even sure that what you started with, is anywhere remotely close to the start.
Now let's do this in music. Put 5 people, not necessarily a band together. And we're going to turn down, or off, all lights, and you have 5 minutes to comeup with something that you might want to try. It doesn't matter if you want this to match what the others are doing at all. Ok. Time is up. 15 minutes later you have run through all the scales you know and can relate to. At 30 minutes you are not sure what to do ... notice that at this point you are still concentrating on "you", and not the others, necessarily ... which you can do ... but defeats the purpose (if the director or you pre-thought it some!) decided that he/she wanted you all to go your own way. At 60 minutes, you have a problem ... you can not exactly do anything unless yuo duplicate yourself, or find a link to anyone of the others ... if you don't you are done and repeat yourself to the end.
In the acting exercise, what started as unidirected and unclear and haphazard moments, all of a sudden appeared to work better, and smoother at 60 minutes. And you might have a way to match up and link with someone else ... which is ok, but not necessary, and you want to be able to join and separate with any of the other members at any time. And here comes another piece for you ... break that "connection" with the drummer, and connect with someone else. Let the drummer play with the singer, or the keyboards. Take him off his "beat" and "metronome" mentality. Get that bass guitarist off having to be stuck on the same thing every time, because it is all he/she can do. Now you can see how Damo Suzuki learned a lot of his stuff! Though I would not ever want to suggest that is all a singer can do with a band!
The results vary ... but the one thing you always learn is to have a better "feel" for the person you work with, not because they always play Am when they want to tell you they are lost ... but that they creates a signal that there might be something here we can work with. Which could, eventually add to the length/strength of the story.
And the inevitable answer comes ... are you willing to learn some of the things that brought us a King Crimson -- for example?
Most people can not, will not, and are too F______ lazy to even consider it. And now you know why advanced music/acting/writing theory craft is so out there ... only the last 5% of the folks that started will end up in there trying these things that the rest did not have the strength to go through it. What else is knew? You already know that about "music" and the difference between the majority of the folks that play ... and the rest!
I already know ... that the results are not the same. I already know that the actors learn to appreciate each other better on a stage when they go through this ... understanding how hard it can be to "create a character" and live with it and through it. The question becomes ... is it important, worth while, interesting, whatever, to go through this ... only to come up with a 3 minute song. And that is for you to know and understand. If it brings you that "song", of course the answer is yes! If it does not ... then it does not, and maybe today was a good pizza and beer rehearsal day, not a day that anyone wanted to play around and experiment and above all ... LEARN.
I've loved doing these experiments ... they are some of the prettiest and niftiest and exciting experiences in acting/directing, and with music, because I have done this with a band already ... but it's hard to talk about it, because folks are not tuned to their innards ... when you are too worried about playing that chord at the right time and place!
post edited by Moshkiae - 2012/05/04 14:07:54