Here is a beautiful and graphic account of how painful circumstances resulted in a particular creative practice in music production. I would love to hear this piece by Adrian Benavides. As a musicologist, one of the things I challenge my students with is the ontological gap between the ‘intended meaning’ of a piece of music and the way it can be received. This gap is described by the likes of Umberto Eco and Roland Barthes as the ‘Open Work’ and the ‘Death of the Author’ respectively. This account leaves no doubt of the ‘pain’ that resulted in the ‘destructive’ editing described so eloquently below. What interests me – in particular with instrumental music – is how this intention is transferred to listeners. Indeed – can it be? In fact is it possible to embed ‘pain’ inside a piece of instrumental music? The start of the blog is copied below, followed by a link. It is worth reading.
This is what my therapist told me a month after I lost my daughter, Valentina, in a full-term stillbirth. If you’re not sure what that means, then here’s a short explanation. She was a fully formed baby who would have been born totally healthy and normally if her heart hadn’t suddenly and unexpectedly stopped beating. For no reason. She was delivered in exactly the same fashion as many other children. I was in the operating room wearing scrubs like a father typically does during a c-section procedure. My beautiful little girl was handed to me swaddled up with a little hat on just how she would have been delivered otherwise. The devastating reality is that she was just gone.
To see the full blog click here.