> b) This is what I find to be true about critical activity: within certain limits, paying attention - at this level, at least - actually intensifies the pleasure I take in the work. <
I'd be willing to bet that you have also trained your ear to intentionally not listen at that particular level as well, making it an option you consciously choose or not, as your listening needs (or wants) change.
> There is a cost; some work simply won't stand up to scrutiny. <
Or the other cost--interference, at times, with the listening experience, by over-processing.
> But, thus far at least, for me, the benefits outweigh the costs. <
Sure, but.... what if you couldn't turn it OFF, or didn't know how to "throw the switch"... or even that there was a switch?
I've had this discussion with Guidz, who discovered (and not pleasantly) that once she had learned aural analysis, she couldn't listen to anything without that "running commentary" existing side by side with the music itself. I could relate to that; when I was first learning some of the basic mechanics of writing, I found the (largely unwanted) Inner Editor perching on my shoulder, distracting and interfering, when all I wanted to do was enjoy the dang story. However, I did eventually learn to throw the switch--bug off, IE!--or at least reduce it to a concurrent whisper, rarely all that annoying. I think Guido will learn the same thing. Just takes time and practice.
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Date: 2004-08-19 06:40 am (UTC)I'd be willing to bet that you have also trained your ear to intentionally not listen at that particular level as well, making it an option you consciously choose or not, as your listening needs (or wants) change.
> There is a cost; some work simply won't stand up to scrutiny. <
Or the other cost--interference, at times, with the listening experience, by over-processing.
> But, thus far at least, for me, the benefits outweigh the costs. <
Sure, but.... what if you couldn't turn it OFF, or didn't know how to "throw the switch"... or even that there was a switch?
I've had this discussion with Guidz, who discovered (and not pleasantly) that once she had learned aural analysis, she couldn't listen to anything without that "running commentary" existing side by side with the music itself. I could relate to that; when I was first learning some of the basic mechanics of writing, I found the (largely unwanted) Inner Editor perching on my shoulder, distracting and interfering, when all I wanted to do was enjoy the dang story. However, I did eventually learn to throw the switch--bug off, IE!--or at least reduce it to a concurrent whisper, rarely all that annoying. I think Guido will learn the same thing. Just takes time and practice.
What say you?