What matters in modern music is not the part you can write down, the words and the tune, but the rest – the texture, the atmosphere, the references and associations.
You know that in order to copyright material somebody has to write it down for you. Any piece of recorded material has to be scored in order for it to be copyrighted.
When I was young, an eccentric uncle decided to teach me how to lie. Not, he explained, because he wanted me to lie, but because he thought I should know how it’s done so I would recognise when I was being lied to.
I love the sort of ambivalence of this, the ambiguity of something – being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.
I’ve always thought that art is a lie, an interesting lie. And I’ll sort of listen to the “lie” and try to imagine the world which makes that lie true…what that world must be like, and what would have to happen for us to get from this world to that one.
All cultures have these feelings about non-functional areas of activity. And the more time people have on their hands, the more they commit it to those areas.
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