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1995 Cornucopia - Full Horn 1973 Reale Accademia Di Musica

The idea that musical appreciation requires a learning curve is a thought came to me for some time, and hardly open my hand. The pleasure one gets when listening to good music is not immediate, assumes a subjective activity, whatsoever, which makes possible the work to be properly perceived.

Of course, as Hume had already said, the aesthetic education, the development of the senses, the provision of a broad collection of other works to allow for comparison, are necessary elements to make a man a true critic. However, with respect to art forms that involve time, the need for some sort of prior knowledge to train the viewer is sharp. In cinema, this condition becomes evident, the commercial failure of the films' hard to watch "this is the primacy of the aesthetic elements of the film about what makes it enjoyable and understandable is vital for its exclusion from popular movies. Today, the success of a film is intimately connected to your entertainment purposes, ie, the unrestricted use extra-cinematic elements to make it attractive. The music is maybe a damaged to a lesser extent, the technical and financial resources for its creation which is incomparably the movies and can offer to its creator greater creative independence. I do not want, however, divert the discussion to what actually occurs in artistic circles today, because he could not do more than raise a mere hypothesis.

The question that really interests me is the relationship between time, which depends on the music and music appreciation. It is no exaggeration to say that time is the existential condition of music, that is, time is the locus where the music finds its materiality. Moreover, insofar as the music is structured in the time it takes its own way: an essentially fragmented. The music is endlessly divided into parts whose existence is absolutely independent one another. Every moment in which the song appears reveals a material part of something whose essence transcends it. More radical is the cannibalistic nature of these fragments, each of which is determined by an essential requirement that its predecessor is completely annihilated. The temporal becoming only provides a place for a fraction of the music each time, with the death of one of these parts the condition of its existence, until his last piece also has a fleeting life. It is thus condemned to cruel provisional, as the music unfolds.

This means that the music does not exist or can exist in its entirety. Its very existence requires its own future. The entire song is the result of a subjective process whose success is not free.

To defer the discussion, offering a minimum of completion, it must be said: It is precisely this necessary intervention of the subject in the constitution of music that will give the "knowing" a decisive role in music appreciation. Step'll defer that to the near post.

As to download this, it is such a difficult album to like. I was liking him recently, unexpectedly, after staying too long without listening to him.

1. Day of a Day-Dream Believer (19:50)
- a. Humanoid robot show
- b. Hope - Part one
- c. Disillusion
- d. Hope - Part two
- e. Death of a clown
- f. D-daily review
- g. Night, night - Mankind's motor-dream
- h. The sound of national caughing
2. Morning sun (version 127) (3:07)
3. Spots on you, kids (12:37)
4. And the madness... (4:05)

Total Time: 39:39

- Wolfgang Bartl / bass, backing vocals
- Wolfgang Gaudes / drums, percussion, acoustic guitar
- Christoph Hardwig / keyboards, guitar, backing vocals
- Rudy Holzhauer / percussion, troot
- Wolfgang Kause / lead vocals
- Harry Koch / effects, percussion, voice
- Kai Henrik Möller / lead guitar, acoustic guitar, backing vocals
+ Jochen Petersen / saxophones, flute, guitar


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