Almost everyone can remember being moved by music. Feeling joy, inspiration, or even healing brought my listening and engaging in music. Different stories and perceptions are in place that could prove the ability of music to move or inspire a listener and that it doesn’t just come from a technical skill or a particular setting, it’s what’s inside the artist and the music itself. Join Aviv Shahar as he welcomes the musicians, Ed Dowrick and Paul Stone, to unravel the mysteries of Essence Music through their own experience and inspiration.
Almost everyone can remember being moved by music. Feeling joy, inspiration, or even healing brought my listening and engaging in music. Different stories and perceptions are in place that could prove the ability of music to move or inspire a listener and that it doesn’t just come from a technical skill or a particular setting, it’s what’s inside the artist and the music itself. Join Aviv Shahar as he welcomes the musicians, Ed Dowrick and Paul Stone, to unravel the mysteries of Essence Music through their own experience and inspiration.
07:20 – Aviv introduces today’s topic, Essence Music: The Emergence of a Collective Agency
08:07 – Paul talks about the interesting challenges on music languages
12:14 – Paul shares about the weakness of his left hand
17:10 – Aviv recaps what Paul has just said and shares his thoughts as well
24:01 – Ed speaks about his thoughts on Essence Music
33:39 – Ed opens up on something he heard from Hans Zimmer
39:05 – Paul shares his realizations on being in the audience in the previous years
48:54 – Ed shares his thoughts on the language and grammar of emergence
55:10 – Paul talks about museums and why he thinks it’s gives exhaustion
1:00:51 – Ed shares about great things music can give more than just physical healing
1:09:08 – Aviv thanks Ed and Paul for joining him
“But I discovered that my left hand is very weak or was very weak. So, it’s been on a long program of strengthening and reconditioning. Not ‘cause I want to play good, it’s more in terms of so that it can be more versatile in what it can offer into any session or live piece of music”. (12:16) (Paul)
“Many times, I would think that you can play the same piece of music, like for example, when you hear one rendition of Mozart from one orchestra on one day, and you hear it a month later, and it’s the same music but it doesn’t move you. Or di doesn’t move the audience.” (24:01) (Ed)
“In a way, people assume, I think in not just in music, that because a person has chosen to play an instrument, that all of a sudden there’s a bond between another person who has chosen to play an instrument. And it’s not the place to start. And I think again the world makes this mistake in many areas outside of music.” (33:14) (Ed)
“I stopped letting myself off the hook of being in the audience and thinking as the member of the audience, I had no effect on the musicians, the conductor and the song.” (39:05) (Paul)
“All of a sudden, out of the blue, this lady broke through. And something beautiful came through her voice and through her music. She was playing a harp. And it was brilliant!” (50:42) (Ed)
“But to be able to find the music that would say, not just to healing at a physical level, but music that would transmit say, for example, huge stream mental healing, or you could share the feeling somehow in a collective sense” (1:00:51) (Ed)