01-29-2026 Post does not mapped to Knowledge Tree Romy the Cat Boston, MA Posts 10,421 Joined on 05-27-2004 Post #: 1 Post ID: 29549 Reply to: 29549 It looks like a simple question What to do with a performance that you do not like? Mind you that this is Not a surface question and does not require surface answer. Let's pretend that objective of this question is not to learn why we want to discard it, but learn what does it mean to us. So, does discarded and not like by us interpretations has any practical value to us? "I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

01-29-2026 Post does not mapped to Knowledge Tree Paul S San Diego, California, USA Posts 2,829 Joined on 10-12-2006 Post #: 2 Post ID: 29552 Reply to: 29549 "The Idea vs. The Realization" A whole lot happens between the time that someone composes a piece and we "finally hear it". Included in this observation is the fact that we "have to hear it" before "we know we don't like it". Immediately to mind pops Gary Karr's "The Spirit of Koussevitzky", which sounded "pop" to me until I heard it via my current set-up. Here is one example (to prove the notion) of a changed reaction to a piece/performance in this case as being listened to in a different way. I suppose mood might be another factor. Still, there are plenty of performances I have disliked my whole life, even if I heard them differently on different occasions. Also, note that a particular performance might "lift" a piece that I "never liked until I heard that version", just as surely as there are pieces I always +/- enjoyed except for a given performance that "ruins the piece" for me. What value Aesthetics? For comprehensive discussions since Kant, look to Hegel or Adorno. That oughta hold most people. Paul S

01-30-2026 Post does not mapped to Knowledge Tree Paul S San Diego, California, USA Posts 2,829 Joined on 10-12-2006 Post #: 3 Post ID: 29556 Reply to: 29552 Damage Control Time to add that the previous post was (perhaps too) focused on thoroughly scripted Music and it is shaded by the idea of playback. "Spontaneous" Music is different enough to merit its own thread, whether Eastern/Asian, or Jazz, whatever, and it might include anything "heard for the first time" as this regards isolating initial reactions, even though the actual particulars involved with playing of spontaneous Music "should" distinguish it, and there is the obvious fact that "there is no second chance to hear original Music". It did not take me long to home in on jazz, and one does tend to build up contextual notions of what goes on to constitute "standards". Yet it is always "differences" that particularly distinguish anything from the conceptual broth. Paul S